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Hotmire, Darren A. "The God of George MacDonald." Theological Research Exchange Network (TREN) Access this title online, 1996. http://www.tren.com.
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Cusick, Edmund. "George MacDonald and Victorian fantasy." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293456.
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Ingham, Tanya Ann. "The universalism of George MacDonald." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Smith, Jeffrey Wayne. "George MacDonald and Victorian society." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/7e0872ad-8765-4fd9-9942-53ff0b6c25e3.
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This thesis approaches the ways George MacDonald viewed and represented Victorian society in his novels by analysing select social issues which he felt compelled to address. Chapter One introduces the thesis. It contains a review of critical commentary on MacDonald’s work, as well as discussions on his non-fictional texts and essays, industrialism, and the great rural-urban divide of the nineteenth century. Chapter Two concentrates on MacDonald’s representations of the city in Robert Falconer (1868), The Vicar’s Daughter (1872), and Weighed and Wanting (1882) by underscoring parallels between Octavia Hill’s housing and environmental schemes and situations which he experienced firsthand. Chapter Three examines the influence of Nature on MacDonald’s theology and social views. Special emphasis is placed on Wordsworth and the development of MacDonald’s unique pantheism in his texts, such as the short story, ‘A Journey Rejourneyed’ (1865-6), Guild Court (1868), Wilfrid Cumbermede (1872), What’s Mine’s Mine (1886), and Home Again (1887). Chapter Four uncovers MacDonald’s involvement with the animal welfare movement during the latter part of the nineteenth century. Discussions on vivisection, vegetarianism, hunting, animal abuse, evolution, and degeneration are provided with a wide range of MacDonald’s texts, such as Alec Forbes of Howglen (1865), Paul Faber, Surgeon (1879), The Marquis of Lossie (1877), A Rough Shaking (1890), and Heather and Snow (1893). Chapter Five offers a short summation of the thesis. It affirms that MacDonald was deeply troubled by certain social issues that were raised within his society and would use his fiction to express his concerns. The conclusion also offers a few suggestive topics for ongoing research in the field of this thesis.
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Perricone, Vincent. "The theological anthropology of George MacDonald." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/4853/.
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Through the imaginative literary genius of the Scottish author George MacDonald (1824-1905) an exploration of the Mystery of Man and his/her relationship with and to God is explored along the lines of Theological Anthropology. Myth and the literary genre of fantasy (which, like religion is moral in character and relies on relationships with supernatural forces) are explored as vehicles for transmitting and articulating deep truths about what it means to be human. Moral and spiritual growth are explored from psychological sources (Existential and Humanistic Schools of Psychology), and religious sources (Cambridge Platonists and Thomistic Theology) with the goal seen as the perfection of love --deification; And this understood as an irrevocable destiny for all rational creatures.
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Broome, F. H. "The science-fantasy of George MacDonald." Thesis, University of Edinburgh, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356398.
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Hayward, Deirdre Christine. "George MacDonald and three German thinkers." Thesis, University of Dundee, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406727.
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Fox, Deborah H. "George MacDonald--a messenger unfettered depictions of spiritual conversion in MacDonald's realistic adult fiction /." Phd thesis, Australia : Macquarie University, 2004. http://hdl.handle.net/1959.14/82470.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2004.Bibliography: leaves 270-277.
Introduction -- George MacDonald's religious heritage -- George MacDonald's philosophical and literary roots -- Of friends and teachers -- Conversion studies and critical application -- Children on the path -- Waking from slumber -- Courageous stances -- Toppled pride -- Broken vessels -- Implications of MacDonald's conversion depictions.
Victorian author George MacDonald is best remembered for his writing in the genres of fairy tale and fantasy. MacDonald was, however, most popular during his own time as a writer of realistic adult fiction. He was widely read but critically dismissed as a writer whose works were both didactic and predictable in plot. MacDonald was primarily a teacher who used the novel as a means to convey to readers his Christian message of hope and transformation. -- This thesis begins with a study of those individuals and ideas that influenced MacDonald's thoughts and beliefs. The second part of this thesis is an overview of studies of spiritual conversion, with particular emphasis on the works of V. Bailey Gillespie, Lewis Rambo, John Lofland, and Norman Skonovd. Their works in the field of conversion studies include several schemata which are helpful in explaining specific depictions of conversion within MacDonald's adult fiction. -- The remainder of the thesis focuses on MacDonald's portrayals of characters who experience conversion in his novels. They are placed into the following categories: Children on the Path; Waking from Slumber; Courageous Stances; Toppled Pride; and Broken Vessels. The experiences of the characters are thoroughly examined and justification is offered for their inclusions in their respective categories. -- This study counters the criticism levelled at MacDonald during his own time that he was caught in repetitive plots for lack of skill or inspiration. My findings suggest that MacDonald's depictions show a deep as well as wide understanding of the process of conversion, an understanding which seems to have encompassed a broader understanding than those of most of the religious writers of his own day. I suggest that his focus was on his message rather than his art. Therefore, his adult realistic fiction constitutes a very substantial literary achievement and offers contemporary readers and writers a benchmark against which to measure both their own understandings of conversion and their own expressions of it.
Mode of access: World Wide Web.
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Osborne, Susanne. "God revealed the Christology of George MacDonald /." Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.
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Osborne, Susanne. "God revealed the Christology of George MacDonald /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p006-1511.
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Kelly, Carolyn E. "Phantastes of hope? a theological reading of George MacDonald's early work /." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=25166.
