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Meredith's Diana of the crossways revisions and reconsiderations /Measures, Joyce Elaine, January 1966 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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The narrative voice in three novels of George MeredithFoster, David Earle, January 1969 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Dramatic power and technique in the novels of George MeredithStewart, Donald C. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 317-320).
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The making of Meredith's The amazing marriage /Sage, Judith Ann Sturnick January 1967 (has links)
No description available.
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The male novelist and the 'woman question' : George Meredith's presentation of his Heroines in the Egoist (1879) and Diana of the Crossways (1885) /Bell, Alan Nigel. January 2007 (has links)
Thesis (M.A. (English)) - Rhodes University, 2008.
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The voice as gesture in Meredith Monk's ATLAS /Pym, Rebekah January 2002 (has links)
Meredith Monk's multi-modal work incorporates theatre, dance, film and music. Her claim is that music and specifically the voice lie at the heart of all her work. At this core, she uses auditory gesture in wordless vocal lines to express her meaning, usually the hidden narrative of emotion, to enable universal intelligibility. This thesis uses the concept of gestus in the sense of Brecht and Weill as an instrument to examine vocal gesture in three scenes in Monk's opera ATLAS, and then relates it to her compositional process. It also studies gestus in connection with Monk's biography and the influences on her especially Emile Jaques-Dalcroze and Antonin Artaud.
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George Meredith as a poet and dramatic novelistMcLuhan, Marshall 22 February 2013 (has links)
The scope and nature of this Thesis excludes at once the possibility of dealing exhaustively with so towering and complex a genius as George Meredith. He is so wholly sui generis that neglect of him involves neglect of nothing else, implies no deficiency of taste, no literary limitation. He cannot be placed. He has no derivation and no tendency; and yet he bridges the gap between the eighteenth and twentieth centuries as though the Victorian era had never been. It has, therefore, been natural to concentrate attention of the man's work itself rather than on its relation to that of contemporary or succeeding craftsmen. Considerations of space have made it necessary to isolate certain of his essential conceptions and salient characteristics. These have been considered analytically. While not claiming real novelty for many of the views set forward, there is a considerable degree, especially in the last two chapters. Needless to say, the portions of Meredith about which the critics are agreed, are much more important than anything "new" that can be said about him. For this reason the aim has been to go to the man's work so far as it was compatible with a moderate array of authority. Originality has been sought by going to origins rather than in eccentricity of opinion.
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George Meredith as a poet and dramatic novelistMcLuhan, Marshall 22 February 2013 (has links)
The scope and nature of this Thesis excludes at once the possibility of dealing exhaustively with so towering and complex a genius as George Meredith. He is so wholly sui generis that neglect of him involves neglect of nothing else, implies no deficiency of taste, no literary limitation. He cannot be placed. He has no derivation and no tendency; and yet he bridges the gap between the eighteenth and twentieth centuries as though the Victorian era had never been. It has, therefore, been natural to concentrate attention of the man's work itself rather than on its relation to that of contemporary or succeeding craftsmen. Considerations of space have made it necessary to isolate certain of his essential conceptions and salient characteristics. These have been considered analytically. While not claiming real novelty for many of the views set forward, there is a considerable degree, especially in the last two chapters. Needless to say, the portions of Meredith about which the critics are agreed, are much more important than anything "new" that can be said about him. For this reason the aim has been to go to the man's work so far as it was compatible with a moderate array of authority. Originality has been sought by going to origins rather than in eccentricity of opinion.
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"The Ordeal of Richard Feverel" and the traditions of realism /Spånberg, Sven-Johan. January 1974 (has links)
Doct. Diss.: Philosophy: Uppsala: 1971. _ Bibliogr. p. 106-110.
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Das Eheproblem bei George Meredith ...Moll, Marie, January 1933 (has links)
Inaug.-Diss.--Freiburg i. Br. / Lebenslauf. "Bibliographie": p. 53-54.
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