Tesis: "English literature Hysteria in literature"

1

Daly, Claire. "Constructing Difference: An Examination of Madness and Hysteria as Tools to Subjugate Women in Literature". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/923.

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This thesis examines the constructions of madness and hysteria as diagnoses used to subjugate the protagonists in Bessie Head’s A Question of Power and Kate Chopin’s The Awakening. In juxtaposing these texts, themes including “lone womanhood” surface to identify both protagonists’ means for liberation from patriarchal and colonialist oppression. While for Edna of The Awakening, liberation from the hysteria diagnosis comes through bodily sovereignty, A Question of Power’s Elizabeth is freed from the madness rendering by reclaiming her mental interiority.

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2

DuCharme, Rose. "Mad Love and Narrative Uncertainty in the Twentieth Century: A Study of the Good Soldier and Le Ravissement de Lol V. Stein". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/415.

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This thesis examines narrative uncertainty in the twentieth century novel as it relates to madness, adultery, and the convention of the unreliable narrator. The unreliable narratives of Ford Madox Ford’s The Good Soldier and Marguerite Duras’ Le Ravissement de Lol V. Stein expose their characters’ investment in illusions, the doubling of the narrators’ and readers’ desires to interpret, the transfer of madness through narrative, and the possibility that a void of meaning underlies the text.

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3

Hayward, Helen. "Hysterical relations : a comparative study in selected nineteenth-century European narratives". Thesis, Queen Mary, University of London, 1995. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1465.

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This study of hysteria is indebted to Freud, and it is equally indebted to certain authors who came before him: Balzac, Charlotte Brontë, Tolstoy, George Eliot, and Florence Nightingale. As particular works of these authors show, the hysteric was a touchstone in cultural and scientific research due to her exemplification, in striking ways, of unconscious internal forces. The interconnectedness of social and psychological issues in the work of Balzac in the 1830s and George Eliot in the 1870s is highlighted, with attention to the degree that all the authors treated inflect Freud's exploration of hysteria in the century's final decades. By moving between European cultural traditions and languages, both in French and in translation, I focus on the overlap between literature and psychology whenever the representation of interpersonal and sexual matters is foregrounded. I intend my use of psychoanalysis to complement a textual analysis in order to emphasize notions like character, choice, fate, and destiny. Within the textual analysis I make conceptual, social, and psychological links to animate that most topical and implicitly hysterical nineteenth-century question: the Woman Question. I assume that the extent to which hysteria can be understood is the extent to which it can be communicated and read, transcribed from without, in the narrative form which is its bent. Further that the hysteric cannot give expression to desires without the involvement of an intermediary and the provocations of plot. The hysterical question 'Who am I to become? ' (man or woman, father or mother, lover or sister) is formulated differently by each of the authors on whose works I draw, being modulated by aesthetic as well as intellectual shifts within the nineteenth century. In the earliest novel I treat, Balzac's Eugénie Grandet (1833), a brief blossoming and slow withering of Eugénie's desire for Charles indicates what happens when an implicitly forbidden relation, in this case fraternal love, suffers the blight of its betrayal. Once Charles, initiator and guide of Eugénie's desires, absents himself, Eugénie's love is transformed into a defence against erotic incursions such that youthful love results in resigned melancholy. Charlotte Brontë's protagonist and hysterically unreliable narrator in Villette (1853) complains of that curse, an over-heated imagination'; a creative malady which results in hallucination, resistance, denial, and evasion, all features of a scenario where accession to desire prompts an elaborate narrative that finally quells the desire which began it. Tolstoy's early pastoral works attest to the way hysteria, index to a suppressed relation to a primordial loved one, can spill over into consciousness and thence into literature. In his wily Childhood, Boyhood, Youth (1852-55) and nostalgic Family Happiness (1859) Tolstoy shows how deceptive imaginative powers can be when in thrall to hysterical impulses that fuel it, such that a promising image in fantasy is rendered not just fleeting but illusory. Gwendolen Harleth, a perpetual object of interpretation to Deronda, narrator, and subsequent critics alike, figures the still centre of George Eliot's Daniel Deronda (1876). The dynamic lure of Eliot's heroine soon dissipates alongside characters who bind themselves to symbolic values - to music, charity, and Judaism, and who thereby avoid the pull of hysterical attachments. Florence Nightingale's Cassandra (1860) prompts many more questions than it resolves, yet its significance is multiple, written by a woman who became a nineteenth-century hysteric par excellence her impassioned cry against those conditions - psychic, physiological, moral, and social - which circumscribed feminine potential remains a powerful testament to the possibilities and limits of literary discourse. For all these authors, and for Freud after them, the hysteric was together muse and sacrifice, unsung heroine and dejected sufferer, whose plaint, however encoded, was also a sign of deliverance. 'Words are the most important media by which one man seeks to bring his influence to bear on another; words are a good method of producing mental changes in the person to whom they are addressed' (SE 7, p. 292). Although these remarks by Freud date from 1890, its premise is shared by each author I evoke, bearing on a dynamism at the core of human relations. To empathize with the hysterical dilemma was not however to identify with it. rather it was to articulate it as a scenario in order to posit one's distance from it. It was this psychological feat, of identifying in order not to identify with the hysteric, which authors and scientists of the nineteenth century collaboratively brought off, thus cutting across divisions of culture and discipline. Above all, it was the ephemeral and fluid aspects of hysteria which provided ongoing stimulus to its representation, a stimulus which, in revised form, continues its pressure up to the present day.