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Gabelman, Daniel. "'Divine carelessness' : the fairytale levity of George MacDonald." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2584.
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Though known for his fantastical writings George MacDonald is often considered to be a typical Victorian teacher of religious and moral seriousness. Approaches to MacDonald’s works normally seek to find his ‘message’ by expositing the moral, social, pedagogical, psychological or theological ‘content’ of his work. This study recasts MacDonald in the light of his shorter fairytales for the ‘childlike’ and argues that these seemingly small and insignificant works are a golden key to his artistic enterprise. This is not because of any particular ‘message’ that they carry but because of their peculiarly light mode of generating meaning and the relation of this lightness to theology. Whilst it is frequently disparaged, levity actually has strong parallels with the theological atmosphere of Christianity. Light modalities such as folly, ecstasy, play, vanity, carnival and Sabbath demonstrate that the Christian faith has greater affinities with lightness and whimsicality than its solemn defenders sometimes admit. MacDonald’s fairytales draw upon this surprising harmony between levity and faith to create environments in which readers can playfully reflect upon the nature of ultimate reality and begin to find their own place within that reality. By helping to remove the mask of ‘seriousness’ presented by things in the everyday world, fairytales engender a kind of ‘divine carelessness’ and help people to let go of the weighty cares and fears that keep them tightly bound to worldly things.
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George, Carla Elizabeth. "Identity and the children's literature of George MacDonald." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96975.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACTThe Victorian period, often heralded as the golden age of children‘s literature, saw both a break and a continuation with the traditions of the fairy tale genre, with many authors choosing this platform to question and subvert social and literary expectations (Honic, Breaking the Angelic Image 1; Zipes, Art of Subversion 97). George MacDonald (1824-1905), a prolific Scottish theologian, whose unspoken sermons, essays, novels, fantasies and children‘s fairy tales deliberately engage with such issues as gender, mortality, class, poverty and morality, was one such author (Ellison 92). This thesis critically examines how the Victorian writer George MacDonald portrays the notion of a ‗self‘ in terms of fixed ‗character‘ and mutable physical appearance in his fairy tales for children. Chapter One provides a foundation for this study by studying MacDonald‘s literary and religious context, particularly important for this former preacher banned from his pulpit (Reis, 24). Chapter Two explores a series of examples of the interaction between characters and their physical bodies. This begins with examining portrayals of characters synonymous with their bodies, before contrasting this with characters whose bodies appear differently than their inner selves. Chapter Two finishes by observing those characters whose physical forms alter throughout the course of the tale. As these different character-body interactions are observed, a marked separation between character and body emerges. In Chapter Three, the implications of this separation between character and body are explored. By writing such separations between the character and their body, MacDonald creates a space where further questions can be asked about our understanding of issues such as identity and mortality. Chapter Three begins with an analysis of the observations made in the first chapter, posing that MacDonald crafted characters consisting of an inner self and a physical body. This was then further explored through images of recognition in the tales, finding that characters are expected to recognize one another despite complete physical alterations; the inner self is able to know and be known. Chapter Three concludes by studying mortality in the tales, particularly MacDonald‘s portrayals of the possibility of life after death.
AFRIKAANSE OPSOMMING: Die Viktoriaanseperiode, wat gereeld voorgehou word as die goue era vir kinderliteratuur, het beide breuke en kontinuïteit gehad met die tradisies van die genre van sprokiesverhale. Menigte skrywers het sprokiesverhale gekies as ‘n middel waardeur hulle sosiale en literêre verwagtinge kon bevraagteken en omseil (Honic, Breaking the Angelic Image 1; Zipes, Art of Subversion 97). George MacDonald (1824—1905) — 'n prolifieke Skotse teoloog, wie se onuitgesproke preke, opstelle, novelle, fantasieë en kindersprokies doelgerig kwessies soos geslag, moraliteit, klas en armoede getakel het — was een só 'n skrywer (Ellison 92). Hierdie tesis ondersoek krities hoe die Viktoriaanse skrywer George MacDonald die idee van ‗self‘ uitgebeeld het in terme van 'n vaste "karakter" en veranderbare fisiese voorkoms in sy sprokiesverhale vir kinders. Hoofstuk Een verskaf 'n fondasie vir hierdie studie deur MacDonald se literêre- en geloofskonteks te bestudeer. Hierdie is besonders belangrik, omdat hierdie gewese predikant voorheen van die kansel verban was (Reis, 24). Hoofstuk Twee ondersoek 'n reeks voorbeelde van die interaksie tussen karakters en hul fisiese gestaltes. Dit begin met 'n ondersoek van uitbeeldings waarin karakters sinoniem met hul voorkoms is. Daarna word 'n kontras getrek met karakters wie se uiterlike voorkoms verskillend is van wie hulle innerlik is. Hoofstuk Twee sluit af deur merking te maak van karakters wie se fisiese voorkoms verander deur die verloop van die verhaal. Soos hierdie verskillende interaksies tussen karakter en voorkoms ondersoek word, word 'n merkbare verdeling tussen karakter en voorkoms ontbloot. In Hoofstuk Drie word die implikasies van hierdie verdeling tussen karakter en voorkoms ondersoek. Deur so 'n verdeling tussen karakter en voorkoms uit te beeld, skep MacDonald 'n ruimte waarbinne verdere vrae gevra kan word oor hoe ons kwessies soos identiteit en moraliteit verstaan. Hoofstuk Drie begin met 'n analise van die opmerkings wat in die eerste hoofstuk gemaak is, waarin gestel word dat MacDonald sy karakters ontwerp het om te bestaan uit 'n innerlike self en 'n fisiese voorkoms. Hierdie word dan verder ondersoek deur te kyk na voorbeelde van gewaarwording in die verhale, waar daar gevind is dat daar van die karakters verwag word om mekaar te herken ten spyte van gehele fisiese veranderinge; die innerlike self kan ken en geken word. Hoofstuk Drie sluit af deur die moraliteit van die stories te bestudeer, veral MacDonald se uitbeelding van die moontlikheid van lewe na die dood.
