Thesis (Ph. D.)--University of Wisconsin--Madison, 1963. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 371-382).

Thesis (M.A.)--Boston University / Franz Liszt's essay, "De la Situation des Artistes et de leur Condition dans la Societe," published in the Gazette musicole de Paris between 5 May and 11 October 1835, is one of the first comprehensive studies by a nineteenth-century French composer on the status of musicians in society. Liszt criticizes contemporary society for exploiting the talents of artists while disregarding their needs, and concerns himself with the creation of a new position for artists in society. The most frequently cited influence of the essay has been Liszt's contact with the Saint-Simonians movement. I wish to show that emphasis on the Saint-Simonians fails to show properly Liszt's debt to French Romantic ideas and philosophies during the 1830's. I define the social romantictsm that infused France and French artists and literary figues such as Victor Hugo, Alfred de Vigny and Alphonse de Lamartine, in the 1830's, and differentiate it from the utopian socialism of the period. I give an overview of the state of music journalism during the 1830's in Paris and discuss various relevant music-related journalists and their influences. specific aims and styles. Finally, I look at the compositional forms promoted and utilized by the Saint-Simonians and examine the compositions of Liszt during this period to see the extent of Liszt's experimentation with Saint-Simonian ideas within his musical compositions, and make conclusions as to the principal musical ideas which the Liszt pursued. Though this critique of the essay, and a discussion of the various influences which led up to it, I suggest an interpretation that clearly recognizes Liszt's place within the French social romantics during the 1830's.

This thesis is an examination of the philosophy of John Stuart Mill and its relation to the romantic movement. The Introduction outlines reasons to believe that such an inquiry is sensible: Mill's readings of the British and German romantics are outlined. I proceed to offer an argument for the application of an historical term such as ‘romanticism' in philosophy and suggest that the space opened up by the revisionist view of romanticism as an extension, rather than a denial, of the Enlightenment project creates room to take seriously Mill's relation to the romantic movement. Chapters 1-4 are concerned with Mill's metanormative theory. For Mill, the norms of acting and believing are founded on the assent given to our primitive dispositions under critical scrutiny. I investigate this foundation in the context of Mill's denial of normative validity to intuitions. The relation of Mill's metanormative theory to romanticism is taken up during the process of interpretation. The movement shows broad endorsement of what I term ‘romantic-cognitivism' – the post-Kantian view that we can arrive at truth through the process of ‘creative-discovery'. I hold that Mill's metanormative theory is not so far away from romantic-cognitivism in orientation as might be thought. I turn to Mill's macro-epistemology and conception of mind in Chapter 5. Mill's view of how we come to know, I suggest, moves towards a Coleridgean position – Mill sees the mind as active, and holds that we come to possess a deeper state of knowledge by engaging with propositions actively. In Chapter 6, I consider Mill's philosophy of history. Many have noted that Mill endorses a directional theory of historical progress. I argue that he also adopts ‘hermeneutical historicism' in his discussions of history. In Chapter 7, I consider Mill's theory of human nature. Mill believes that human nature is malleable: it is subject to change and emendation.

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Reading Autopsy: The Medical Practice of Romantic Literature examines the literature of British Romanticism and advances in medicine in the emergent disciplines of anatomy, psychiatry, pathology, and semiology. The project draws on works and artifacts that range from lyric poetry and the realist novel to postmortem reports, physicians’ manuscript notes, and Bedlam case histories, to argue that literature and medicine interacted in the Romantic period not just thematically, as Alan Richardson, Hermione de Almeida, and others have shown, but also formally. Reading Autopsy contends that medical science played a constitutive role in shaping literary form and reading practices in the eighteenth and early nineteenth centuries. Dissective reading, free indirect style, elegiac postmortem, and pathography display structures of thought analogous to hermeneutics in medicine, a phenomenon which I call “medical formalism.” This term describes not only what critics from M. H. Abrams to Denise Gigante have noticed as a Romantic imperative to read literary texts as biological structures, in keeping with Samuel Taylor Coleridge’s theory of “organic form,” but also multiple framings of the human body and its symptomology as both object and agent of epistemological inquiry. Through readings of William Wordsworth, John Keats, Mary Wollstonecraft, Jane Austen, Mary and Percy Shelley, Alfred Tennyson, and others, the study tests the mutual formation of literature and medicine during the rise of specialization, and points to the centrality of diagnosis in the Romantic act of reading—setting the scene for the modern literary-critical practice of symptomatic reading.

Touching a sensibility will attempt to locate the exchange when the living body physically touches the world. Exploration into the emotive response that the lived body creates as it moves through the world, both as a passive receptor and as an active initiator, will be explored where a relationship between the touched and the toucher is formed. This project will use photographic processes in an attempt to facilitate the viewer to engage in the work with their own personal sensibility. The emotional tension created, within an individual when their desire to physically touch something in the world is forbidden, impossible or illicit, will be investigated. This tension manifests itself in the form of apprehension, vulnerability, anticipation, romanticism and the sensibility of possible unpredicted connection. Photographic portrayal will be used to articulate this research and bring into fruition ideas which sit around the haptic.

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Thesis (inaugural)--Universität Bern, 1920. / Includes bibliographical references (p. [109]-111).

The authors' inaugural dissertations, Frankfurt am Main (pt. I-II, Ullmann; pt. III, H. Gotthard). / "Literatur-verzeichnis": p. [361]-372.

Proefschrift - Amsterdam. / Bibliography: p. [230]-233.