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Watts, Billie Stephanie Powell. "Talk to me while I'm listening : a novella /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115597.
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Christie, Lisa Karen. "That dam whale, truth, fiction and authority in King and Melville." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ66504.pdf.
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Murray, Brent William. "Major histocompatibility complex class II sequence variation in cetaceans : DQ[beta] and DR[beta] variation in beluga (Delphinapterus leucas) and DQ[beta] variation in North Atlantic right whales (Eubalaena glacialis) /." *McMaster only, 1997.
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Caron, Louise M. J. "Status, site fidelity, and behavior of a hunted herd of white whales (Delphinapterus leucas) in the Nastapoka estuary, eastern Hudson Bay." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64036.
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Doidge, D. W. (David William). "Age and stage based analysis of the population dynamics of beluga whales, Delphinapterus leucas, with particular reference to the northern Quebec population." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74610.
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The vital rates of beluga, Delphinapterus leucas, harvested in northern Quebec are within the range reported by previous studies in Alaska and the Canadian and Soviet Arctic. Small sample size and inadequate estimates of survivorship rates prevent meaningful calculation of population growth rate. The pattern of changes in vital rates over the life cycle of beluga and analysis of errors associated with stage classification indicate that the demographic information in a 6 x 6 age-grouped Lefkovitch matrix is similar to that in a 38 x 38 age class Leslie matrix. A 3 stage, length-based model composed of newborns, juveniles and adults contains less demographic information than the larger matrices, but is superior to a juvenile/adult classification scheme. The 3 stage model applied to length frequency data from aerial photographic censuses should provide an alternate method of demographic analysis when harvests are small or absent. Colour is a poor criterion for stage classification.Sensitivity analysis of fecundity and survivorship indicates that survival of gray animals (older juveniles and early breeders) has the most influence on population growth rate. Changes in fecundity have little effect on growth rate. The high sensitivity of population growth rate to juvenile and early adult survival demonstrates that these estimates should be improved if more precise knowledge of beluga demography is required for management purposes.
The age-length data used to evaluate errors associated with stage classification indicate that belugas in Hudson Bay are smaller than those elsewhere, but not to the large degree previously reported. Beluga in estuaries are represented by all size classes. Examination of the integumentary heat loss show beluga and narwhal, Monodon monoceros, to be equally insulated, but only belugas frequent warmer estuarine waters.
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Griffith, J. W. "The Half-History of Spiro Elisha White." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1875.
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The intent of this project is to study the use of multiple narrators who occupy the same space over a spread of time. While the subject matter has been one of intense study over the years, the approach to implore this technique of fiction has opened the characters, plot, and story to greater exploration.
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Cosgrave, Isabelle Marie. "'White lies' : Amelia Opie, fiction, and the Quakers." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/18686.
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This thesis offers a reconsideration of Amelia Opie’s career as a novelist in the light of her developing religious allegiances over the period 1814-1825 in particular. In twentieth-century scholarship, Opie (1769-1853) was often treated primarily as the author of Adeline Mowbray (1805) and discussed in terms of that novel’s relationship with the ideas of Wollstonecraft and Godwin. Recent scholarship (Clive Jones, Roxanne Eberle, Shelley King and John B. Pierce) has begun a fuller assessment of her significance, but there is still a need for a thorough discussion of the relationship between her long journey towards the Quakers and her commitment to the novel as a moral and entertaining medium. Many scholars (Gary Kelly, Patricia Michaelson, Anne McWhir and others), following Opie’s first biographer Cecilia Lucy Brightwell (1854), have represented Opie as giving up her glittering literary career and relinquishing fiction-writing completely: this relinquishment has been linked to Quaker prohibitions of fiction as lying. My thesis shows that Quaker attitudes to fiction were more complicated, and that the relationship between Opie’s religious and literary life is, in turn, more complex than has been thought. This project brings evidence from a number of sources which have been overlooked or under-utilised, including a large, under-examined archive of Opie correspondence at the Huntington Library, Opie’s last novel Much to Blame (1824), given critical analysis here for the first time, and the republications which Opie undertook in the 1840s. These sources show that Opie never abandoned her commitment to fiction; that her move to the Quakers was a long and fraught process, but that she retained a place in the fashionable world in spite of her conversion. My Introduction gives a nuanced understanding of Quaker attitudes to fiction, and the first chapter exposes the ‘white lies’ of Opie’s first biographer, Brightwell, and their legacy. I then move on to examine Opie’s early works – Dangers of Coquetry (1790), “The Nun” (1795) and The Father and Daughter (1801) – as she flirts with radicalism in the 1790s, and Adeline Mowbray is explored through a Quaker lens in chapter 3. I juxtapose Opie’s correspondence with her Quaker mentor Joseph John Gurney and the celebrated writer William Hayley with her developing use of the moral-evangelical novel – Temper (1812), Valentine’s Eve (1816) and Madeline (1822) – as Opie was increasingly attracted to the Quakers. Chapter 5 analyses Opie’s anonymous novels – The Only Child (1821) and Much to Blame (1824) – alongside her Quaker works (especially Detraction Displayed (1828)) around the time of her official acceptance to the Quakers (1825). The final chapter investigates how Opie balanced her Quaker belonging with her ongoing commitment to fiction, exemplified in her 1840s republications, which I present in the context of her correspondence with publisher friends Josiah Fletcher and Simon Wilkin, and with Gurney. Opie’s ‘white lies’ of social negotiation reveal her difficulties in maintaining a literary career from the 1790s to the 1840s, but her concerted effort to do so in spite of such struggles provides a highly significant insight into the changing religious and literary climates of this long period.
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Bosman, Brenda Evadne. "Alternative mythical structures in the fiction of Patrick White." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1001821.