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4

Brundan, Katherine. "Mysterious women : memory, madness, and trauma in the nineteenth-century sensation narrative /". view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192179961&sid=4&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 204-216). Also available for download via the World Wide Web; free to University of Oregon users.

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5

Brennan, Karen Morley. "Hysteria and the scene of feminine representation". Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185047.

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In the sense that women have been hystericized by male theories about femininity, Freudian psychoanalysis has functioned as an institution which seeks women's silence. Hysteria is the dis-ease of this silence; that is to say, it is a set of eloquent symptoms--a "writing" on the body--which signify women's oppression/repression. It is within this apparent contradiction that feminine representation takes place. The figure for such representation is, therefore, hysteria: working "in the gaps," "between the lines," telling the story of patriarchy only to disrupt this story, Frida Kahlo, Anais Nin, and Kathy Acker create feminine fictions. Kahlo's autobiographical painting is inextricable from her obsession with husband Diego Rivera, just as Nin's erotica is inextricable from her relationship with Henry Miller. Likewise, Acker's postmodern production is entangled in the androcentric agenda which attempts to recuperate patriarchy by appropriating the figure of Woman. The "engine" of transference/counter-transference becomes the most viable description of the hysterical process these women employ to represent themselves. The epilogue contains original fictions which extend comment on both hysteria and feminine representation.

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6

Stoddart, Helen. "Constructions of gender and hysteria in the modern Gothic". Thesis, University of Reading, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306859.

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7

Fordham, Finn William Montague. "'Languishing hysteria The clou historique?' : Lucia Joyce in 'Finnegans Wake'". Thesis, Birkbeck (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263602.

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8

Wooler, Stephanie. "Performance Anxiety: Hysteria and the Actress in French Literature 1880-1910". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10246.

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My dissertation uses close readings of four texts dealing with the actress, spanning the naturalist novel (Zola’s Nana, 1880, and Edmond de Goncourt’s La Faustin, 1882), autobiography (Sarah Bernhardt’s Ma double vie, 1907) and autobiographical fiction (Colette’s La Vagabonde, 1910), in order to examine late nineteenth-century representations (and self-representations) of the actress in relation to the discourse of hysteria. I argue that in late nineteenth and early twentieth-century France, pathology and performance came together in the stereotype of the hysterical actress. In the wake of the French Revolution, and the subsequent political upheavals of the nineteenth century along with the emergence of a consumer capitalist society, \(fin-de-si\grave{e}cle\) society was living a moment of particular anxiety. This anxiety found a focal point in the hystericised figure of \(la com\acute{e}dienne\), who came to embody a threatening blurring of gender and class distinctions. Actresses were pathologised in a discursive gesture which sought to identify and contain the threat which they were seen to pose, and which seemed to offer an objective narrative which re-established boundaries and identities. The discourse of hysteria, however, was by no means as secure or monolithic as it might seem. I argue that the discourse of hysteria is underpinned by a fundamental performativity which has the potential to be profoundly subversive. By examining different modalities of response to the phenomenon of the hystericisation of the actress, I show how in both male and female-authored texts the discourse of pathology is undermined and reappropriated in a way which foreshadows twentieth-century feminist theories.
Romance Languages and Literatures

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9

Mahbobah, Albaraq Abdul. "Discourse of resistance: Reading hysteria in Hardy, James, Dickens, and modern anorexia". Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186672.