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Hindmarsh, Douglas Bruce. "The faith of George MacDonald a biographical and critical examination of the theology represented in his sermons and letters /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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Trafton, Jennifer M. "Christ our at-one-ment the gospel according to George MacDonald /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
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Koopman, Jennifer. "Redeeming romanticism : George MacDonald, Percy Shelley, and literary history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102805.
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This dissertation examines George MacDonald's preoccupation with his literary predecessor Percy Shelley. While eminently Victorian in many ways, MacDonald was equally a late Romantic, who was inspired by the Romantic poets and positioned himself as the heir to their radical tradition. While he channeled their visionary ardor, he also made it his duty to correct what he saw as their flaws. I read MacDonald through the figure of Shelley, with whom MacDonald seems to have personally identified, but to whose atheism MacDonald, a devout believer, objected. MacDonald's fascination with Shelley works its way into his fiction, which mythologizes literary history, offering fables about the transmission of the literary spirit down through the generations. Throughout his work, MacDonald resurrects Shelley in various guises, idealizing and reshaping Shelley into an image that is startlingly like MacDonald himself. This project contributes to MacDonald scholarship by offering a new approach to his work. It positions MacDonald, who is often portrayed as an ahistorical myth-maker, in an explicitly historical light, revealing him as a Victorian mythographer who was deeply invested in questions of literary criticism and historical succession.Chapter 1 introduces MacDonald's concern with literary genealogy, and discusses how his work as a literary critic and historian idealizes Shefey. Chapter 2 examines how MacDonald's Phantastes portrays literary history as romantic quest, featuring Shelley as a heroic but fallen knight, and opening questions about literary fatherhood. Chapter 3 interprets the gothic tale "The Cruel Painter" as a myth about the transition from the Enlightenment to Romanticism, in which MacDonald rewrites the story of Shelley's involvement with Mary Godwin and her father William Godwin. Chapter 4 considers Sir Gibbie and Donal Grant, works in which MacDonald explicitly critiques Shelley, and implicitly positions himself as the savior of the English literary tradition. Chapter 5 investigates MacDonald's later works, The Flight of the Shadow and Lilith, in which Shelley---and evil itself---become more complex entities. Throughout the dissertation, particular attention is given to the issue of repeating history vs. redeeming history, a tension that is reflected in MacDonald's use of vampire imagery to portray the unredeemed past.
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Maiwald, Patrick. "The journey in George MacDonald's fantastic fiction." Trier Wiss. Verl. Trier, 2007. http://d-nb.info/989845052/04.
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Pridmore, John Stuart. "Transfiguring fantasy : spiritual development in the work of George MacDonald." Thesis, University College London (University of London), 2000. http://discovery.ucl.ac.uk/10006630/.
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This study addresses two questions. What light does the work of George MacDonald shed on the concept of 'spiritual development' and what is the pedagogical function of his fantasy? The thesis is largely concerned to clarify these conceptual issues but the reason for raising them is practical. The promotion of spiritual development in schools is a statutory requirement. The conclusions of this thesis contain implications for curricular strategies for meeting that requirement and attention will be drawn to them. Two major claims are made. The first concerns the issue of whether a coherent spirituality necessarily depends on - and thus must be promoted within - a religious framework. The implication of MacDonald's recourse to fantasy, a discourse dispensing with traditional religious categories, to explore the theme of spiritual development is that a spiritual pedagogy does not need to be rooted in traditional religious concepts and truth-claims. The two discourses, the 'theistic' and the 'non-theistic', are compatible and complementary. Secondly, the concept of 'transfiguring fantasy' is introduced and commended. MacDonald's transfiguring fantasy functions pedagogically, as potentially does all such unclosed flmtasy, by calling in question the distinction between the narrative one reads and one's own life-story. The two realms, those of the text in one's hands and the life one is leading, elide and the task of resolving the enigmas of the fantasy becomes one with the unfinished business of making sense of one's own story. This thesis also considers the familiar Romantic themes of nature, childhood and the imagination, which MacDonald treats with original insight. Nature is akin to fantasy in its capacity to engage and direct the attentive spirit. Childhood is the pattern of what we must become. The imagination's role is to summon us to press beyond the borders of what may be scientifically proven or rationally articulated.
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Ware, Stephanie Lynne. "Sexuality and Coming of Age in Two Works by George MacDonald." NCSU, 2003. http://www.lib.ncsu.edu/theses/available/etd-12302002-232256/.
