Th.--Musicol.--Paris 8, 1987.

I present seven empirical studies that investigate two main themes regarding two main approaches of optimism: explanatory style and dispositional optimism. The first theme incorporates measurement issues and conceptual ideas of optimism and the second involves optimism interventions on depressive symptoms. In Study 1 I explored the potential psychometric structure of causal attributions and dispositional optimism. Attributions may be best viewed as reflecting large differences in cognitive style, and smaller independent positive- and negative-event biases. For dispositional optimism, a two-factor model was supported. Study 2 examined correlations between optimism and the Five-Factor Model of personality. Dispositional optimism and explanatory style had similar association patterns with personality, although there were some differences. Study 3 tested and supported a model in which dispositional optimism mediates the link between explanatory style and psychological well-being. Study 4 compared the levels of optimism expression in two ethnic groups, finding that Mainland Chinese participants were more optimistic and less pessimistic than White British. Study 5 examined attributional biases and found that individuals show more optimistic biased style for themselves than for other people. Studies 6 and 7 tested effectiveness of optimism interventions on depressive symptoms. It demonstrated that self-monitored optimism interventions on a daily basis could effectively reduce depressive symptoms and increase optimistic explanatory style. Taken together, the studies replicated some previous investigations regarding measurement issues and conceptual ideas of optimism, and explored novel approaches to examining the essence of attributional bias and effectiveness of optimism interventions in depression treatment. My investigation of attributional bias is the first to test this idea using new and comparable measures of attributions. Practicing self-administered optimism interventions is, to my knowledge, also the first time these interventions have been applied in a sample with mild-to-moderate depressive symptoms. This may provide an easily monitored and low-cost alternative to traditional treatments of depression.

This thesis contains a machine-readable edition of the text of the Speculum Vitae as attested in British Library MS. Additional 33995, with introduction and glossary. Claims for the possible common authorship of the Prick of Conscience and the Speculum Vitae are investigated firstly by Positional Stylometry, which provides no useful information. Many lines in the two poems are found to be similar, but a study of the similar lines casts doubt on their significance as an indication of common authorship. The study of similar lines leads to an attempt to define and isolate formulas. Differences between the poems are found in the use of formulas. Finally, the metre of the poems is examined and found to be more regular than previously supposed. Differences are shown in the metrical qualities of the poems. Although it cannot be shown conclusively that the Prick of Conscience and the Speculum Vitae are by two different authors, the arguments for common authorship are shown to be groundless.

Previous work in stylistics has concentrated a great deal on theory to the exclusion of practical investigation of styles. The practical investigations deal with Newspapers or Advertising copy. No thorough stylistic analysis has been made of Administrative English. A qualitative analysis of Government Information leaflets, reveals that they are stylistically distinct at all linguistic levels, but that two different types of text emerge, closely linked to the means by which the reader is addressed either personally as 'you' (P.A.) or impersonally as for example in 'the claimant (I.A.). A subsequent quantitative analysis of a selection of the most prominent stylistic features of Government Information Leaflets and their comparison with the leaflets published by financial institutions reveals that whilst most of the variables chosen are stylistic, there is little evidence to assume a single Administrative variety. Checks on the relationship between supposed style categories and the individual texts assigned to than are shown by a Cluster Analysis to be very accurate. Patterning of variables is revealed around 2 stylistic dimensions: Status and Mbdality. leaflets are distinguished from P.A. largely by Status variables. The leaflets of Financial Institutions group with P.A. texts. All three of these styles are grouped together by Modality Variables.

Hegel and Eliot have been chosen for this study not because of their differences but because of similarities in their thought. Although most of Hegel's works are obscure and pedantic, it is possible to show that his early thinking reflects a deep awareness of many of the implications of the new age. A growing number of philosophers and theologians today are apparently "rediscovering" Hegel as one who caught a vision of the transition in man's history and whose insights are valuable today.

“The Art of Phrasing” is a chapter from Arban’s Complete Celebrated Method for the Cornet (published in 1864) that contains a selection of 150 melodies from Classical and early Romantic works. This section of Arban’s method was necessary for a new generation of cornet and trumpet players to learn melodic phrasing and style. A larger part of the trumpet solo repertoire was written for the clarino register or composed in fanfares due to the limitation of the valveless trumpet. The newly chromatic cornet grew to be a prominent solo instrument in symphonies and wind bands by the mid 19th century, and Arban's “Art of Phrasing” instructed players in musical style. Due to today’s vast number of musical genres, it is unlikely that present day students will be exposed to the melodies of “The Art of Phrasing.” With advancements in music streaming technology and with increased accessibility to countless recordings via the internet, trumpet players are able to access recordings of the melodies. However, there are errors and omissions in the chapter that prevents students from finding recordings with ease. This dissertation presents a new compilation of melodies organized by musical period from medieval to modern day, complete with proper title, composer name, chronological information, genre, and location within the selected work. In order to help students distinguish between musical styles, a brief description of characteristics from each musical period is provided, including information on the function of music in society, performance practice, and compositional trends in rhythm, melody, harmony, and expression.

Conscious consumerism is a layered phenomenon. "Going green," "fair trade," "buy organic," "carbon footprint," and "shop local think global" are now familiar phrases in the lexicon of American shopping strategies, and conscious consumerism has a relationship with all of them. Groups defined as socially responsible consumers and trends in ethical consumption have been studied for over thirty years. After decades of consumer research and theories about the effects of mass consumerism in culture, conscious consumerism products and marketing campaigns are now major contributors in redefining consumer practices in a postmodern world. The messages they deliver about the changing roles of consumers and consumer goods makes it suitable for rhetorical scholarship to develop a stronger participatory role in the research. I use theories of style, material, and visual rhetoric to examine conscious consumerism today. The texts I examine were also marketing and aesthetic phenomenon. Chapter Three features the "I'm Not a Plastic Bag" canvas tote designed by Anna Hindmarch that was sold at select stores around the world and was one of the first sensations in the reusable bag industry. In Chapter Four, I compare and contrast two artifacts, the Livestrong bracelet and the Support Our Troops magnetic ribbon. I discuss the issues of disposable display, of plastics as markers of belief, and nationalism in our buying practices. Chapter Five is about (Product) RED not just as design but about what its presence does when recognizing issues of globalization. Chapter Six consists of conclusions, limitations, parodic responses to conscious consumerism, and a call for eloquent consuming. While each chapter has a particular focus in theorizing the material of each case study--the communicative praxis of the material rhetoric of canvas, the relationship between the body and the materials bought to put on the body, and larger global concerns within the fabric of language and T-shirts--all three case studies share connections in terms of style and living in a postmodern age.

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