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The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction
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Sjare, Becky L. "The vocal behavior of white whales, Delphinapterus leucas, summering in an arctic estuarine habitat /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63290.
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Wehmann, Andrew. "Sad White Man Stories: and other banana fantasies." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1460984420.
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Mejia, Lillian Lynette. "Snow White in Space| Science Fiction Reimagines Traditional Fairy Tales." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1593257.
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This thesis explores the intersection of fairy tales with late twentieth and early twenty-first century science fiction - specifically, the reimagining of classic fairy tales within science fictional settings. I will begin with an overview of the ways in which fairy tales and science fiction seem particularly well-suited for such an endeavor, in terms of similarity of common themes, structure, and narrative device. Next, I will examine two recent examples: Caitlín R. Kiernan's "The Road of Needles," and Tanith Lee's "Beauty," noting deviations from the traditional source material and highlighting the ways in which the original stories have been updated for modern audiences. Finally, I will offer several of my own stories that reimagine fairy tales in science fiction settings: "Curiosity," a retelling of "The Little Mermaid," "I Dream the Snowfall, the Red Earth of Mars," a retelling of "Snow White," and "Match Girl," a retelling of "The Little Match Girl."
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West, Mary Eileen. "White women writing white : a study of identity and representation in (post-)apartheid literatures of South Africa." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/442.
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This thesis examines aspects of identity and representation using contemporary theories and definitions emerging out of a growing body of work known as whiteness studies. The condition of whiteness as it continues to inform identity politics in post-apartheid South Africa is explored in an analysis of selected texts written by white women, to demonstrate the ways in which whiteness continues to suggest normativity. In reading a representative selection of literatures produced in contemporary South Africa by white women writers, this study aims to illustrate the ambivalence apparent in the interstitial manifestations of emergent reconciliatory gestures that are at odds with residual traces of superiority. A sampling of disparate texts is examined to explore the representations of race and belonging in post-apartheid South Africa in the light of contemporary theories of whiteness which posit it as a powerful and invisible identification. The analysis attempts to plot a continuum from writers who are least, through to those who are most, aware of whiteness as a cultural construct and of their own positionality in relation to the discursive dynamics that inform South African racial politics. A contextualising overview of the terrain of whiteness studies is provided in Chapter One, marking the ideological and theoretical affiliations of this project, and foregrounding the construction of whiteness as an imagined identity in contemporary cultural criticism. It also provides a justification for the selection of the textual material under scrutiny. Chapter Two explores a genre that has been identified as a growing trend in South African fiction: the production of pulp fiction written by white middle-class women. Two such texts are the focus of this chapter, namely, Pamela Jooste’s People like Ourselves (2004) and Susan Mann’s One Tongue Singing (2005), and the complicities and clichés that are characteristic of popular literature are examined. Antjie Krog’s A Change of Tongue (2003) is the focus of Chapter Three. It is examined as a book offering the writer’s personal response to the difficulties of transformation within the first decade of South African democracy. Krog confronts her own defensiveness, her sense of normalcy, and her sense of alienation in relation to multiple encounters with different people. Chapter Four focuses on the journalism of Marianne Thamm. Her role as columnist for the popular women’s magazine, Fairlady is explored, particularly in relation to the inclusion of a contending voice writing against the general tenets of Fairlady. Thamm’s critique of the mores governing bourgeois white womanhood is read in relation to her role as officially sanctioned Court Jester. Her Fairlady columns have been collected in Mental Floss (2002) but the analysis includes selected columns from 2003 to 2005. Echo Location: A Guide to Sea Point for Residents and Visitors (1998) by Karen Press is the focus of Chapter Five. Her work is read as examining a white South African crisis of belonging in relation to the implications of mapping the co-ordinates of whiteness in South Africa. Chapter Six offers a reading of four short stories, written by Nadine Gordimer and Marlene van Niekerk. These stories are juxtaposed to trace an anxious impasse in white responses to suburbia, the place of enactment of white bourgeois mores, which both writers interrogate.
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Purvis, Tony. "Sexuality and identity in the novels of Edmund White." Thesis, University of Sunderland, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325421.
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This thesis examines the representation of sexuality and identity in six novels written by Edmund White. Issues specifically related to gay male sexuality and homosexual/gay identity politics are discussed in Chapter One. These issues are developed in Chapter Two's exploration of sexuality, coming out, outing, and narrative. However, the first two chapters also facilitate the introduction and critical expansion of key contextual and theoretical concerns. On the one hand, White's output is shaped and informed by the cultural, historical and political circumstances which have conditioned how gay male sexuality has been discursively figured and represented over the last forty years. On the other hand, his work has been inflected by theorisations of sexuality which have called into question the very specificity of a homosexual and/or gay identity. Drawing principally on theorisations of sexuality and identity in the work of ludith Butler, Lee Edelman, and Eve Kosofsky Sedgwick, the first two chapters propose that the relations between sexuality and identity are unstable and discontinuous. Chapter Three's examination of narrative strategies contends that White's Forgetting /;;lena (1973), and Nocturnes for the King (if Naples (1978), excite readings of same-sex desire which are unable to specify an essential or natural difference between heterosexual and homosexual identities. Alert, nevertheless, to the political contexts which compel all sexual identity claims, Chapter Four observes how White's deployment of fantasy enables his novel Caracole (1985) to consider why identities and communities are labelled gay or straight in the first instance. Critical essays on White's work rightly note his novels' apparent preoccupation with gay male self-representation. However, discussing A Boy's Own Story (1982), and The Beautiful Room is Empty (1988), Chapter Five aims to expose the limitations of homosexual and gender definition. Indeed, if the relations between sex, gender and identity are neither clear nor continuous, then perhaps White's novels bring out such gender trouble. The examination of gay sex, sexuality and AIDS in Ihe Farewell Symphony (1997) observes why acts of gay self-nomination are politically necessary in homophobic cultures. However, this final chapter discusses why White's work appears reluctant to determine the meaning of sexuality and identity in any resolute way. Such queer irresolution, this thesis contends, enables the fiction to critique the past. Nevertheless, simply to say farewell to this past is to ignore the conditions of a future.
