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Through the life and work of James Crossley, this thesis explores the important and often neglected significance of middle-class power and influence in the nineteenthcentury industrial city of Manchester. Born in the first year of the century, Crossley can be considered a paradigm of one section of a class divided along political and sectarian lines. He was a lawyer by profession, and a 'Church and State' Tory by inclination. After successive defeats, political ambitions gave way to antiquarian and especially literary interests, which he pursued in common with an influential network of other like-minded individuals. It is principally in this area that he made a significant contribution to the cultural maturation of the burgeoning city, and achieved the highest recognition during his lifetime. The principal topics investigated in successive chapters, through manuscript and printed sources, are: 1) Education and early literary interests. 2) The beginnings of a lifelong friendship with William Harrison Ainsworth, many of whose novels depended on source material provided by Crossley. Early literary journalism in Blackwood's Magazine and the Retrospective Review. 3) Legal training, the formation of the Manchester Law Association. 4) Political affairs, particularly in opposition to the Charter of Incorporation. 5) Dickens's visits, the expansion of Manchester's cultural infrastructure, including the Athenaeum Club 6) The growth and importance of publishing societies in the nineteenth century. Crossley's role in shaping and maintaining the Chetham Society. 7) The founding of the Manchester Free Public Library, Crossley's part in the selection and purchase of the stock, and the public recognition of this work. 8) The importance of the private collector in nineteenth-century literary research. Crossley's collection (particularly of the works of Daniel Defoe), and his influence on the work of contemporary bibliographers. 9) The Manchester man of letters, his accomplishments and status. It was concluded from this study that the life and achievements of James Crossley provide a valuable insight into the cultural development of Manchester in the nineteenth century.

This thesis concerns hierarchy and authority among the Hausa of Northern Nigeria and Niger with special reference to the period in which the various Hausa city-states were brought under a single rule in the nineteenth century, known as the Sokoto Caliphate. However, contrastive discussion also centres on the pre-jihad (1804- A.D.) Hausa polities and those kingdoms which escaped conquest in the jihad. The examination of hierarchy and authority in this study focusses on the ways in which the Hausa consistently conceive, in political terms, other non-political institutions in their society. This hierarchical organisation extends to such diverse social institutions as craft associations and associations of youth. In addition, many of the <u>iskoki</u>, 'spirits', are known by their political titles and, as a group, are hierarchically organised. It is through the duplication of titles at many levels of the society and through kinship that hierarchy is expressed.

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published_or_final_version / English Studies and Comparative Literature / Master / Master of Philosophy

published_or_final_version / Music / Master / Master of Philosophy

No description available.

No description available.

Inspired by the work of the Swiss psychotherapist Alice Miller (For Your Own Good, 1983) on the negative effects of traditional childrearing practices in Germany, this thesis posits the existence in France of a similar tradition of "poisonous pedagogy," also founded on a set of moral principles and pedagogical techniques designed to desensitize, demoralize, and blame the child while protecting the parent/teacher. Working under the banner of Cultural Studies, I study examples of pedagogical discourse taken from a variety of cultural productions, ranging from moral treatises (lay and religious) and books on infant care (puericulture) to children's stories, primary school readers, and civics texts. Drawing on Michel Foucault's paradigms of power/knowledge and the "archeology" of knowledge, this study focusses on the various constructions of the child in nineteenth-century France. Beginning with an analysis of Jean-Jacques Rousseau's influential Emile ou de l’education (1762), this study traces the legacy of poisonous pedagogy in France during the July Monarchy, the Second Empire and the Third Republic. During the nineteenth century the discourse on children was in constant mutation, and opposing perspectives clashed throughout the century, although criticism of poisonous pedagogy became strong only in the last quarter of the century during the Third Republic. Child advocates at this time can be found in many different spheres-education, politics, medicine-but the contribution of literary writers to the discourse on children is perhaps the most dramatic of any group. The harshest criticisms of poisonous pedagogy and its concomitant construction of the child came at the end of the century in the form of two literary works: Jules Valles's L'Enfant (1879), and Jules Renard's Poil de Carotte (1894). By skillfully weaving powerful attacks on the techniques and principles of poisonous pedagogy into their texts, these two writers prefigure the pedagogical discourse of modern-day psychologists and child specialists.

This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France. / Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed. / My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.