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Discourse of Resistance explores the representation of the mad woman in Nineteenth Century literary texts by such authors as Charles Dickens, Thomas Hardy, Henry James, and in modern Freudian psychoanalysis. Generally, in those representations, the figure of the mad woman appears as the outsider to a representational system which fails in representing her: her madness reveals the limits of the logical systems that govern representation; her language shows the failure of the censor; and her body mocks the codes of medicine and hygiene. In Henry James' The Turn of the Screw, Charles Dickens' Little Dorrit, and Thomas Hardy's Tess of the d'Urbervilles, Hysteria appears as a textual space which marks both the representational system's attempt at containing the female subject and her resistance to it. The Anorexia essay extends the scope of the study by analyzing the limits of the psychoanalytic representation of the women who suffer from this disease. In effect, each specific case studied reveals the representational systems' attempt to repression and containment, an attempt which only succeeds to a certain extent.

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10

Rooney, A. "Hunting in Middle English literature". Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373693.

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11

Hanley, Jennifer. "English courtesy literature, 1425-1475". Thesis, University of Ottawa (Canada), 1989. http://hdl.handle.net/10393/5661.

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12

Allen, Lea Knudsen. "Cosmopolite subjectivities and the Mediterranean in early modern England". View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318286.

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13

Doubler, Janet M. Fortune Ron. "Literature and composition a problem-solving approach to a thematic literature course /". Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8713214.

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Thesis (D.A.)--Illinois State University, 1987.
Title from title page screen, viewed July 26, 2005. Dissertation Committee: Ronald J. Fortune (chair), Glenn A. Grever, Elizabeth E. McMahan, Patricia A. Chesebro, Janice Neuleib. Includes bibliographical references (leaves 170-177) and abstract. Also available in print.

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14

Malo, Roberta. "Saints' relics in medieval English literature". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1186329116.

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15

Citrome, Jeremy J. "The surgeon in medieval English literature /". New York : Palgrave Macmillan, 2006. http://catalogue.bnf.fr/ark:/12148/cb41014151z.

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16

Yandell, John. "Reading literature in urban English classrooms". Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/10020708/.

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This thesis presents an argument for a reconceptualisation of how literature is read in secondary urban English classrooms and of what is accomplished through the activities of reading. In the discourse of policy and in theorised accounts of practice, the reading that is undertaken in classrooms has tended to be construed as either a poor substitute or merely a preparation for other reading, particularly for that paradigmatic literacy event, the absorbed and simultaneously discriminating consumption of the literary text by the independent, private reader. This thesis argues for a broader - historically, ethnographically, psychologically and theoretically informed - understanding of what constitutes reading, for a fully social conception of the sign and of sign-making and for a social model of learning. It draws on data gathered through classroom observation and digital videotape of English lessons taught over the course of a year by two teachers in a secondary comprehensive school in East London. It situates such data, and the interpretation of such data, in culture and history, in the culture and history of the researcher as well as of the participants in the research, school students and their teachers. Attention is paid to the pedagogy of the two teachers, to the constraints that operate on them and to the choices that they make. The thesis presents an interpretation of school students' engagement with literary texts as an active, collaborative process of meaning-making. Literature, instantiated in multiple forms in these classrooms, functions not as a valorised heritage to be transmitted so much as a resource for the students' work of cultural production and contestation.

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17

Wolfe, Catherine Ann. "The audience of Old English literature". Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/270452.

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18

Kugler, Emily Meri Nitta. "Representations of race and romance in eighteenth-century English novels". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258372.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed May 29, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 264-272).

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19

Jackson, Laura Ann. "Representations of the hysteric in contemporary women's writing in French". Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8944.

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This thesis explores how the celebratory figure of the hysteric as imagined by proponents of écriture féminine is developed and complicated in more recent representations of hysterical female bodies in contemporary women’s writing in French. With the aim of understanding the evolution of the hysteric from a traditionally negative embodiment of patriarchal parameters of femininity to a potentially revolutionary female figure, this thesis undertakes single-chapter studies of the most telling contemporary representations of hysterical bodies. The first chapter focuses on the physicality of Lorette Nobécourt’s writing in La Démangeaison (1994) and La Conversation (1998), and argues that the abject subject matter of the former coupled with the innovative and experimental form and style of the latter constitutes an almost physical performance of ‘madness’. The second chapter focuses on Marie Darrieussecq’s Truismes (1996) and argues that Darrieussecq’s hybrid narrator harnesses the anti-establishment carnival force of the hysteric in a shifting and grotesque body which forms the epitome of all that threatens order. The final two chapters focus on anorexia as a contemporary equivalence of Victorian hysteria. The first of these deals with Petite (1994) by Geneviève Brisac and Thornytorinx (2005) by Camille de Peretti and examines how these writers recreate the fragmentation of the anorexic self through a realist, performative ‘rhetoric of anorexia’. The second deals with Amélie Nothomb’s Robert des noms propres (2002), Biographie de la faim (2004) and Métaphysique des tubes (2000), and argues that Nothomb privileges a disembodied aesthetic that presents a masculine fantasy of the female body which all but erases the feminine. Ultimately, this thesis seeks to discover how and why selected contemporary female authors choose to engage with – and reject – 1970s models in which writing by women was presented as a means of finding one’s own voice, as well as a platform for politically significant action. It argues that new configurations of the hysteric nevertheless achieve a certain social and political impact.