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This study attempts to follow George MacDonald as he engages in the strange juggling act by which he simultaneously idealizes women and releases them from the grasp of idolizing males, proclaims their purity and concerns himself with their healthy maturation into sexuality. A comparison of Phantastes and Adela Cathcart reveals the complicating role of sexuality in the coming of age process of both males and females. The male protagonist of the fantasy work Phantastes is asked to learn to control his sexuality and to abandon selfishness in love, and he does so in part by understanding that women, too, have sexual natures. In Phantastes, however, MacDonald hesitates between idealizing, and thus desexualizing, women and accepting sexuality as part of women?s nature, as Anodos?s continuing celibacy upon his return from Fairy Land illustrates. The realistic setting of Adela Cathcart compels MacDonald to address women?s sexuality. The novel demonstrates that a woman can fulfill her traditional angelic role even while confronting the demands of her sexuality. Women are fallen angels who must be taught how to live in their fallen bodies without compromising their angelic calling. In order to become the ?angel in the house,? the moral center of the home, individual women must undergo a coming of age process similar to that of the males who struggle so much with handling their sexuality. To mature successfully, and to stave off the selfishness that is threatening to manifest itself in her, Adela, like Anodos, embarks on a journey through fantasy, though she will be borne there through the imagination and words of others. Taken together, these two works by MacDonald manifest both the importance of the image of women?s natural innocence in the nineteenth century and a growing awareness of the inadequacy of that image.
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Dearborn, Kerry Lynn. "Prophet or heretic : a study of the theology of George MacDonald." Thesis, University of Aberdeen, 1994. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=124203.
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Whereas most work on George MacDonald has focused on his literary genius, this thesis takes more of a theological direction. The literary nature of his work is not ignored however. Rather, his imaginative approach and his theology of the imagination are seen as significantly contributive to both his theological discernment and communication. The thesis gives a framework for this affirmation in clarifying the nature of the theological task and an overview of the life and influences on MacDonald in which literary and theological spheres were not seen as dichotomized but interrelated. It probes most deeply into MacDonald's theology of the atonement and his theology of the imagination, arguing that rather than being inconsistent with the nature of the Christian faith and theology (as has at times been claimed), for the most part he remains true to Scriptural revelation. Furthermore, because of his trinitarian centre, and this imaginative approach he is able to offer penetrating insights into areas which plague the Church today. Among these, are his words of prophetic wisdom to deal with issues such as theological use of the imagination, feminism, diversity, materialism, the environment, the nature of humanity, death and life after death. His style is admittedly ponderous at times, as to be expected of a Victorian writer, but the wisdom he expressed as he stood under the Truth, may deepen theological understanding today.
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Persyn, Catherine. "Draco aut serpens qui caudam devoravit : étude critique de At the back of the north wind de George Macdonald accompagnée de la traduction du roman." Toulouse 2, 2000. http://www.theses.fr/2000TOU20097.
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Bien que best-seller de son auteur, at the back of the north wind demeure largement incompris. Le roman victorien pour la jeunesse se double en effet d'une savante oeuvre esoterique dont la presence n'a meme pas ete soupconnee. La figure de vent du nord, en particulier, a laquelle nous consacrons une etude approfondie, fait l'objet d'une occultation des plus efficaces, puisqu'elle est restee ignoree jusqu'a ce jour. La decouverte de sa veritable identite nous a ouvert de multiples pistes qui nous ont entrainee dans le domaine des mythes grecs de la mort, des metamorphoses des anciens, mais aussi de l'alchimie, de la mystique et de la psychologie analytique. Pas plus que ce personnage, la structure caracteristique du roman, avec sa double veine, et la presence de multiples textes dans le texte, n'a ete comprise. Consideres comme des excroissances, quand ils ne sont pas purement et simplement ignores, les soi-disant sous-textes, dont nous montrons qu'ils constituent au contraire de pneumatiques sur-textes, n'ont jamais ete dechiffres, l'entreprise, il est vrai, relevant quelque peu de la gageure. L'etude systematique que nous en faisons (little daylight excepte, qui fera l'objet d'un travail ulterieur) nous permet de montrer le lien subtil les unissant au texte, et par la meme, la grande coherence de l'oeuvre, le sens de la relation texte-textes etant a la verite analogue a celui de la relation diamant-vent du nord. Cet echange vital entre texte et sur-textes trouve dans l'ouroboros des anciens un parfait support symbolique, ce qui confirme notre sentiment d'avoir trouve la le chiffre de ce roman pour enfants qui cache bien son jeu ; comme lui pittoresque et naive en apparence, une telle icone en concentre tous les aspects : esoterisme, apparence ludique et serieux du propos, union du materiel et du spirituel. Unite fondamentale de toutes les choses creees, renvoi a la connaissance traditionnelle, basculement de la metanoia et retour a la source, on peut affirmer queat the back of the north wind, forme et fond, est tout entier contenu dans ce qui est egalement, et peut-etre avant tout, la figure emblematique du grand oeuvre.
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Beckwith, Andrew Darcy. "One between worlds, the Sibyl archetype in the works of George MacDonald." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ45363.pdf.
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Sloan, Alathea Prickett Stephen. "Receiving "The True Name" : reading Lilith as a mystical dream-vision /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4999.
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Bleecker, Timothy Jonathon. "The Christian romanticism of George MacDonald : a study of his thought and fiction /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1990.
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Thesis (Ph.D.)--Tufts University, 1990.Submitted to the Dept. of English Literature. Adviser: Martin Green. Includes bibliographical references (leaves [261]-269). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Mills, Ceri Louise. "Infeminations : exemplary (di)visions of the feminine in George MacDonald and Yasunari Kawabata." Thesis, Swansea University, 2004. https://cronfa.swan.ac.uk/Record/cronfa42658.
