Thesis (M.A.)--East Tennessee State University, 2004. / Vita. Includes bibliographical references. Also available via Internet..

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2004. / Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 74 pages. Includes biographical sketch. Includes bibliographical references.

The more attentively Auden's poetry is studied, the more one critical problem emerges. How can the poet of the "twenties and ' thirties be reconciled with the poet of the last three decades? "We've all got to come to terms with the later Auden" writes Professor Richard Hoggart, but he does not explain how. The man who wrote the pungent early poetry with its constant reiteration of warnings to a sick society that what was needed was " … death, death of the grain, our death, Death of the old gang … " before it could achieve "new styles of architecture, a change of heart", seems an entirely different person from the man who is on the side of Authority to-day; that is to say in so far as Auden can ever be said to be definitely on one side or another. Intro. p. 1.

This is a textually complete and comprehensively annotated edition of the poet Arthur Hugh Clough’s letters to five of the leading American poets and scholars of his day: Ralph Waldo Emerson, Charles Eliot Norton, James Russell Lowell, Francis James Child and Henry Wadsworth Longfellow, over the period 1847–1861. Fifteen of these letters have not previously been published, and those that appear in published editions are largely incomplete and unannotated. The letters in this edition have been transcribed from the original manuscripts held at the Bodleian and Houghton Libraries. They provide a great deal of valuable information about the less well-known later period of Clough’s life and have been extensively annotated to modern scholarly standards using information from primary literary and historical sources. The introduction to the thesis contextualises Clough’s visit to America and the initiation of the correspondence with his American friends, highlighting the central importance of the ‘American dimension’ to Clough’s life and work. I also discuss aspects of nineteenth-century letter-writing that have only relatively recently become the subject of critical attention, such as the impact of material factors – postage rates, steamship schedules, etc – on Clough’s transatlantic correspondence. Clough’s creation of an ‘epistolary self’ in his private letters, together with his distinctive habit of writing ‘journal-letters’ and the idea of letters as historical ‘testimony’ are the subject of detailed analysis, and I draw a number of parallels with his use of the epistolary form in his major poetry. Chapter 2 of the thesis evaluates existing ‘theories’ of annotation, reviews current practice in relation to the annotation of nineteenth-century correspondence and concludes with a reflection on my own experience of editing Clough’s letters. The absence of a definitive version of Clough’s American letters and the comprehensive introduction will make this edition an original contribution to scholarly work on nineteenth-century correspondence and poetry.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Early American writer Hugh Henry Brackenridge conceived and developed a code of modern chivalry in his writings that culminated in the long prose satire Modern Chivalry. He first introduced his code in the poem "The Modern Chevalier," in which a modern knight is shown traveling about the country in an attempt to understand and correct the political absurdities of the people. In Modern Chivalry, this code is developed in the three major themes of rationalism, morality, and moderation and the related concern that man recognize his proper place in society. Satire is Brackenridge's weapon as well as the primary aesthetic virtue of his novel. The metaphor of modern chivalry serves to tie the various elements of the rambling book into a unified whole.

A investigação aqui realizada examina o papel que os valores cognitivos e nãocognitivos desempenham nas práticas científicas. Essa análise fundamenta-se em uma comparação entre os modelos propostos por Hugh Lacey e por Larry Laudan para explicar a dinâmica da atividade científica. Veremos que, no modelo desenvolvido por Lacey, cuja idéia central reside nas estratégias de pesquisa, ambos os tipos de valor possuem papéis legítimos na atividade científica. Já no modelo reticulado, proposto por Laudan, o autor admite apenas os valores cognitivos como constituintes da racionalidade científica. A partir de uma comparação entre ambos os modelos, pretendemos mostrar que o modelo de Lacey parece ser mais abrangente do que o modelo reticulado, na medida em que este último poderia ser considerado como uma parte do primeiro. / The present investigation examines the role of cognitive and non-cognitive values in scientific practices. This analysis is based on a comparison between the models proposed by Hugh Lacey and Larry Laudan to explain the dynamics of scientific activity. We will see that in Laceys model, whose main idea are the strategies of investigation, both kinds of values have legitimate roles in scientific activity. In the reticulated model, proposed by Laudan, the author admits only cognitive values as constitutive of scientific rationality. Based on a comparison between both models, we will try to show that Laceys model seems broader than the reticulated model, in the sense that the reticulated one could be considered as a part of Laceys model.