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20

Mattson, Christina Phillips. "Children's Literature Grows Up". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467335.

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Children’s Literature Grows Up proposes that there is a revolution occurring in contemporary children’s fiction that challenges the divide that has long existed between literature for children and literature for adults. Children’s literature, though it has long been considered worthy of critical inquiry, has never enjoyed the same kind of extensive intellectual attention as adult literature because children’s literature has not been considered to be serious literature or “high art.” Children’s Literature Grows Up draws upon recent scholarship about the thematic transformations occurring in the category, but demonstrates that there is also an emerging aesthetic and stylistic sophistication in recent works for children that confirms the existence of children’s narratives that are equally complex, multifaceted, and worthy of the same kind of academic inquiry that is afforded to adult literature. This project investigates the history of children’s literature in order to demonstrate the way that children’s literature and adult literature have, at different points in history, grown closer or farther apart, explores the reasons for this ebb and flow, and explains why contemporary children’s literature marks a reunification of the two categories. Employing J. K. Rowling’s Harry Potter novels as a its primary example, Children’s Literature Grows Up demonstrates that this new kind of contemporary children’s fiction is a culmination of two traditions: the tradition of the readerly children’s book and the tradition of the writerly adult novel. With the fairy tales, mythologies, legends, and histories that contemporary writers weave into their texts, contemporary fictions for children incorporate previous defining characteristics of children’s fantasy literature and tap into our cultural memory; with their sophisticated style, complex narrative strategies, and focus on characterization, these new fictions display the realism and seriousness of purpose which have become the adult novel’s defining features. Children’s Literature Grows Up thus concludes that contemporary children’s fiction’s power comes from the way in which it combines story and art by bringing together both the children’s literature tradition and the tradition of the adult novel, as well as the values to which they are allied. Contemporary writers for children therefore raise the stakes of their narratives and change the tradition by moving beyond the expected conventions of their category.
Comparative Literature

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21

Correia, Sandra Miriam Rodrigues. "The role of literature: english textbooks and literature in secondary teaching in Portugal". Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2011. http://hdl.handle.net/10362/8105.

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Trabalho de Projecto apresentado para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino de Inglês
The purpose of this Project Work is to assess how English textbooks present an approach to the literary text in secondary schools in Portugal. Whilst textbooks are not the only resource teachers use in their teaching practice, in the last years they have gained a significant place, being now the main tool in any classroom. Acknowledging its importance means textbooks have become legitimizing tools for the contents they promote. On the other hand, there has been a regression in textbooks due to several policies, political and educational, that have affected their role as sources of meaningful learning. In fact, being textbooks a reading of the syllabus and frequently their substitutes, it will be shown that there are flaws in the syllabus that are replicated in textbooks, affecting its content. In educational terms, the literary texts as valuable and valid learning material have been cause of debate throughout years, although the English syllabus in Portugal promotes its use. Bearing this in mind, the emphasis will be placed in the use of literary texts as a way of achieving meaningful learning and enhancing students’ knowledge of English as a foreign language and on how textbooks do not support this perspective nor recognize its importance, because they follow a communicative perspective of learning a language.

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22

Belcher, Wendy Laura. "Discursive possession Ethiopian discourse in medieval European and eighteenth-century English literature /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619156921&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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23

Welch, Mary T. "Early English religious literature : the development of the genres of poetry, narrative, and homily /". Read thesis online, 2009. http://library.uco.edu/UCOthesis/WelchMT2009.pdf.

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24

Brocklebank, Lisa M. "Presentiments, sympathies and signs : minds in the age of fiction---reading and the limits of reason in Victorian Britain". View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318292.

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25

Liau, Agnes Wei Lin. "Exploring literature anxiety among students studying literature in English at Universiti Sains Malaysia". Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612210.

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26

Maltby, Deborah K. Phegley Jennifer. "Reading "Hodge" nineteenth-century English rural workers /". Diss., UMK access, 2007.

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Thesis (Ph. D.)--Dept. of English and Dept. of History. University of Missouri--Kansas City, 2007.
"A dissertation in English and history." Advisor: Jennifer Phegley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Includes bibliographical references (leaves 299-321). Online version of the print edition.