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George MacDonald is a nineteenth-century Scottish writer. Yasunari Kawabata is a twentieth-century Japanese writer. This immediate disparity, coupled with their shared biological maleness, serves to make the authors' writings potentially fruitful for the infemination reading. This strategy, the infemination reading, simply, considers a male writer's negative constructions/conceptualisations of femininity. In my introductory 'Informulations' I define the infemination theorem, contextualising it as a derivative of the 'French feminist drawing on deconstruction' project. Here, I also outline my intention to consider the textual objects of analysis as autonomous, decontextualised entities. Following this, focus shifts from the theoretical text of infemination to the fictional texts (especially Lilith and Phantastes) of MacDonald, His specific infeminatory '(Di)Visions/Perversions of the feminine' are bisected as 'GynoScapes' (Chapter One) and 'GynEscapes' (Chapter Two). The former images a psychoanalytic penetration of 'infant' (infeminator) into the textual bodyscape of the 'mother'. The latter signifies literally 'an escape from the womb', and here penetrative desire becomes penetrative anxiety so that the infeminator endeavours to evade (re)union with her body. Kawabata's particular '(Di)Visions/Revisions of the feminine' are deemed 'HIStory' and 'HERstory'. These chapters share a concern with themes of language and silence. According to 'History' (Chapter Three), man constructs woman in the silence-inducing language of patriarchy. According to 'HERstory' (Chapter Four), woman strives to reclaim selfvocalisation. Infemination is explored through several of Kawabata's texts, with a primary focus upon his Beauty and Sadness and 'House of the Sleeping Beauties'. My separate analyses of MacDonald and Kawabata conclude with an 'atonement', an 'At-One-Ment', where the authors are united and their texts demonstrated explicitly as sharing common infeminatory desires.
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Kreglinger, Gisela Hildegard. "George MacDonald's Christian fiction : parables, imagination and dreams." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/576.
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Pazdziora, John Patrick. "George MacDonald's fairy tales in the Scottish Romantic tradition." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4460.
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George MacDonald (1824-1905) is one of the most complex and significant Scottish writers of the nineteenth century, especially as a writer of children's fiction and literary fairy tales. His works, however, have seldom been studied as Scottish literature. This dissertation is the first full-length analysis of his writings for children in their Scottish context, focusing particularly on his use of Scottish folklore in his literary fairy tales. MacDonald wrote in the Scottish Romantic tradition of Robert Burns, Walter Scott, and James Hogg; by close reading his works alongside similar texts by his compatriots, such as Andrew Lang, MacDonald's own idiosyncratic contribution to that tradition becomes more apparent. His profound knowledge of and appreciation for Christian mysticism is in evidence throughout his work; his use of folklore was directly informed by his exploration of mystical ideas. Hogg is recast as a second Dante, and ‘bogey tales' become catalysts for spiritual awakening. MacDonald's fairy tales deal sensitively and profoundly with the theme of child death, a tragedy that held personal significance for him, and can thus be read as his attempt to come to terms with the reality of bereavement by using Scottish folklore to explain it in mystical terms. Traditional figures such as Thomas Rhymer, visionary poets, and doubles appear in his fairy tales as guides and pilgrims out of the material world toward mystical union with the Divine.
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Stelle, Ginger. "A swipe at the dragon of the commonplace : a re-evaluation of George MacDonald's fiction." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1974.
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This thesis offers a re-evaluation of the fiction of George MacDonald (1824-1905), both fantasy and non-fantasy. The general trend in MacDonald studies is to focus primarily on his works of fantasy, either ignoring the rest (which includes non-fantasy fiction, sermons, poetry, and criticism) or using them to illuminate the fantasies. The overall critical consensus is that these works, particularly MacDonald’s non-fantasy fiction, possess little inherent value. Though many critics acknowledge similarities between MacDonald’s fantasy fiction and his non-fantasy fiction, MacDonald has been the victim of a critical double standard that treats fantasy and realism as completely irreconcilable, and allows certain features to be acceptable, even desirable, in one form that are completely unacceptable in the other. The thesis begins by looking at MacDonald’s writings about the imagination and about literature, from which a clear theory of literature emerges, one with strong opinions about the function and purpose of literature, as well as about what makes good literature. By re-examining MacDonald’s fiction, its plots, characterization and narration, in the light of his own theories, the reasons underlying the artistic choices made throughout his fiction take on a more deliberate and calculated appearance. Furthermore, by placing MacDonald in his proper context, and looking at the diversity of generic options available to the Victorian writer, the critical double standard underlying much MacDonald scholarship, based on a strict fantasy/realism separation, crumbles. What emerges from this analysis is a different MacDonald—a careful craftsman who consciously and skillfully uses the tools of his trade to produce a unique and specific reading experience.
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Alvarenga, Leandro Amado de. "Entre a noite e o dia: uma tradução comentada de contos de fada de George MacDonald." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-26102017-151337/.