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Hughes, Carolyn Mary. "The paradoxical taboo : white female characters and interracial relationships in Australian fiction /." St. Lucia, Qld, 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18008.pdf.
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Robertson, Colleen. "The antebellum white mistress : culpability and complexity in American women's retrospective fiction." Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1257.
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This thesis examines the character of the white mistress in retrospective fiction- post hoc works that revisit the slave-narrative tradition to revise the story told about antebellum slavery in the Southern states of America. The figure of the white mistress has been at worst ignored and at best marginalised in much fictional and critical output. I redress the balance by focusing on three novels which foreground the role of the white mistress. Through an exploration of the white mistress in Willa Cather‘s Sapphira and the Slave Girl (1940), Sherely Anne Williams‘s Dessa Rose (1987) and Valerie Martin‘s Property (2003), I consider ways in which white female guilt in relation to slavery is represented. By responding to the work of Minrose Gwin, Toni Morrison and Ashraf Rushdy, among others, I extend the critical consideration given to the character of the plantation mistress. In Chapter One I explore how the female slave acts as a counterpoint for the white mistress, beginning by considering three stereotypes commonly associated with nineteenth-century southern women: the belle, the jezebel and the mammy. I argue that these stereotypes not only influence the relationship between the mistress and her slaves, but that the stereotypes themselves are troubled in retrospective fiction. In Chapter Two I explore familial responsibilities for the white mistress in relation to her husband and father and to her children. I argue that these novels expose how family ties are damaged not only for the slave but for the mistress in these novels, complicating any easy interpretation about the mistress‘s guilt. In Chapter Three I address the importance of the plantation setting in fiction about slavery. Specifically, I posit the plantation as a Gothic space for both the white mistress and her female slave, characterised by das unheimliche, claustrophobia and voyeurism. Although the white mistress is the principal focus of only a minority of retrospective novels about slavery, my thesis is driven by the increasing compulsion to confront this character‘s complicity in the South‘s peculiar institution.
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Arthur, Erica. "Emasculation at work : white-collar protest fiction in the 1950s and 1990s." Thesis, University of Nottingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401544.
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Grogan, Bridget Meredith. ""Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001554.
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Whaley, Susan Jane. "Still life : the life of things in the fiction of Patrick White." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27562.
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"Still Life" argues that Patrick White's fiction reveals objects in surprising, unexpected attitudes so as to challenge the process by which the mind usually connects with the world around it. In particular, White's novels disrupt readers' tacit assumptions about the lethargic nature of substance; this thesis traces how his fiction reaches beyond familiar linguistic and stylistic forms in order to reinvent humanity's generally passive perception of reality.
The first chapter outlines the historical context of ideas about the "object," tracing their development from the Bible through literary movements such as romanticism, symbolism, surrealism and modernism. Further, the chapter considers the nature of language and the relation of object to word in order to distinguish between the usual symbolic use made of objects in literature and White's treatment of things as discrete, palpable entities. The second chapter focuses on White's first three published novels—Happy Valley (1939), The Living and the Dead (1941) and The Aunt's Story (1948)--as steps in his novelistic growth. Chapters Three, Four and Five examine respectively The Tree of Man (1955), The Solid Mandala (1966) and The Eye of the Storm (1973); these novels represent successive stages of White's career and exemplify his different formal and stylistic techniques. White's innovations demand a new manner of reading; therefore, each novel is discussed in terms of objects which reflect the shapes of the works themselves: "tree" defines the structure and style of Tree of Man "house" inspires Solid Mandala and "body" shapes Eye of the Storm. Reading White's novels in terms of structural analogues not only illuminates his methodology, but also clarifies his distinction between objective and subjective ways of understanding the world. Further, these chapters also refute critics' arguments that White's objects are merely victims of his overambitious use of personification and pathetic fallacy, or that they are the result of his dabbling in mysticism.
"Still Life" concludes by showing how Patrick White's novels sequentially break down assumptions about reality and appearance until the reality of language itself falters. The author restores mystery to things by relocating the possibility of the extraordinary within the narrow, prescribed confines of the ordinary. White succeeds in changing readers' notions about the nature of reality by disrupting the habitual process by which they apprehend the world of things.Arts, Faculty of
English, Department of
Graduate
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Ungari, Elena. "Australian national identity/ies in transition in the fiction of Patrick White." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683214.
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Terry, Jill D. "Black and white conjunctions in southern literary oralities." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366607.
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Kuske, Laura Eileen. "Border stories : race, space, and captivity in early national fiction /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9395.
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Russell, Colin John. "Red, white, and Deleuze, the fiction of Louise Erdrich as a minor literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/MQ45122.pdf.
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Easton, Kai. "Textuality & the land : reading 'White Writing' and the fiction of J.M. Coetzee." Thesis, SOAS, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342209.
