This thesis seeks to illuminate a blind spot in the scholarship of the later Cromwellian Protectorate by focusing on an intriguing innovation in the parliamentary constitution of 1657 – the creation of an upper chamber or "Other House". The Other House may have filled the void left vacant by the defunct House of Lords, but it did not necessarily mean that the Protectorate was backsliding its way towards the ancient constitution of King, Lords and Commons. Although many aspects of ceremony and procedure remained exactly the same as its predecessor, its functions were reformulated and its membership was significantly different. The life peers nominated by Oliver Cromwell to sit there were politically, religiously, socially and geographically diverse. Yet, Cromwell's attempt to nominate a chamber that would please all sides ultimately ended up pleasing nobody; instead of bringing definition to the constitutional arrangement, his choices simply muddied the waters further. The resulting mood was one of apathy among civilian Cromwellian MPs in the second session of the second Protectorate Parliament towards both the Other House and the settlement as a whole. More importantly, the Other House was never a bulwark for the military Cromwellians; it did not institutionalise the army's position within the constitution. Although this posed no immediate problem under the Protectorate of Oliver Cromwell, it came to the fore following the succession of his conservative-minded son Richard. When the Commons and Protector united behind an anti-military programme in April 1659, the military Cromwellians found themselves outnumbered and outmanoeuvred in the Other House. Unable to protect their interests by constitutional means, the military men turned to their ultimate source of strength – the army. In forcing the Protector to dissolve Parliament, they undermined completely the constitutional arrangement and effectively sealed the end of the Protectorate regime.

Thesis advisor: Ronald K. Tacelli / This dissertation aims to examine the notion of 'human dignity' in Kant by means of a conversation with three Kantian scholars. One cannot understand Kant's notion of human dignity without placing it in the context of his moral thought. For this reason we look in Chapter One at the philosopher Roger Sullivan. His major work Immanuel Kant's moral theory includes a highly detailed treatment of human dignity. I shall present an analysis of his understanding within the context of his methodology and his general approach to Kant's moral philosophy. We look in Chapter Two at Susan Shell and her 'Kant on Human Dignity.' In addition to this, we consider Shell's methodology and some of her work on the early Kant where we find the roots of Kant's conception of dignity. Chapter Three addresses Oliver Sensen and his novel interpretation of Kant's use of the term 'dignity.' Utilizing the tools of Analytical Philosophy, he enters into dialogue with Kantian interpreters, suggesting that their understanding of dignity in Kant harbours elements at odds with Kant's thought and that they thus fail to grasp the radical nature of Kant's notion. In the final and Fourth Chapter, I try to bring these scholars into a conversation with each other. First, I show the strengths of each position and then, using insights of Sullivan, Shell and Sensen, I venture to ask whether one could not develop the notion of a phenomenology of dignity. I also consider whether in both Shell's and Sensen's account there is not an implicit dynamic at work, which suggests the necessity of transcendence and the Good. / Thesis (PhD) — Boston College, 2014. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

Many poets write about the earth or even about God using the language of nature. And many poets and contemporary authors concern themselves with the state of the environment. However, the poetry of Wendell Berry, James Still, Li-Young Lee, Mary Oliver, and Charles Wright seems to engage different kinds of questions about how humans creatively respond to the earth. Collectively, their responses seem influenced by their connections with Christianity rather than any specific ecological agenda. In all of their poetry lies a sensibility about how humans should interact with the earth. All five of the poets seem to acknowledge humanity’s place on the earth as important without elevating humanity as the most important organism on the earth. Their work presupposes the existence of God or creator and because of this, engages the questions of being human in light of that Creator rather than as creators of their own environment or as the architecture of imagination. Their work offers an important insight into how we might live in harmony with all environments—agricultural, rural, wild or urban. Their work also suggests a connection between the Christian concept of worship, and a way of living that takes responsibility for human actions within creation. Their poetry recognizes the earth’s value as well as God’s presence and results in praise of both the beauty of creation and Creator.

No description available.

No description available.

The notion of identity between the ancient and the contemporary, which has its source in Mayan studies, informs the design principles of this work. Specific techniques are listed for the design of musical space and time in Guacamayo, which is "a musical drama that strives for synthesis." There follows an outline of the principle motivic material, approaches to melodic construction and text setting, techniques used to design space (or pitch) and time (or rhythm)--including traditional harmony, symmetrical modes, non-octaviating space and random number generation in the first case, and speech rhythm, folk rhythm, metre and tempo in the second--as well as the role of summation series in the construction of both time and space. A discussion of dialectic concepts, and the ways in which different techniques are combined to create a sense of motion between simple textures and complex ones leads to consideration of form-determining placement of important scenes from the opera. Comments on the composition of the orchestra and electroacoustic music conclude the essay.

