UMD Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/3
New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a given thesis/dissertation in DRUM.
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Item IMAGINING REDEMPTION: FICTIONAL FORMS AND SENSORY EXPERIENCE IN EARLY MODERN POETICS FROM SIDNEY TO MILTON(2020) Neff, Adam Bryan; Passannante, Gerard; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This project examines how four early modern authors—Sir Philip Sidney (d. 1586), William Shakespeare (d. 1616), Sir Francis Bacon (d. 1626), and John Milton (d. 1674)—viewed imaginative writing. I argue that all four writers see fictions as a potential instrument of cosmic redemption with the potential to mitigate the effects of the fall. Starting with Sidney’s Defence of Poesy, this dissertation traces a belief that fictions affect our often-unacknowledged assumptions about what is possible or likely in the world and the judgments we make about whether a fiction is believable or not. According to Sidney’s imaginative poetics, well-crafted fictions that appear to be a mimesis of the material world but contain elements of the poet’s “golden” world shift readers’ presuppositions, which in turn change how they interact with the material world and make the (formerly fictional) vision of the poet into material reality. For these writers, fictions’ impacts are profound but difficult to perceive because they change us and, through our actions, the world, essentially becoming fact because we have made them so. In four chapters this project presents a theory of Sidney’s poetics and the unusual scope it granted to poets’ and readers’ imaginations, as well as the moral and cultural anxieties that his poetic theories provoked in his own writings and those of his literary successors. Chapter two reads Shakespeare’s King Lear as a study of imaginative excess and its civilizational consequences, calling into question whether or not restorative fictions can indeed keep delusive, self-destructive ones at bay. Shakespeare presents a nightmare vision of civilizational collapse in which fictions retain their persuasive power but lose their architectonic impulse. In response to this threat, Bacon’s poetics becomes an experiment in how rigorously we can restrain the imagination from knowledge creation while still keeping an unseen, providential, redemptive teleology in mind. Recognizing the dangers of too much or too little restraint on the imagination, Milton explores a formal solution in Paradise Regained. The poem’s fictional mediation of Jesus’ temptation and use of metaphors steers readers between excessive and deficient imaginative responses to the Son of God.Item Lear(2015) Oberhauser, Michael James; Wilson, Mark E.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This opera, Lear, draws its libretto directly from William Shakespeare's King Lear. Some supporting characters and subplots have been removed, and some characters have been fused to reduce the time and forces needed to produce this piece. Parent/child relationships, eyesight, and deception/disguises are important themes in this adapted libretto. The last point, deception and disguises, receives special attention in the opera. Each time a character dons a disguise a "transformation" motive is heard. Simultaneously, at least one of the woodwind players will switch to a traditional doubling instrument to add a timbral change to the visual change on the stage. Two characters in the opera never sing, but only speak: Lear and Gloucester. This separates them from the rest of the cast to highlight their paternal nature. The music for spoken sections includes liberal use of fermatas, vamps, and other forms of repetition to underscore the speech. Most characters have musical motives and/or signature styles to aid in their characterization. Goneril and Edmund are intelligent, eloquent, and manipulative. heir music can be triadic and diatonic when they need it to be, and their lines are often winding and chromatic. Regan and Oswald, on the other hand, are more characters of action than thought. Their music is more blunt and to the point. The harmony of the opera moves among diatonic, quartal, whole-tone, octatonic, hexatonic, and more complicated harmonies, depending on the character singing or speaking and what his motives are at that moment. At several points in the opera, a rhythmic pattern will continue over a bar that obscures the meter. Sometimes multiple patterns will be present at once. The harmony is at its most complicated when these patterns overlap, or when two characters' personal motives are presented simultaneously. The opera's duration is approximately two hours. The cast calls for two sopranos, two mezzo-sopranos, two baritones, a bass-baritone, and two male actors. The opera is scored for Flute (doubling Piccolo and Alto Flute), Oboe (doubling English Horn), Bb Clarinet (doubling Bass Clarinet), Bassoon, Horn in F, Percussion (one player), Piano, String Quartet, and Double Bass.