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This thesis examines the formative fiction of J. M. Coetzee and his first book of essays, White Writing: On the Culture of Letters in South Africa (1988). His latest novel Disgrace (1999), has already made literary history, winning Coetzee his second Booker Prize. It certainly invites new readings and links with his earlier work, which I discuss in my Introduction. I have tried to range across Coetzee’s work while heeding the structure that has emerged out of my research: long (sequential) chapters, divided into three or more sections, which discuss issues around the writing and reading of four novels - including the processes of production, publishing and reception in local South African and international terms; questions of intertextuality, authorship and colonial representations of the South African landscape - before finally closing with a reading of each novel. My scope thus more widely looks at textual proliferations, comparative ‘colonial encounters’, the imaging of the land, and what Coetzee has called the ‘Discourse of the Cape’. While the chapters on ‘The Narrative of Jacobus Coetzee’ in Dusklands (1974), In the Heart of the Country (1977) and Foe (1986) focus on colonial discourse and colonial space (on explorer narratives and travel writing, on gender and the genre of colonial pastoral), the chapter on Coetzee's 1983 Booker Prize-winner Life & Times of Michael K, like Disgrace, encompasses a more contemporary Cape landscape. Here I discuss Coetzee’s notion of the ‘provincial’ in the context of debates on the ‘national’ and ‘postcolonial’ novel in South Africa. The final chapter on Foe equally offers a balance to the South African emphasis of my thesis by looking back more broadly to British imperialism and a canon of colonial texts - from castaway and captivity narratives to the journals of Columbus, Shakespeare’s The Tempest, and the novels of Defoe.
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Dawson, Sally. "A variation of the rainbow : an examination of pastoral in Patrick White's prose fiction." Thesis, University of Leeds, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329270.
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Zezza, Letizia. "Potential effect of marine traffic on white-beaked dolphin (Lagenorhynchus albirostris) distribution and behaviour in Faxaflói Bay, southwest Iceland." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8094/.
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Faxaflói bay is a short, wide and shallow bay situated in the southwest of Iceland. Although hosting a rather high level of marine traffic, this area is inhabited by many different species of cetaceans, among which the white-beaked dolphin (Lagenorhynchus albirostris), found here all year-round.
This study aimed to evaluate the potential effect of increasing marine traffic on white-beaked dolphins distribution and behaviour, and to determine whether or not a variation in sighting frequencies have occurred throughout years (2008 – 2014). Data on sightings and on behaviour, as well as photographic one, has been collected daily taking advantage of the whale-watching company “Elding” operating in the bay. Results have confirmed the importance of this area for white-beaked dolphins, which have shown a certain level of site fidelity. Despite the high level of marine traffic, this dolphin appears to tolerate the presence of boats: no differences in encounter durations and locations over the study years have occurred, even though with increasing number of vessels, an increase in avoidance strategies has been displayed. Furthermore, seasonal differences in probabilities of sightings, with respect to the time of the day, have been found, leading to suggest the existence of a daily cycle of their movements and activities within the bay. This study has also described a major decline in sighting rates throughout years raising concern about white-beaked dolphin conservation status in Icelandic waters. It is therefore highly recommended a new dedicated survey to be conducted in order to document the current population estimate, to better investigate on the energetic costs that chronic exposure to disturbances may cause, and to plan a more suitable conservation strategy for white-beaked dolphin around Iceland.
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Wintle, Heather. "Wandering into the wasteland : white American masculinities in the apocalyptic science fiction road narrative." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/47956/.
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This thesis examines the portrayal of American white male subjects within the apocalyptic science fiction road narrative, focusing on two visual media in which this genre hybrid features prominently: film and comics. The study builds upon an embryonic body of scholarship addressing several structural, iconographic and thematic connections between the road genre and apocalyptic science fiction. In responding to the call for further research into the road genre’s spread across media, the study observes that apocalyptic road films and comics complicate the dominant critical narrative regarding the road movie’s increasing emphasis upon racially and sexually diverse travellers. Interrogating this discrepancy with an awareness of its ramifications for female, black and queer secondary characters’ representation, the thesis demonstrates how the apocalyptic science fiction road narrative has been persistently and primarily used as a forum for examining, indulging and critiquing various conceptualisations of American white masculinity and associated desires and anxieties. Each chapter conducts a textual analysis of a selection of case studies that foreground a particular ‘type’ of male traveller prevalent throughout apocalyptic road films and comics released between 1975 and 2013. These discussions utilise a mixed methodology combining reference to studies of apocalyptic fiction, the road genre and their integration, formalist work on comics that positions the medium in relation to film, and appropriate work on cultural representations of whiteness and masculinity. The first two chapters address several approaches to the correspondence between male power, communal involvement and the vehicle’s changing role throughout action-oriented post-apocalyptic narratives. Chapter 3 investigates the correlation between post-apocalyptic settings and thwarted narratives of adolescent maturation. Chapter 4 examines the recent concern with paternal agency and violence in traumatic journeys undertaken by fathers and children. Lastly, Chapter 5 explores the masculine crises arising from the road’s displacement by other, digitally enabled and/or fantastical forms of mobility.
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Kreiter, Michael P. ""There will be no Reconciliation": The Science Fiction Culture War of White Supremacist Puppies." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1618595056659932.
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De, la Chenelière Véronik. "The risks and benefits of an invasive technique, biopsy sampling, for an endangered population, the St. Lawrence beluga (Delphinapterus leucas) /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21536.
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Research can conflict with conservation when invasive techniques are used on protected animal species. We developed a decision framework including the research question, the choice of technique, and the recommended course of action following the evaluation of the risks and benefits. This evaluation includes biological risks and benefits and considerations linked to the perception of resource users. We applied this framework a posteriori to a case study, the use of biopsy sampling on St. Lawrence belugas. We monitored the biological risks and benefits over four field seasons using behavioural and physiological indices and reports on the work in progress. We evaluated the risks as "low" and the benefits as "medium". For benefits to outweigh risks, procedures to minimise risks, publication of the work, and formulation of recommendations for conservation are essential. Researchers should be prepared to discuss with stakeholders the potential conflicts between their projects and conservation.
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Affolder, Linda Ann. "Representing the truth in black and white, American dust bowl migrants in fiction and photography." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22511.pdf.
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Chan, Suet Ni. "In the periphery of the margin: white masculinity in contemporary American fiction /Chan Suet Ni." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/351.