Post World War II victory culture and its fallout-the consensus ideology-led to the creation of a middle class willing to conform to a prescribed set of ideals, safely removed from all danger, and enjoying the material benefits of a growing middle-class income bracket. Walt Disney and Hugh Hefner, two seemingly ideologically opposed businessmen, recognized this economic, political, and cultural shift and sought to capitalize on it financially. A cultural-history study of both companies revels many similarities in each company's design, development, and impact on American culture. To begin with, Disneyland and Playboy appeared in the mid-1950s as Americans were settling into postwar affluence and consumerism. Disney and Hefner each recognized the changes occurring within society and intended to design areas of reprieve. As such, Disneyland and Playboy were designed as areas of refuge where one could escape the stifling conformity of middle-class America and simultaneously forget Cold War fears. Instead, Disneyland and Playboy embraced the consensus and became reflections of society and culture rather than operatives of counter-culture. To understand how each company could fail in its original intent but remain as an emblem of American culture, it is necessary to understand the era, the men behind the visions, and how each company absorbed and reacted to cultural attitudes and strains. Disney and Hefner manipulated their way into the American cultural consciousness through a series of ironies and inconsistencies. Each sought to provide a haven of diversity as an alternative to the consensus conformity rampant within 1950s society. Ultimately, Disneyland and Playboy came to represent the homogeneity Disney and Hefner sought to escape. / Graduation date: 2002

Hugh MacDiarmid est considéré comme le poète écossais le plus important du XXᵉ siècle. Il est surtout célébré pour les poèmes lyriques écrits en scots dans les années Vingt et le poème A Drunk Man Looks at the Thistle, paru en 1926. Les poèmes des années Trente, pour la plupart issus du projet non publié Mature Art, ainsi que In Memoriam James Joyce (1955), ont rarement suscité le même intérêt de la part des critiques à cause de leur caractère fragmentaire. Pourtant, ils représentent l’aboutissement d’une crise stylistique complexe que cette étude se propose d’analyser à travers la question du lien, en particulier du lien problématique. L’œuvre complète dresse le portrait d’une humanité déchirée par les divisions sociales, la trahison et la mort mais évoque aussi une perte, une perte fondamentale et fondatrice de la modernité : la perte de l’altérité transcendante désignée par la figure de Dieu. Une analyse diachronique des poèmes révèle comment l’évolution de l’œuvre poétique de MacDiarmid peut être conçue comme une rupture avec le divin, comme un processus de sécularisation et de déthéologisation. À partir de A Drunk Man, l’instance d’énonciation, les pratiques intertextuelles, et le rythme de l’œuvre se métamorphosent pour permettre l’avènement de listes et de catalogues matérialistes. Grâce à un lexique de l’immanence et grâce à l’imitation de la forme infinie du pibroch, les poèmes dévoilent une philosophie post-chrétienne qui abandonne le principe de fin mais conserve celui de finalité. Les hommes et la poésie demeurent tournés vers une altérité immanente, qu’ils ne peuvent toutefois pas atteindre. Finalement, malgré la souffrance causée par une quête du sens jamais achevée, l’option existentielle du partage dans la nature s’unit au partage que seule l’écriture poétique rend possible, pour inscrire l’œuvre dans la plénitude. / Hugh MacDiarmid is considered the most important Scottish poet of the 20th century. He is mostly celebrated for the Scots lyrics he wrote in the 1920s and his long poem A Drunk Man Looks at the Thistle, published in 1926. Because of their fragmentation, the poems of the Thirties, most of which were part of the unpublished project Mature Art, and In Memoriam James Joyce (1955), have not attracted the same critical attention. However, they represent the culmination of a very complex stylistic crisis that this study offers to analyse thanks to the question of bonds, especially problematic bonds. The poetry portrays humanity torn by social division, treason and death, but it deals with loss too, with a fundamental and founding loss for modern men: the loss of God, the embodiment of transcendent otherness. A diachronic analysis of the poems reveals how the transformation of MacDiarmid’s poetry may be understood as a rupture with the divine and as a process of secularisation. From A Drunk Man, the enunciator, the intertextual methods and the rhythm of the poetry change so as to allow the emergence of materialist lists and catalogues. Thanks to immanent terms and to the imitation of the infinite form of the pibroch, the poems display a post-Christian philosophy that abandons the concept of ending but retains that of end (aim). Humanity and poetry are still turned towards an immanent form of otherness, though one which they cannot reach. Finally, despite the pain caused by a never-ending quest for meaning, poetic writing makes serenity possible through the appearance of a vital existential option: sharing.