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27

Harris, Jason Marc. "Folklore, fantasy, and fiction : the function of supernatural folklore in nineteenth and early twentieth-century British prose narratives of the literary fantastic /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9456.

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28

Baton, Hannah Rachel. "Cultivation and wildness in middle English literature". Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497224.

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29

Bradley, James Lyons. "Legendary metal smiths and early English literature". Thesis, University of Leeds, 1987. http://etheses.whiterose.ac.uk/615/.

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'Legendary Metal Smiths and Early English Literature' is a study of Christian religious influence on the portrayal of a powerful technology, metallurgy, in Old English verse. Starting from the controversy over the supernatural role of metal smiths in a metrical Anglo-Saxon charm, it proceeds to explore the impact of Christian thought on attitudes to the metal-worker in late antiquity and early medieval Europe. Significant and contentious characterizations of the smith in the Cain legend, the lives of the saints, and legends of Christ are discussed in turn. A chapter on heroic verse and another on wonder-working discuss, among other topics, the theory that Anglo-Saxon metal smiths were regarded with fear and superstition. The thesis put forth by the author in the course of this survey is that the critical approach which explains the concern of Anglo-Saxon literature with smithcraft as little more than an irrational primitivism finds little support in the religious writing of the period. What requires explanation is not the view that metallurgy was a matter of Christian concern, but the assumption that it was not. While this study is primarily concerned with mapping literary themes, it is not confined to the world of the imagination. Holding that themes, in order to be appreciated, must be perceived, where possible, in the light of the historical conditions in which they flourished, it devotes part of its space to a consideration of the latter. It examines the role of the monastic movement in disseminating an idealistic view of industry; describes the achievements of Anglo-Saxon metal-working; and attempts to appreciate some of the real hardships faced by workers in the Anglo-Saxon forge. The insights gained from this approach lead ultimately to a new reading of the metrical Anglo-Saxon charm with which the study began, a reading which, rather than peering backwards into the pagan past, looks forward to subsequent and more familiar examples of the forge in literature.

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30

Vivian, Steven D. Scharton Maurice. "English studies, poststructuralism, and radicalism". Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9835920.

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Thesis (Ph. D.)--Illinois State University, 1998.
Title from title page screen, viewed July 6, 2006. Dissertation Committee: Maurice Scharton (chair), Bruce Hawkins, Janice Neuleib. Includes bibliographical references (leaves 251-260) and abstract. Also available in print.

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31

Taylor, Natalie. "Mapping mystic spaces in the self and its stories: Reading (through) the gaps in Ernest Buckler's "The Mountain and the Valley", Alice Munro's "Lives of Girls and Women", Peter Ackroyd's "The House of Doctor Dee", Adele Wiseman's "Crackpot", and A S Byatt's "Possession"". Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/29374.

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In their novels, Ernest Buckler, Alice Munro, Peter Ackroyd, Adele Wiseman and A. S. Byatt have each explored moments when their characters experience expanded states of consciousness. Narratives such as these, as well as those of various mystical literatures, posit the idea that the barriers of the known self can be broken through, often repeatedly. Each of the novels to be studied here portrays a gap- or flaw-ridden self in the act of perpetuating and/or penetrating various forms of narrative and identity constructs. Each also features an encounter with what is other when these narrative and identity boundaries are breached. Reading about "mystical" occurrences of this nature challenges readers with the possibility that perceptions may be registered beyond the paradigms of the subject/object split. In this project, narrative fiction will be read in terms of its capacity to trigger a questioning of, and an expansion from within, systems of knowledge and identity, explicitly in terms of character and plot structure, and implicitly as a model for the reading self. The ability to observe and to respond to productive "gaps" or "flaws" in the stories of the self is a skill not only practiced by contemplatives and mystics, and by the characters in these novels, but by readers of imaginative fiction as well.

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32

Safran, Morri. ""Unsex'd" texts : history, hypertext and romantic women writers /". Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026209.

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33

Hall, Simon W. "The history of Orkney literature". Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/2365/.