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My thesis discusses male identity in contemporary culture in relation to work by Bret Easton Ellis and Chuck Palahniuk. Such work reflects the problems, anxieties, and dilemmas of the masculine subject in American culture. The characters in my six selected texts, namely, Ellis' Less Than Zero, American Psycho, and Glamorama, and Palahniuk's Fight Club, Survivor, and Choke, symbolize a generation with no discernible future. Each male protagonist finds himself in a place of no time and no meaning because image and illusion have supplanted essence. These characters combat culture-prevalent emptiness in the sense that each ironically re-asserts his so-called individuality against the dogmas of the establishment. Each, furthermore, is aware that his existence is not subject to a higher order or preset goal: traditional morality thereby has no meaning. My selected texts feature masculine subjects struggling with their own contingencies once stripped of given privileges (gender, class, race, and otherwise). To examine the notion of masculinity, I emphasize the role of power relations in gender construction. Bret Easton Ellis characterizes a world of appearance defined by particular styles. Chuck Palahniuk's males are empty--they do not have any definitive meaning. Judith Butler challenges the proposition of a fixed identity, or an essential permanent masculinity or femininity as structured and reified by social norms. Therefore, we should not view masculinity as a cohesive and homogeneous category. Following Foucault, I examine the relationship between masculine subjects and social practices. At stake here, is how the performative articulation of proper masculinity disempowers and imprisons the masculine subject in a material form over which he has no control. The body becomes the object of desire and thus the vehicle/preserve of the sense of powerlessness that the masculine subject experiences daily within a hegemonic culture. Power is exercised through a dominant presence. This presence structures as a binary classification serving to underscore differences and ensure particular privileged social positioning. The proposition of a fixed identity, or an essential permanent masculinity or femininity, is structured and reified by social norms. Masculinity as a cohesive and homogeneous category is historically represented as an unstable center from which all other identities are defined.
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Adleman, Daniel. "Occupational violence and the crisis in white masculinity in turn-of-the-millennium American fiction." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58758.
Full textAbstract:
My dissertation examines white masculine anxieties compelled by death and violence in Don DeLillo’s White Noise (1985), Bret Easton Ellis’ American Psycho (1991), Chuck Palahniuk’s Fight Club (1996), and Philip Roth’s American Pastoral (1997). A close reading of the four novels in tandem reveals important dynamics of a subgenre of American masculinist fiction in a period of rapid technological change. The novels represent the travails of white male protagonists whose "occupational spheres," comprising jobs, domestic spaces and recreational pursuits, are meant to protect them from undesirable threats and the dread of death. I argue that these protagonists, who are immersed in their respective occupational spheres, do not comprehend the complex violence in which their occupations implicate them, nor do they appreciate the impossibility of insulating their “interior” simulated habitats from the supposedly toxic “outside” worlds that surround them. In the first chapter, I analyze Don DeLillo’s White Noise, which I claim inaugurates the subgenre of American fiction to which all four novels belong, and I conclude that the protagonist, Jack Gladney, is caught up in a cycle of "re-mediation." His efforts to remedy his ills are only remediated into a medial milieu that further undermines his agency. In the second chapter, I examine American Psycho and track Patrick Bateman’s occupational sphere, which manifests the classed, raced, and sexualized systemic violence of Wall Street finance. The third chapter on Fight Club explores the anonymous narrator’s violent occupation as an actuarial risk analyst for a major automotive manufacturer. The last chapter, on American Pastoral, analyzes the insidious violence of the protagonist Seymour Levov’s occupation as a glove-manufacturing entrepreneur and seeming-apogee of the Jewish American dream of white assimilation. This dissertation project is partly an intervention in DeLillo, Easton Ellis, Palahniuk, and Roth criticism, much of which is still atavistically stuck in a pre-digital moment. By and large, the existing criticism, I contend, does not pay enough attention to the densely-mediated environments inhabited by the novels’ protagonists. My engagement with these novels draws upon rhetorical analysis, genre theory, psychoanalysis, critical race theory, gender studies, and new media studies.Arts, Faculty of
Graduate
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Elder, Catriona, and catriona elder@arts usyd edu au. "Dreams and nightmares of a 'White Australia' : the discourse of assimilation in selected works of fiction from the 1950s and 1960s." The Australian National University. Faculty of Arts, 1999. http://thesis.anu.edu.au./public/adt-ANU20050714.143939.
Full textAbstract:
This thesis is an analysis of the production of assimilation discourse, in
terms of Aboriginal people’s and white people’s social relations, in a small
selection of popular fiction texts from the 1950s and 1960s. I situate these
novels in the broader context of assimilation by also undertaking a
reading of three official texts from a slightly earlier period. These texts
together produce the ambivalent white Australian story of assimilation.
They illuminate some of the key sites of anxiety in assimilation discourses:
inter-racial sexual relationships, the white family, and children and young
adults of mixed heritage and land ownership. The crux of my argument is
that in the 1950s and early 1960s the dominant cultural imagining of
Australia was as a white nation. In white discourses of assimilation to
fulfil the dream of whiteness, the Aboriginal people – the not-white – had
to be included in or eliminated from this imagined white community.
Fictional stories of assimilation were a key site for the representation of
this process, that is, they produced discourses of ‘assimilation
colonization’. The focus for this process were Aboriginal people of mixed
ancestry, who came to be represented as ‘the half-caste’ in assimilation
discourse. The novels I analyse work as ‘conduct books’. They aim to
shape white reactions to the inclusion of Aboriginal people, in particular
the half-caste, into ‘white Australia’. This inclusion, assimilation, was an
ambivalent project – both pleasurable and unsettling – pleasurable
because it worked to legitimate white colonization (Aboriginal presence as
erased) and unsettling because it challenged the idea of a pure ‘white
Australia’.