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Os contos de fada de George MacDonald são obras de grande influência no âmbito da literatura infantil, particularmente no caso de autores como Lewis Carroll e C. S. Lewis. De fato, muitos apreciaram suas histórias enigmáticas, que misturam humor e reverência, nonsense e sentido, luz e escuridão. Apesar disso, no contexto do português brasileiro, poucos dos seus contos de fada estão traduzidos e há ainda menos crítica literária disponível. Aqui procuro ajudar a preencher ambas essas lacunas ao produzir uma tradução comentada de três de seus contos de fada. O objetivo é realizar um estudo que encontre algumas das características literárias mais importantes nesses contos e, então, produzir uma tradução que leve em conta as percepções proporcionadas por esse estudo. Este trabalho contém, então, um exame crítico dos contos de fada de MacDonald, uma consideração sobre como traduzi-los, os três contos de fada em formato bilíngue (incluindo a fonte em inglês e a tradução para o português) e, também, uma seção comentando minhas escolhas de tradução e como elas se relacionam com as análises feitas.George MacDonald\'s fairy tales are works of great influence in the realm of children\'s literature, particularly so for authors such as Lewis Carroll and C. S. Lewis. Indeed, many have enjoyed his enigmatic stories, which blend humor and reverence, nonsense and meaning, light and darkness. In spite of that, in the context of Brazilian Portuguese, few of his fairy tales are translated, and there is even less literary criticism available. Here, I aim to help fill both of those gaps by producing a commented translation of three of his fairy tales. The goal is to carry out a study which finds out some of the most important literary characteristics in these tales, and then produce a translation that is mindful of the insights provided by that study. This work contains, then, a critical appraisal of MacDonald\'s fairy stories, some consideration on how to translate them, the three fairy tales presented as bilingual texts (including the English source and the translation to Portuguese), and also a section commenting on my translation choices and how they relate to the analyses made.
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McInnis, Jeff. "Shadows and chivalry : pain, suffering, evil and goodness in the works of George MacDonald and C.S. Lewis." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2881.
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This thesis argues that George MacDonald's literary influence upon C. S. Lewis-concerning the themes of pain, suffering, evil and goodness-was transforming and long-lasting. It is argued in the opening chapter that MacDonald's work had a great deal to do with the change in young Lewis's imagination, helping to convert him from a romantic doubter to a romantic believer in God and his goodness. A review of both writers' first works suggests that such influence may have begun earlier in Lewis's career than has been noticed. The second chapter examines how both authors contended with the problems that pain and suffering present, and how both understood and presented the nature of faith. Differences in their treatment of these subjects are noted, but it is argued that these views and depictions share fundamental elements, and that MacDonald's direct influence can be demonstrated in particular cases. The view that MacDonald was primarily a champion of feelings is challenged, as is the idea that either man's later writing displays a loss of faith in God and his goodness. The third chapter, in specifically refuting the assertion that MacDonald's view of evil was inclusive in the Jungian or dualistic sense, shows how both authors' work maintains an unmistakable distinction between evil fortune and moral evil. The next two chapters examine fundamental similarities in their treatment of evil and goodness. Special care is taken in these two chapters to trace MacDonald's direct influence, especially regarding the differences they believed existed between hell's Pride and what they believed God to be. The fifth chapter reviews their ideas and depictions of heaven in summing up the study's argument concerning the overall influence of MacDonald's writing upon Lewis's imagination-in particular the change in Lewis's understanding of the relations between Spirits, Nature, and God.
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Neophytou, Jenny. "In the name of the father : manliness, control and social salvation in the works of George MacDonald." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/9564.
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This thesis considers the representation of manly identity in the works of George MacDonald, and the way in which that identity is formed in relation to shifting power networks and contemporary social discourses. I argue that the environment of technological and societal change experienced in the mid-Victorian era (in the wake of industrialisation, urbanisation, changes in suffrage and war) led to a cultural need to re-align social, political, physical and economic power within a framework of male moral strength. Taking his lead from Thomas Carlyle and German transcendentalism, MacDonald promoted a paternalist ‗ideal‘ of manliness that articulated a synthesis of moral and physical power, yet which also served to promote a paradigm of domestic authority within diverse areas of male interaction. The dual purposes of this ideal were the defence of national identity (the purview of what I term the ‗Soldier body‘), and the enforcement of a paternalist authority hierarchy that is swiftly subsumed within a hierarchy of social status. As a result, we see the growth of close inter-relationships between the representation of manly identity and the language of class, heavily influenced by Christian socialist narratives of individual development through social education and quiescence. Moreover, we begin to witness disturbing scenes of violence and control, as aspects of MacDonald‘s culture defy confinement within his model of patriarchal domestic authority.
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Kelly, David M. "The treatment of universalism in Anglican thought from George MacDonald (1824--1905) to C S Lewis (1898--1963)." Thesis, University of Ottawa (Canada), 1989. http://hdl.handle.net/10393/20968.
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Van, Eerden James Patrick. "An inquiry into the use of human experience as an apologetic tool illustrations from the writings of George MacDonald, G.K. Chesterton and C.S. Lewis /." Theological Research Exchange Network (TREN) Access this title online, 1995. http://www.tren.com.
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Fuller, Lauran Ray. "Inheriting the Library: The Archon and the Archive in George MacDonald's Lilith." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4432.
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George MacDonald's novel Lilith relates the story of a young man inheriting his deceased father's estate and coming in contact with its remarkable library and mysterious librarian. The protagonist's subsequent adventures in a fantastical world prepare the young Mr. Vane to assume authority over his inherited archive and become an archon. Jacques Derrida's exposition of the responsibilities of the archon including archival authority, domiciliation, and consignation illuminate the mentoring role of the elusive librarian Mr. Raven in Vane's adventures. By using Derrida's deconstruction of archives to unpack the intricacies of knowledge transfer in MacDonald's novel, the lasting impact of the archon on the archive and the individuals in Lilith, as well as the importance of the archon in the transfer of knowledge between individuals facilitated through relationships, becomes apparent. The archon, acting as a gatherer, organizer, and shaper of texts, uses the materials within the archive to exercise power and to bequeath power upon other individuals, as seen in the character Mr. Raven's actions. Lilith illustrates the necessity of the archon as he shapes the archive's contents and governs the interactions between book and reader, ultimately allowing the archive to become a place where knowledge is heritable.