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The history of Orkney literature is the first full survey of the literature of the Orkney Islands. It examines fiction, non-fiction and poetry that is uncomplicatedly Orcadian, as well as that which has been written about Orkney by authors from outside the islands. Necessarily, the work begins with the great Icelandic chronicle Orkneyinga Saga. Literary aspects of the saga are examined, as well as its place within the wider sphere of saga writing. Most significantly, this study examines how the saga imposes itself on the work of subsequent writers. The book goes on to focua on the significance of Orkney and Orkney history in the work of a number of key nineteenth- and twentieth-century figures, including Sir Walter Scott, Edwin Muir, Eric Linklater, Robert Rendall and George Mackay Brown. The Victorian folklorist and short story writer Walter Traill Dennison is re-evaluated: The History of Orkney Literature demonstrates his central significance to the Orcadian tradition and argues for the relevance of his work to the wider Scottish canon. A fixation with Orkney history is common to all the writers considered herein. This preoccupation necessitates a detailed consideration of the core historiography of J. Storer Clouston. Other non-fiction works which are significant in the creation of this distinctly Orcadian literary identity include Samuel Laing's translation of Heimskringla; the polemical writings of David Balfour; and the historical and folklore studies of Ernest Walker Marwick. The study welcomes many writers into the fold, seeking to map and define a distinctly Orcadian tradition. This tradition can be considered a cousin of Scottish Literature. Although the writing of Orkney is a significant component of Scottish Literature at various historical stages, it nevertheless follows a divergent course. Both the eighteenth century Vernacular Revival and the twentieth century Literary Renaissance facilitate literary work in the islands which nevertheless remains distinctly independent in character. Indigenous Orcadian writers consider themselves to be Orcadians first and Scots or Britons second. Regardless of what they view as their national or political identity, their sense of insular cultural belonging is uniformly and pervasively Orcadian. What emerges is a robust, distinctive and very tight-knit minor literature.

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34

Forsberg, Laura. "The Miniature and Victorian Literature". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845467.

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The Victorian period is famously characterized by its massiveness, with the vast extent of the British Empire, the enormous size of the nineteenth-century city and the massive scale of the three-volume novel. Yet the Victorians were fascinated with miniature objects, which seemed in their small scale to belong to another world. Each miniature object prompted a unique imaginative fantasy of intimacy (the miniature painting), control (the toy), wonder (the microscope and the fairy) or knowledge (the miniature book). In each case, the miniature posited the possibility of reality with a difference, posing the implicit question: What if? This dissertation traces the miniature across a range of disciplines, from aesthetics and art history to science and technology, and from children’s culture to book history. In so doing, it shows how the miniature points beyond the limits of scientific knowledge and technical capabilities to the outer limits of the visual and speculative imagination. In novels, the miniature introduces elements of fantasy into the framework of realism, puncturing the fabric of the narrative with the internal reveries and longings of often-silent women and children. Miniature objects thus function less as realist details than as challenges to realism. In charting the effect of the miniature, both as a portal into the Victorian imagination and as a challenge to narrative realism, this dissertation puts the techniques of material history to new use. It aims not to describe the world of the Victorians but to show how the Victorians imagined other worlds.
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35

McWilliams, Sara E. "Disturbances: Figures of hybridity and the politics of representation /". Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9411.

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36

Smith, Mark Ryan. "The literature of Shetland". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/3938/.