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Miley, Linda. "White writing black : issues of authorship and authenticity in non-indigenous representations of Australian Aboriginal fictional characters." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16485/.
Full textAbstract:
This creative practice-led thesis is in two parts - a novella entitled Leaning into the Light and an exegesis dealing with issues for creative writers who are non-Indigenous engaging with Indigenous characters and inter-cultural relationships. The novella is based on a woman's tale of a cross cultural friendship and is set in a Queensland Cape York Aboriginal community over a period of fifteen years. Leaning into the Light is for the most part set in the late 1960s, and as such tracks some of the social and personal cost of colonisation through its depiction of Indigenous and non-Indigenous relationships within a Christian run mission. In short, Leaning into the Light creates an imaginary space of intercultural relationships that is nevertheless grounded in a particular experience of a 'real' place and time where Indigenous and non-Indigenous subjectivities collide and communicate. The exegesis is principally concerned with issues of non-Indigenous representation of indigeneity, an area of enquiry and scholarship that is being increasingly theorized and debated in contemporary cultural and literary studies. In this field, two questions raised by Fee (in Ashcroft, Griffiths and Tiffin, 1995) are key concerns in the exegesis. How do we determine who is a member of the Aboriginal minority group, and can majority members speak for this minority? The intensification of interest around these issues follows a period of debate in the 1990s which in turn was spawned by the "unprecedented politicisation of {Australian} history" (Collins and Davis, 2004, p.5) following the important Mabo decision which overturned the "nation's founding doctrine of terra nullius" (ibid, p.2). These debates questioned whether or not non-Aboriginal authors could legitimately include Aboriginal themes and characters in their work (Huggins, 1994; Wheatley, 1994, Griffiths, et al in Tiffin and Lawson, 1994), and covered important political and ethical considerations, at the heart of which were issues of representation and authenticity. Moreover, there were concerns about non-Indigenous authors competing for important symbolic and publishing space with Indigenous authors. In the writing of Leaning into the Light, these issues became pivotal to the representation of character and situation and as such constitute the key points of analysis in the exegesis.
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Murphy, Fiona Louise Mary. "From Bluebeard's castle to the white world of dreams : constrictions and constructions in Angela Carter's prose fiction." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285246.
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Lee, Pei-Ying. "Le blanc dans le cinéma de science-fiction." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H318.
Full textAbstract:
Le blanc dans le cinéma de science-fiction vibre et scintille, comme une invitation à l’interpréter. À travers le blanc se tisse un lien entre des images sans rapports apparents, et ce type de connexion hétérogène sollicite notre regard d’une manière qui se rapproche d’un montage. Ce regard facilite de plus le détachement des figures blanches de leurs objets référentiels, du contexte du film, et même du contexte du cinéma. Dans cette vision en forme de constellation, révélant des forces liées à la construction, à la destruction et à l’incertitude, le blanc au sein du cinéma de science-fiction, de par sa nature hybride et changeante, transgresse fréquemment les lois établies de l’espace-temps. Véhiculant des sensations et des pensées variées, le blanc reflète d’une manière indirecte et fragmentaire son époque et révèle avec subtilité son passé virtuel, lequel se caractérise par une grande richesse. À la fois couleur du degré zéro et couleur intégrale, porteur de mémoire tout autant que de nouveauté, le blanc, en raison de son caractère minimal et illimité, démontre une capacité à se déplacer librement dans le monde de la science-fiction, voire d’errer dans l’univers des imagesThe colour white in the cinema of science fiction vibrates and sparkles, inviting our interpretations. Unrelated images are linked through whiteness in a form of heterogeneous connection that solicits our gaze as a montage. This look also facilitates the detachment of white figures from their reference objects, the context of the film and even the context of cinema. In this vision of a constellation, which reveals the energies of construction, destruction and uncertainty, whiteness in the cinema of science fiction by its hybrid and changing nature easily transgresses the established laws of space-time. Carrying diverse sensations and thoughts, the colour white reflects its era in a manner at once both indirect and fragmentary, discreetly revealing its virtual but rich past. At once the colour of nothingness and integrating all other colours, saturated with memory but new like a newborn, white with its minimal and unlimited character demonstrates an ability to move freely in the world of science-fiction, and even to wander in the universe of images
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Kavalieris, Galvão André. "Representing Truth Through Narrative : The Use of Historiographical Techniques in Creative Non-Fiction." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169744.
Full textAbstract:
This essay is an attempt to show how certain elements, or techniques of history writing, can be used in creative non-fiction. It uses three major sources of theory. First, there is Charlotte Canning and Thomas Postlewait’s view on “the five themes of historiography,” which are indispensable for researching history: time, space, archive, identity, and narrative. The essay primarily focuses on narrative, because it is connected to representations of human lives, and as such contributes to meaning- creation. Second, the essay employs Hayden White’s concept of the historian’s working process and the notions of chronicle, story, mode of emplotment, mode of argument and ideological implications. Third is the method developed by Thomas Andrews and Flannery Burke of the five C’s of historical thinking: change over time, causality, context, complexity and contingency. Although these are separate theories, the essay shows how they can be complementary and help in the development of memoir writing, which is here my creative work, A Family Memoir in Essays, in particular the essays entitled “Trimdiniekis,” “Brasiliana,” and “A Sertaneja”.
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Davis, Mary McPherson. "Feminist Applepieville architecture as social reform in Charlotte Perkins Gilman's fiction /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5071.
Full textAbstract:
Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 25, 2007) Includes bibliographical references.
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Thistleton-Martin, Judith, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Black face white story : the construction of Aboriginal childhood by non-Aboriginal writers in Australian children's fiction 1841-1998." THESIS_CAESS_HUM_ThistletonMartin_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/799.