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Johnson, Rachel E. "A complete identity : the image of the hero in the work of G.A. Henty (1832-1902) and George MacDonald (1824-1905)." Thesis, Coventry University, 2008. http://eprints.worc.ac.uk/545/.
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This study is an examination of the hero image in the work of G.A. Henty (1832-1902) and George MacDonald (1824-1905) and a reassessment of the hitherto oppositional critiques of their writing. The argument driving the reassessment is that their writing is not oppositional but is complementary and that the ideology embedded in their work is communicated through the character of the hero through genre and through their interpretation of their historical period. The central hypothesis is that the reflexive characteristics of the hero image demonstrate a complete identity commensurate with the hero figure of the Victorian ideal. This hypothesis is demonstrated through the analysis of chosen texts from the work of Henty and MacDonald categorised by critics as written for children and by the application of ethical, genre and new historic theory. The relationship between the expansion of the British Empire and youthful heroism is established through investigation of the Victorian political, social and religious milieu, the construct of the child and the construct of the hero. The connection between the exotic geographical space of empire and the unknown psychological space is conducted through examination of the representation of the ‘other' in the work of Henty and MacDonald. The study demonstrates that Henty’s work is more complex than the stereotypically linear, masculine, imperialistic critique of his stories as historical realism allows and that MacDonald’s work displays more evidence of historical embedding and ideological interpellation than the critical focus on his work as fantasy and fairy tale considers. The contribution of this study to existing research on Henty and MacDonald is firstly by an examination of the ideology embedded in the construct of the hero figure as this construct impacted Victorian culture and secondly by reassessing the existing criticism of their work. Greater understanding of the effect of this heroic ideal on nineteenth century society leads to a greater understanding of the implications for subsequent cultures including that of the twenty first century. This aspect is examined in relation to the current reprinting programmes for Henty and MacDonald and is proposed as a subject for continued research.
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Campbell, Caitlin Anne. "Heroes and heroines : a feminist analysis of female child protagonists in the epic fantasies of George MacDonald, C.S. Lewis, and Philip Pullman." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13764.
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The genre of epic fantasy, with its origins in patriarchal mythologies, has traditionally been the realm of male protagonists and masculine modes of heroism. Authors of children’s epic fantasy, however, often portray pairings of male and female child protagonists working together in the fight against evil. And yet, despite the inclusion of female protagonists in many epic fantasies for children, patriarchal values dominate the genre, as aggression, physical prowess, rational detachment, and action define the hero. Through the lens of post-structural feminist theory, this study—spanning twelve texts, seven main characters, and 130 years of literary history—examines the female child protagonist and the intersection of girlhood and heroism as depicted in the epic fantasies of George MacDonald, C.S. Lewis, and Philip Pullman.
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Ballard, Jack Du Wayne Jr. "Part One: The Castle. Part Two: Hyperextended Chord Tones: Chromatic Consonance in a Tertian Context." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1228157561.
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Crockford, Alison Nicole. "Undead children : reconsidering death and the child figure in late nineteenth-century fiction." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7883.
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The Victorian obsession with the child is also often, in the world of literary criticism at least, an obsession with death, whether the death of the child itself or simply the inevitable death of childhood as a seemingly Edenic state of being. This study seeks to consider the way in which the child figure, in texts by four authors published at the end of the nineteenth century, is aligned with an inversion of this relationship. For Walter Pater, Vernon Lee, George MacDonald, and Henry James, the child is bound up instead with un-death, with a construction of death which seeks to remove the finitude, even the mortality, of death itself, or else a death which is expected or anticipated, yet always deferred. While in “The Child in the House” (1878) and “Emerald Uthwart” (1892), Pater places the child at the nexus of his construction of a death which is, rather than a finite ending, a return or a re-beginning, Lee's interest in the child figure's unique access to a world of art, explored in “The Child in the Vatican” (1883) and “Christkindchen” (1897) culminates in a dazzling vision of aesthetic transcendence with “Sister Benvenuta and the Christ Child” (1906). MacDonald, for whom death is already never really death, uses the never-dead child figure in At The Back of the North Wind (1871) and Lilith (1895) as an embodiment of his own distinct engagement with aestheticism, as well as a means by which to express the simultaneous anticipation and depression he experienced in contemplation of death. Finally James, in What Maisie Knew (1897), explores the child's inherent monstrosity as he crafts the possibility of a childhood which consciously refuses to die. This study explores a trajectory in which the child’s place within such reconsiderations of death grows increasingly intense, reaching an apex with MacDonald’s fantastic worlds, before considering James’s problematisation of the concept of the un-dead child in What Maisie Knew.
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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
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Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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Griffith, David LaMond. "George MacDonald's Lilith A: A Transcription." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/31892.
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George MacDonald's last major work of fiction, Lilith, was published in 1895, but the first version of the romance was written in March of 1890. Lilith is an account of the unintentional journey of the protagonist into another world populated by both mythological figures drawn from the Judeo-Christian tradition and by horrific personifications of the psychological horrors of the protagonist's own mind. The story of Lilith describes the protagonist's experiences in this other world which bring him to the point of repentance.