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This thesis is the first ever survey of Shetland’s literature. The large body of material the thesis covers is not well known, and, apart from Walter Scott’s 1822 novel The Pirate, and Hugh MacDiarmid’s sojourn in the archipelago, Shetland is not a presence in any account of Scottish writing. ‘The Literature of Shetland’ has been written to address this absence. Who are Shetland’s writers? And what have they written? These are the fundamental questions this thesis answers. By paying close attention to Shetland’s writers, ‘The Literature of Shetland’ extends the geographical territory of the Scottish canon. ‘The Literature of Shetland’ covers a chronological period from the early nineteenth century to the present day. Virtually no creative poetry or prose, either written or oral, survives in Shetland from before this time so, after a brief discussion of the fragmentary pre-nineteenth century sources, the thesis discusses the archipelago’s literature in eight chronologically arranged chapters. Chapter One concentrates on a group of three obscure early nineteenth-century Shetland authors – Margaret Chalmers, Dorothea Primrose Campbell, and Thomas Irvine – and also explores Scott’s involvement with the northern isles. Chapters Two and Three discuss an important period at the end of the nineteenth century, in which books and newspapers were published in Shetland for the first time, and in which a number of pioneering and influential local writers emerged. Jessie M.E. Saxby became the first professional writer from Shetland and, in the work of George Stewart, James Stout Angus, Basil Anderson, and especially J.J. Haldane Burgess, the Shetland dialect developed as a serious literary idiom. These writers laid down foundations for much of what came next. Chapter Four discusses the end of this period of growth, with James Inkster posed as the last significant figure of his generation, and the war poet John Peterson as the first local writer to depart from the literary principles which developed in the Victorian era. Chapter Five looks at the work Hugh MacDiarmid did in Shetland from 1933-1942. MacDiarmid is not really part of the narrative of the thesis, but the work he produced in the isles is vast. Because he does not need to be introduced in the way the other writers do, this chapter takes a different approach to the rest of the thesis and looks at MacDiarmid’s Shetland-era work alongside that of Charles Doughty. Doughty was a crucial presence for MacDiarmid during his time in the isles, and considering their work together opens up a better understanding of the work MacDiarmid did in Shetland. Chapters Six and Seven discuss the second major period of growth in Shetland’s literature, focussing on the writers associated with the New Shetlander magazine, an important local journal which emerged in 1947. The final chapter then looks at contemporary Shetland authors and asks how they negotiate the literary tradition the thesis has worked through. This chapter also discusses the Shetland-related work of several non-native authors, Jen Hadfield being the most well known. In moving through these authors, as well as providing necessary introductory material, several general questions are asked. Firstly, because almost all the writing studied emerges from the isles, the question of how each writer engages with those isles is consistently relevant. How do local writers find ways of writing about their native archipelago? Do writers who are not from Shetland write about the islands in different ways than local people? The thesis shows how Scott and MacDiarmid, the two most famous non-native authors dicussed here, draw on earlier literary sources – the sagas and the work of Doughty – to construct their respective creative visions of the isles. And, in discussing the work of local authors, it will be shown that, in the early period covered in Chapter One, landscape is the most prominent idea whereas, from the Victorian era to the present day, the croft provides the central imaginative space for Shetland’s writers. A second question that runs through the thesis is one of language. Almost every local author has written extensively in Shetland dialect, and this study explores how they have developed that language as a literary idiom. The thesis shows how Shetland dialect writing gets underway in the 1870s, and how writers have continued to expand and diversify that literary tradition. The two most innovative figures to emerge are J.J. Haldane Burgess and William J. Tait and, after demonstrating how the corpus of writing in Shetland dialect has grown, the thesis concludes by examining the ways in which contemporary writers engage with the vernacular legacies their predecessors have left. Extensive use of the local language gives Shetland’s writing a regional distinctiveness, and this thesis shows how some writers have been enabled and inspired by that idiom, how some have taken dialect writing in exciting new directions, but also how some have felt limited by it and how, by not using the language, some writers have been unfairly ignored by local editors and critics. The thesis also shows that, in its two main eras of development – at the end of the nineteenth century and in the middle of the twentieth – Shetland’s writers took their cues from the general movements in Scottish writing. In the Victorian period, developments in local letters paralleled the interest in regionality and upsurge in vernacular writing that are marked characteristics of Scottish writing at the time. And, in discussing the emergence of the New Shetlander and the writers associated with it, the thesis demonstrates how the second period of flourishing in Shetland’s literature is part of the wider cultural movement of the Scottish Renaissance. The picture of Shetland’s literature the thesis offers is a self-consciously heterogeneous one. Despite the marked use of the vernacular, the thesis resists moving towards an encompassing definition of the large body of work covered, preferring to celebrate the diversity of the writing that Shetland has inspired during the last two centuries. Questions of engagement with the local environment and the use of the local language are constantly asked, but the primary scholarly contribution offered by ‘The Literature of Shetland’ is a realignment of Scotland’s northern literary border.

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37

Lee, Debbie Jean 1960. "Slavery and English Romanticism". Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288753.

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During the Romantic period, England, which then led the world in slave exports, abolished both the African slave trade and West Indian slavery, setting a trend that the Portuguese, Danish, French, Germans, and Americans would follow. Abolition, a powerful moral engine, barreled through England on the tracks of pamphlets, poetry, engravings, speeches and sermons. Abolition was clearly the moral (as well as economic and social) issue of the age. My dissertation investigates the ways in which Romantic writing emerged from and responded to the issues brought on by the slavery question. Through primary and archival research, I reconstruct not only the voices of abolition, but also of various contributing discourses such as medicine, travel, cartography, labor, and iconography. This range of sources provides the basis from which I read major Romantic poems, advancing interpretations that make clear seemingly discordant relationships, like that between Keats, slavery and voodoo; between cartography, slavery and sonnets; and between Wordsworth, slavery, and abortion. The way Romanticism is haunted by the slavery question, I argue, needs to be recovered within literary history as much as within Romantic poetry itself. My dissertation thus combines three kinds of projects: a contribution to historical reconstructions based on primary research; a contribution to knowledge of specific literary works; and a contribution to ongoing arguments about critical method.

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38

Edmunds, Susan. "The English riddle ballads". Thesis, Durham University, 1985. http://etheses.dur.ac.uk/7574/.