Full textAbstract:
This thesis is a seminal in-depth study of how non-indigenous writers and illustrators construct Aboriginal childhood in children's fiction from 1841-1998 and focuses not only on what these say about Aboriginal childhood but also what they neglect to say, what they gloss over and what they elide. This study probes not only the construction of aboriginal childhood in children's fiction, but explores the slippage between the lived and imagined experiences which inform the textual and illustrative images of non-Aboriginal writers. This study further contends that neo-colonial variations on the themes informing these images remain part of Australian children's fiction. Aboriginal childhood has played a limited but telling role in Australian children's literature. The very lack of attention to Aboriginal children in Australian children's fiction - white silence - is resonant with denial and self-justification. Although it concentrates on constructions of aboriginal childhood in white Australian children's fiction, this study highlights the role that racial imagery can play in any society, past or present by securing the unwitting allegiance of the young to values and institutions threatened by the forces of change. By examining the image of the Other through four broad thematic bands or myths - the Aboriginal child as the primitive; the identification of the marginalised and as the assimilated and noting the essential similarities that circulate among the chosen texts, this study attempts to reveal how pervasive and controlling the logic of racial and national superiority continues to be. By exploring the dissemination of images of Aboriginal childhood in this way, this study argues that long-lived distortions and misconceptions will become clearerDoctor of Philosophy (Literature)
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Thistleton-Martin, Judith. "Black face white story : the construction of Aboriginal childhood by non-Aboriginal writers in Australian children's fiction 1841-1998 /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031024.100333/index.html.
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Eppel, Ruth. "The limitations and possiblilites of identity and form in selected recent memoirs and novels by white, female Zimbabwean writers : Alexandra Fuller, Lauren Liebenberg." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001985.
Full textAbstract:
This study examines selected works by four white female Zimbabwean writers: Alexandra Fuller, Lauren Liebenberg, Bryony Rheam and Lauren St John, in light of the controversy over the spate of white memoirs which followed the violent confiscation of white farms in Zimbabwe from 2000 onwards. The controversy hinges on the notion that white memoir writers exploit the perceived victimhood of white Zimbabweans in the international sphere, and nostalgically recall a time of belonging – as children in Rhodesia – which fails to address the fraught colonial history which is directly related to the current political climate of the country. I argue that such critiques are too generalised, and I regard the selected texts as primarily critical of the values and lifestyles of white Rhodesians/Zimbabweans. The texts I have selected include a range of autobiographical and fictional writing, or memoirs and pseudo-memoirs, and I focus on form as a medium enabling an exploration of identity. The ways in which these authors conform to and adapt particular narratives of becoming is examined in each chapter, with a particular focus on the transition from innocence to experience, the autobiography, and the Bildungsroman. Gender is a recurring point of interest: in each case the female selves/protagonists are situated in terms of the family, which, in reflecting social values, is a key site of conflict. In regard to trends in white African writing, I explore the white African (farm) childhood memoir and the confessional mode. Ultimately I maintain that while the texts may be classified as white writing, as they are fundamentally concerned with white identity, and therefore evince certain limitations of perspective and form, including clichéd tendencies, all the writers interrogate white identity and the fictional texts more self-reflexively deconstruct tropes of white writing.
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Visel, Robin Ellen. "White Eve in the "petrified garden" : the colonial African heroine in the writing of Olive Schreiner, Isak Dinesen, Doris Lessing and Nadine Gordimer." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/29445.
Full textAbstract:
Olive Schreiner, writing in the tradition of George Eliot and the Brontës, was an isolated yet original figure who opened up new directions in women's fiction. In her novels, The Story of an African Farm (1883) and From Man to Man (1926) she developed a feminist critique of colonialism that was based on her own coming-of-age as a writer in South Africa. Schreiner's work inspired and influenced Isak Dinesen, Doris Lessing and Nadine Gordimer, who have pursued their visions of the colonial African heroine in changing forms which nevertheless consciously hark back to the "mother novel." Dinesen's Out of Africa (1937), Lessing's Martha Quest (1952) and Gordimer's The Lying Days (1953) are in a sense revisions of Schreiner's Story of an African Farm. These texts, together with later novels by Lessing and Gordimer (such as Shikasta and Burger's Daughter, 1979) and key short stories by the four writers, form a body of writing I call the "African Farm" texts. Written in different colonial countries—South Africa, Kenya and Rhodesia—in response to different historical circumstances, from different ideological and aesthetic stances, the "African Farm" fictions depict the problematic situation of the white African heroine who is alienated both from white colonial society and from black Africa. Through her own rebellion against patriarchal mores as she struggles to define herself as an artistic, intellectual woman in a hostile environment, she uncovers the connections between patriarchy and racism under colonialism. She begins to identify with the black Africans in their oppression and their incipient struggle for independence; however she cannot shed her white inheritance of privilege and guilt. Just as colonial society (the white "African Farm") becomes for her a desert, a cemetery, a false, barren, "petrified garden," so black Africa becomes its idealized counterpart: a fertile realm of harmony and possibility, the true Garden of Eden from which she, as White Eve, is exiled. I trace the "African Farm" theme and imagery through the work of other white Southern African writers, such as J.M. Coetzee, whose stark, poetic, postmodernist
novels can be read as a coda to the realistic fiction of the four women writers. Finally, I look at the post-"African Farm" texts of such transitional writers as Bessie Head, whose novels of black Africa preserve a suggestive link with Schreiner.Arts, Faculty of
English, Department of
Graduate
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Morse, Daniel Lee. "Not quite white : Jewish literary identity, new immigration and otherness in America, 1890-1930." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/9564.