The purpose of this study is to present an example of a Shaker teacher-musician whose thinking and activities exemplified those Shakers living in the "western" Shaker societies of Ohio and-Kentucky. Oliver C. Hampton is that person. Hampton was a teacher, musician, composer, poet, writer of prose, elder, and trustee of the Union Village, Whitewater, and North Union, Ohio societies. Historians do not rank Hampton and his several teacher-musician friends as highly as other, better-known Shaker leaders. Nevertheless, Hampton and his colleagues contributed much to the betterment of their fellow Shakers' lives through their considerable efforts.Chapter Two gives the reader a brief historical background to enable him better to understand the beginnings of this unique religious movement.Chapter.Three deals with Shaker attitudes on religion, education, and music. The philosophy of these facets of Shaker life are explored because these attitudes affected everything the Shakers did.Chapter Four gives details of the life of Oliver C. Hampton. His personality is set forth. His responsibilities as elder, teacher, and musician are discussed. Thirty examples of Oliver Hampton's hymns and laboring songs are briefly analyzed from the singer's perspective.Chapter Five discusses Susanna M. Brady, the Rupes, and other musicians and teachers of the Ohio and Kentucky societies.Chapter Six gives a brief summary of the contributions of Oliver Hampton and his friends in the Ohio and Kentucky Shaker societies.Appendices further illustrate the musical, poetic, and prose efforts of Hampton, the Rupes, Brady, and others. Appendix A lists all Shaker teachers and musicians found by the writer. Appendix B is an article by Hampton as published in The Shaker. Appendix C contains the thirty musical examples of Hampton as copied from the originals and then transcribed by the author. Appendix D lists the musical examples contained in the paper and where they may be found. Appendix E contains music attributed to the Rupes and Brady. Appendix F is a set of three photographs, including one of Hampton.

The thesis undertakes a Buddhist reading of Mary Oliver’s oeuvre. It seeks to fill a palpable lacuna in extant criticism of her work, which tends to adopt Romantic, Feminist, Ecocritical, and Christian viewpoints. Thus far, no criticism has offered a sustained reading of her work from a specifically Buddhist stance. The thesis is structured in five chapters. The introductory chapter is followed by a literature review. The next three chapters are devoted to the Buddhist themes of Mindfulness, Interconnection, and Impermanence respectively. Each chapter opens with detailed consideration of its respective theme before moving on to the analysis and amplification of poems pertinent to it. In addition, the main Buddhist theme of each chapter is subdivided into its component sub-themes or corollaries. The main methodological approach to Oliver’s poetry comprises explication de texte as this makes provision for detailed readings of the texts themselves. Furthermore, this approach has been adopted because it allows for in-depth exploration of Oliver’s literary devices, three notable examples of which are anaphora, adéquation, and correspondence. In the course of the discussion, reference is also made to the influence of Imagism and, more specifically, the Japanese haiku tradition insofar as they impact on her poetry. This discussion is intended to give some indication of Oliver’s place within the American poetic tradition. The predominant subject-matter of her corpus is an all-encompassing view of the natural world with its birth-life-decay-death cycle. She does not flinch from addressing the harsh and violent aspects of nature as well as its exuberance and beauty. Her unifying topos is being the bride of amazement as witness to the natural world. For her readers, this witnessing translates into an inner, potentially transformative process, ultimately integrating mind and heart. The thesis concludes with a list of references and a glossary of the Buddhist terms. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

The thesis undertakes a Buddhist reading of Mary Oliver’s oeuvre. It seeks to fill a palpable lacuna in extant criticism of her work, which tends to adopt Romantic, Feminist, Ecocritical, and Christian viewpoints. Thus far, no criticism has offered a sustained reading of her work from a specifically Buddhist stance. The thesis is structured in five chapters. The introductory chapter is followed by a literature review. The next three chapters are devoted to the Buddhist themes of Mindfulness, Interconnection, and Impermanence respectively. Each chapter opens with detailed consideration of its respective theme before moving on to the analysis and amplification of poems pertinent to it. In addition, the main Buddhist theme of each chapter is subdivided into its component sub-themes or corollaries. The main methodological approach to Oliver’s poetry comprises explication de texte as this makes provision for detailed readings of the texts themselves. Furthermore, this approach has been adopted because it allows for in-depth exploration of Oliver’s literary devices, three notable examples of which are anaphora, adéquation, and correspondence. In the course of the discussion, reference is also made to the influence of Imagism and, more specifically, the Japanese haiku tradition insofar as they impact on her poetry. This discussion is intended to give some indication of Oliver’s place within the American poetic tradition. The predominant subject-matter of her corpus is an all-encompassing view of the natural world with its birth-life-decay-death cycle. She does not flinch from addressing the harsh and violent aspects of nature as well as its exuberance and beauty. Her unifying topos is being the bride of amazement as witness to the natural world. For her readers, this witnessing translates into an inner, potentially transformative process, ultimately integrating mind and heart. The thesis concludes with a list of references and a glossary of the Buddhist terms. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1953. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [382]-390).