The manuscript of the first version, known now as Lilith A, is housed in the British Library along with seven other typed revisions and printer's proofs. Taken together, the A-H manuscripts of Lilith represent the complete production history textual evolution of what is arguably MacDonald's greatest literary work. The body of this paper contains the 161 page transcription of Lilith A produced from the original manuscript and a microfilm photographic reproduction provided by the British Library.
The introduction of this paper outlines the history of Lilith A, describes it's similarities and differences with the published version, provides a bibliographic description of the manuscript, and outlines the editorial principles used in producing the transcript of the text. The introduction is followed by a transcription of the title page created for the manuscripts of Lilith by Winifred Louisa, Lady Troup, who was MacDonald's daughter and amanuensis. This title page is followed by the transcription of Lilith A.
Master of Arts
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de, Jong John Robert. "The content and implications of George MacDonald's theology with particular reference to his concept of 'the child'." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/the-content-and-implications-of-george-macdonalds-theology-with-particular-reference-to-his-concept-of-the-child(83069f90-4c36-40cc-8b94-c8bdae0dd9df).html.
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George MacDonald (1824–1905) was writing at a time of Evangelical unease. Some, in the face of challenge, retreated behind the walls of traditional Evangelical dogma, while others accom-modated their beliefs to a rapidly changing world. This ‘conservative’ and ‘liberal’ bifurcation of Evangelicalism provoked a response from MacDonald: he brings before us a child that offers a via media. Appearances are deceptive: it may look ‘Romantic’, but is rather a radical, sacra-mental icon undermining false doctrines of God and challenging the human response. This is a necessarily broad study, not only to do justice to the complexity of the Victorian context, but because MacDonald’s theology—which Chesterton described as ‘jewels in an une-ven setting’—is fragmented in an unsystematic opus of some fifty volumes of varying genre. An overview of MacDonald’s theology is constructed first; this is then used as the foundation for a close reading of his more opaque works before answering the question: What are the theo-logical implications of MacDonald’s ‘child’? This overview is presented in Chapter 5. To construct this, we consider (in Chapters 1–4) the wider context of MacDonald’s thought: his interlocutors, key influences, and social context. We consider, in some detail, the Victorian child: How did his contemporaries, religious and otherwise, view this enigma at the heart of society? What theology shaped those views? How did MacDonald challenge such received wisdom? We then use our wider, and more specific, understanding of MacDonald’s theology as a foundation for a more nuanced reading of fantasy novels such as Phantastes and Lilith (Chap-ters 6–8): these, it is proposed, do not illustrate what he thinks; they are what he thinks, and are a rich theological source. We close (Chapter 9) with a critical evaluation of MacDonald’s ‘theology of the child’, evaluating its contribution to theology today.
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Ellison, Robert H. (Robert Howard). "Orality-Literacy Theory and the Victorian Sermon." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279297/.
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In this study, I expand the scope of the scholarship that Walter Ong and others have done in orality-literacy relations to examine the often uneasy juxtaposition of the oral and written traditions in the literature of the Victorian pulpit. I begin by examining the intersections of the oral and written traditions found in both the theory and the practice of Victorian preaching. I discuss the prominent place of the sermon within both the print and oral cultures of Victorian Britain; argue that the sermon's status as both oration and essay places it in the genre of "oral literature"; and analyze the debate over the extent to which writing should be employed in the preparation and delivery of sermons.
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Overkamp, Jennifer R. "Truth, fantasy, and paradox the fairy tales of George MacDonald, G.K. Chesterton, and C.S. Lewis /." 2008. http://proquest.umi.com/pqdweb?did=1625775021&sid=5&Fmt=2&clientId=14215&RQT=309&VName=PQD.
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Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008.Title from title screen (site viewed Mar. 31, 2009). PDF text: 251 p. ; 2 Mb. UMI publication number: AAT 3331409. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Ellern, Holly Elizabeth. "The phantastic spirit Experiencing the real self and the person of God through the imagination of George MacDonald /." 2008. http://www.lib.ncsu.edu/theses/available/etd-03192008-140339/unrestricted/etd.pdf.
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PELÁNOVÁ, Lucie. "Fantasy and Fairy Tale in J.R.R. Tolkien´s Hobbit, Edith Nesbit´s Enchanted Castle and George MacDonald´s Tale The Princess and the Goblin." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-391764.
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The thesis focuses on the comparative analysis of Tolkien's novel The Hobbit, or There and Back Again (1937) and two works which significantly influenced him: George MacDonald's Princess and the Goblin (1872) and Edith Nesbit's Enchanted Castle (1907). The first part of the thesis chronologically describes the development of English children's fantasy literature. The above-mentioned authors are characterized from the perspective of their life and work. The second and the main part focuses on the comparison of the discussed works, especially on the comparison of fantastic elements such as fairy-tale characters, a journey to the unknown, a fight against evil, magical objects and magic space (the castle, the forest, the abandoned landscape). This interpretation is based on Tolkien's concept of fairy tales and fantasy and Propp's analysis of fairy tales.
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Weinrich, Elizabeth Jane McDonald. "The genesis of George MacDonald's Lilith : a study of pre-publication documents." 1999. http://purl.galileo.usg.edu/uga%5Fetd/weinrich%5Felizabeth%5Fj%5F199912%5Fphd.
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