Full textAbstract:
America’s ‘long early twentieth century’ (1890-1945) was a period of intense industrialization, urbanization, and immigration which fundamentally altered the character of the nation. Between 1900 and 1924, which saw the curtailing of immigration from southern and eastern Europe via the passage of the Johnson-Reed Immigration Act (successor to 1921’s stop-gap Emergency Quota Act), more than 14 million people flocked to the U.S. in search of economic opportunity, social equality, and freedom from religious and political oppression. Descendants of these ‘new immigrants,’ as they were called, were by the late twentieth century a staple of white American suburbia, but their progenitors were variously considered ‘off-white,’ ‘dark-white,’ or non-white, with attendant connotations of mental, physical, and moral inferiority. This research examines texts, authored by Jewish immigrants such as Abraham Cahan, Anzia Yezierska, Rose Cohen, and Mary Antin, which were published between 1890 and 1930, when the onset of the Great Depression saw a rise in anti-Semitism that contributed to the decline in popularity of ‘up by the bootstraps’ Americana whose narratives chronicled, ostensibly, social assimilation and cultural integration; it considers the ramifications of writing in English for a native audience, which frequently alienated Jewish immigrants from their peers, and analyzes the manner in which the United States’ shifting social mores coincided with—and facilitated—new immigrants’ reappraisal of religion, education, commerce, and family life in the ‘new world’ of the west. It argues that the ambivalence contained within many of these texts was both a reaction to nativist prejudices and an effort to expose misconceptions present on both sides of the wildly popular Americanization movement, as well as exploring the way that such narratives attempted the redefinition of American philanthropic, educational and civic paradigms—the preponderance of which passionately espoused rhetoric of equality while reinforcing the stratification of the United States’ class system—into modes of interaction that accommodated difference while seeking to establish common ground upon which could be built a more inclusive, multiethnic future. Finally, it addresses the continuing relevance of these works as texts which both predict and presage modern modes of social interaction and discusses their future in an evolving literary canon that has, historically speaking, been an agent of western patriarchal hegemony.
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Sundqvist, Jill. "Fan fictions eller adaptioner? : Om Amy Heckerlings spelfilm Clueless (1996) och Debra White Smiths roman Amanda (2006) mot Jane Austens roman Emma (1815)." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-16449.
Full textAbstract:
Det huvudsakliga syftet med min uppsats var att utifrån originalverket Emma (1815) avJane Austen kunna bedöma vad två verk som inspirerats av romanen bör klassificeras som.De två verken var romanen Amanda (2006) av författaren Debra White Smith ochspelfilmen Clueless (1995) av regissören Amy Heckerling. Till min hjälp har jag lästaktuell forskning inom de två termerna adaption och fanfiction och utifrån detta gjort enjämförande analys på verken. Resultatet blev oväntat vagt, det visade sig att begreppen lågnärmre varandra än vad jag trott från början. Båda verken kan till viss del ses som enadaption på originalverket, på samma sätt som de även kan ses som fanfiction. Slutsatsenär dock att de båda verken passar bäst in under termen profic, som är en underkategoriinom fanfiction där författaren/regissören tjänar pengar på sin modifikation och intepublicerat verket i exempelvis ett obetalt nätforum som hobbyaktivitet.
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Abbott, William Thomas. "White Knowledge and the Cauldron of Story: The Use of Allusion in Terry Pratchett's Discworld." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etd/630.
Full textAbstract:
In the last twenty years, Terry Pratchett's Discworld series has become very popular. Pratchett's success hinges in part on his use of allusion, in what Tolkien called the "Cauldron of Story," and what Pratchett refers to as "white knowledge." This paper explores the Discworld novels and illustrates Pratchett's use and success of storytelling through a few key directions: folk tales, fantasy literature, movies, and rock music.
Pratchett has received limited critical review, mostly of a negative nature, while producing a strong literary series, one crafted with both obvious and subtle recognition of his genre's sources. While standing on the shoulders of giants, Pratchett both respects and scrutinizes the myths and stories that construct our reality. Critically, Pratchett's fiction deserves more respect and closer study; this paper attempts to give him his due.
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Levey, David Norman Ralph. "Identity in the early fiction of Alan Paton, 1922-1935 / D.N.R. Levey." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1561.
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Badr, Yousef Hamid. "Liberalism in the novels of Nadine Gordimer." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368876.
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Chachere, Karen A. De Santis Christopher C. "Visually white, legally black miscegenation, the mulatoo, and passing in American literature and culture, 1865-1933 /." Normal, Ill. : Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3128271.
Full textAbstract:
Thesis (Ph. D.)--Illinois State University, 2004.Title from title page screen, viewed Jan. 10, 2005. Dissertation Committee: Christopher C. De Santis (chair), Ronald Strickland, Cynthia A. Huff, Alison Bailey. Includes bibliographical references (leaves 178-193) and abstract. Also available in print.
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Bacon, Edwin Bruce. "Confronting eternity : strange (im)mortalities, and states of undying in popular fiction." Thesis, University of Canterbury. English, 2014. http://hdl.handle.net/10092/9680.
Full textAbstract:
When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities.
I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series
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Lutzel, Justine Ann. "Madness as a Way of Life: Space, Politics, and the Uncanny in Fiction and Social Movements." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1384337221.
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Spencer, Sandra L. "The Angel in the House and The Woman in White: The Unfolding and Decoding of a Victorian Stereotype." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500620/.
Full textAbstract:
Abstract: Modern readers frequently perceive female characters in Victorian novels as insipid and inane, blaming the static portrayals on the angel in the house stereotype attributed to Coventry Patmore's poem of the same name. The stereotype does not accurately reflect the actual Victorian woman's life, however. Examining how the stereotype evolved and how the middle-class Mid-Victorian woman really lived provides insight into literary devices authors employed either to reinforce the angel ideal or to reconcile the ideal with the real. Wilkie Collins's portrayal of Marian Halcombe in The Woman in White features a dynamic female who has both androgynous characteristics and angel-in-the-house qualities, exemplifying one more paradox in a society riddled with contradictions.