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This thesis starts from the point of departure that Sidney's claim in his Defence of Poetry that the purpose of literature is to delight and instruct a given audience is both an accurate and important guiding principle behind the creation of his two Arcadias. By their author's criteria, Sidney's works seek not only to provide diverting images of a fictive world, but to insure that these images serve some specific moral, didactic purpose. The manner in which Sidney goes about achieving this end is, however, less simplistic than the ordinary understanding of didactic literature connotes. The most historically determined aspect of the Arcadia 's didacticism is its extensive and strategic deployment of rhetorical figuration. Rhetoric in Sidney's Renaissance England represented both a vital tool in the smooth running of political life and a signpost of literary genius. The Arcadia thus manipulates specific rhetorical figures and tropes both to demonstrate the great literary skill of its author as well as to depict an ethical and political ideal. Part One of the thesis first investigates the history of rhetorical theory and its impact on the reputation of Sidney's work. It then goes on to explore particular rhetorical devices employed most frequently and significantly in the Old and New Arcadias, drawing comparisons between the versions as to underscore the differences in stylistic procedure and dramatic content of each work. Other aspects of Sidney's rhetoricism, such as his treatment of paradox and his rhetorical character portrayal, are also studied in an effort to gauge the major differences between the Old and New Arcadias. The overall conclusions drawn indicate that Sidney adapts his rhetorical strategy to accommodate a more complex and mature vision of ethical behaviour in his revised work. The other key aspect of Sidney's didacticism is his self-conscious and contentious depiction of gender roles. That is, Sidney plays off varying aspects of traditionally gender-associated behaviour to portray his own vision of an heroic ethical ideal. For example, the Amazon and the transvestite become vehicles through which to explore aspects of femininity that are for Sidney wholly in concord with manifestations of heroism. Moreover, Sidney subverts traditional gendered conceptions of particular vices and virtues to illustrate a liberal attitude toward the potentialities of women and men. Part Two, then, is dedicated to drawing out Sidney's understanding of gender roles as they reflect and demonstrate his unique vision of an heroic ideal. The observations made about the rhetorical and gendered dimensions of Sidney's didacticism are brought together in the conclusion, where Sidney's rhetoric is situated within the context of gender. In other words, the gendered conception of Sidney's particular brand of rhetoric is brought to the fore and poised within the ethical framework it embodies.

Now all but forgotten, the songs of Sidney Homer (1864-1953) were at one time well-regarded and often performed. Married to the great American contralto Louise Homer, he was in a unique position to have his songs performed by the great artists of the time. Unlike the cloying "parlor songs" of many of his contemporaries, his works consistently demonstrate a respect for both the great poets as well as the European art-song tradition. One of the most cosmopolitan of the American composers of his day, his involvement with Louise's career brought him into contact with many of the great composers and performers of the day including Massenet, Puccini, Humperdinck, Mahler, Toscanini and Caruso. When viewed in their entirety, his songs reveal not only a tremendous variety, but also the maturation of his compositional style.

This dissertation explores the development of prose fiction continuations from Sir Philip Sidney’s Arcadia to the novels of Samuel Richardson. Examining instances in which a text was continued by someone other than its original author, I ask precisely what this distinction means historically: what factors create a system of literary value in which certain continuations are defined as ‘spurious,’ and how does the discourse surrounding these texts participate in changing attitudes toward authorship, originality, and narrative closure? My work thus contributes to recent critical efforts to historicise authorship and literary property, using prose fiction examples that have not previously been discussed in this context. Analysing the rhetorical strategies found within paratextual materials such as prefaces, dedications, and advertisements, I establish how writers of continuations discuss the motivations for their works, how these are marketed and received, and how the authors of the source texts (or their representatives) respond to them. Through close reading, the dissertation traces the development of persistent metaphors for literary property across these texts, focusing on images of land, paternity, and the author’s ‘spirit.’ The introductory chapter addresses these metaphors’ significance, defines the main elements of continuations, and situates them within the historical context of a growing print marketplace and developments in copyright law. The dissertation then presents a series of case studies of the most documentarily-rich instances of continuation across the period. Starting with The Countess of Pembroke’s Arcadia, published posthumously in an incompletely-revised form, Chapter 2 shows how its gaps allowed other writers to continue the story, while Chapter 3 studies the metaphorical approaches to authorship taken in the continuations’ paratexts. Chapter 4 examines two Restoration texts, The English Rogue and The Pilgrim’s Progress, which combine the Arcadia continuations’ concern about the author’s honour with issues of commercial competition. The intersection of profit, reputation and copyright protection brought out in this chapter is reflected in the subsequent discussion of the career of Samuel Richardson. Chapter 5 shows him responding to public challenges to his authorial control following the success of Pamela, whereas Chapter 6 explores the more private assertions of authority taking place within Richardson’s correspondence during the publication of Clarissa and Sir Charles Grandison. Finally, my conclusion summarises the subsequent legal and critical privileging of original over continuation, emphasising the historical contingency of this process. The broad chronological scope of the dissertation allows the frames of all these texts to inform each other for the first time, crossing the established critical boundary between the ‘romance’ and the ‘novel.’ This approach reveals continuities as well as differences, enabling me to construct a more nuanced picture of Early Modern approaches to prose continuations and authorial ownership. In establishing links between law and literature, the project also provides an important historical context for contemporary debates about copyright, fanfiction, and literary property.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 119-124).

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-185). Also available for download via the World Wide Web; free to University of Oregon users.

Includes bibliographical references (p. 130-134).

Th.--Lett.--Paris 4, 1976.

Thesis (M.A.)--University of Alberta, 2009. / Title from pdf file main screen viewed (on Oct. 6, 2009). "Fall 2009." At head of title: University of Alberta. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Faculty of Physical Education and Recreation. Includes bibliographical references.