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The term 'English Riddle Ballad' is taken here to describe the six items in Child's collection of English and Scottish popular ballads which have become known as such: Child numbers 1, 2, 3,45, 46 and 47. All these ballads are in the English language, and all contain some sort of questions which do not have direct answers; beyond this, the group is not a homogenous one in age, place, form or content. For each ballad, as many variants as possible have been assembled and are described chronologically in Appendices. By an examination of the whole corpus of texts, this thesis traces, within the limitations of the material, the history and transmission of each item. At the same time, the various relationships with cultural and historical backgrounds are explored. The tunes have been arranged in groups to help in identifying patterns of transmission. In particular, the nature and effects of the riddling element in each case is investigated, and a separate chapter (8) goes on to compare and analyse these as poetic structures. This chapter also puts forward a definition of riddling based on the mental processes involved, rather than on the linguistic form of the riddle itself; this avoids the problems of former definitions of the genre which exclude much material that is traditionally and instinctively classed as riddle. According to this definition, however, only four of the six 'Riddle Ballads' can be said to contain true riddling elements. A final chapter brings the ballads into alignment with modern anthropological studies of the riddle, describing other contexts in which riddling occurs, and evaluating the achievements of this limited but intriguing genre.

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39

Wragg, Stefany J. "Vernacular literature in eighth- and ninth-century Mercia". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:32fa907f-158e-4dd6-ab1b-05c7689b6e79.

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This dissertation reads a group of Old English prose and verse texts that linguistic evidence suggests probably originated in Mercia, within the context of eighth- and ninth-century Mercian cultural and political history. This approach complements and supplements existing scholarship, offering evidence that the theory that a culture of vernacular translation and composition thrived in Mercia has fruitful explanatory powers. It articulates a theoretical narrative of the early period of Old English literature, and identifies two major trends that can be linked to the political and material culture of Mercia in the eighth and ninth centuries. The first is the proliferation of vernacular hagiography, both in prose and verse. In the first chapter, I offer an overview of Anglo-Saxon texts connected with the cult of Guthlac, a saint closely connected to the Mercian dynasty in the eighth and ninth centuries. This chapter offers an interpretation of Felix's Vita sancti Guthlaci as an iteration of Mercian identity, and highlights the way in which Guthlac A asserts and emphasizes the saintâs Mercian identity. I then propose a revival of the cult of Guthlac linked to a crisis in the Mercian succession in the ninth century, to which the possibly Cynewulfian account of Guthlac's death in Guthlac B, the Old English prose translation of Felix's life, and the entries in the Old English Martyrology, may be connected. In Chapter 2, I offer a reading of the hagiographical poetry of Cynewulf, namely Juliana and Elene, in light of the remarkably â and arguably uniquely â powerful position of women in Mercia from the reign of Offa onwards. The early cult of Juliana appears to have a Mercian bias, and the empowered female saints in Cynewulf's works may also be connected to evidence for female literacy in the Tiberius-group manuscripts, all of which originate in eighth- and ninth-century Southumbria. In Chapter 3, I read the Old English translation of Bede's Historia ecclesiastica, a major though until recently little-studied prose work, in relation to other texts with a literal style of translation and a hagiographical focus, and its apparent interest in Mercian conciliar culture. I also propose that the style of illumination of the earliest extant copies of the Old English Historia ecclesiastica may be influenced by Mercian, Tiberius style. The second major trend which the material and literary culture of Mercia manifests in this period is an early Orientalism, imitating and appropriating Eastern models as signs of power and sophistication. Sculptures such as those at Breedon-on-the-Hill, Leicestershire, in which Mary is modelled on Byzantine sculpture, or the dinar of Caliph al-Mansur (773-4), reminted as coinage for Offa, demonstrate a deep engagement with Oriental culture prevalent in Mercia during this period. Several decorative elements in the eighth- and ninth-century Tiberius group manuscripts, which have stylistic affinities and are often associated with Mercia, also have Oriental origins. This same phenomenon is traceable in the literary record. For example, Cynewulf's works engage in various ways with different regions of the Orient, including the Mediterranean, Africa, Rome, Jerusalem and India. The Old English Martyrology combines Insular and continental saints with Eastern saints. The Oriental character of two of the prose texts of BL Cotton Vitellius A. xv., The Letter of Alexander to Aristotle and The Wonders of the East, both usually considered Mercian on linguistic grounds, has been long noted. Together with its manuscript neighbours, Wonders and Beowulf, I consider the Letter's interest in the wider world, as well as its theorization of kingship, by which it might be considered a speculum regum. This thesis reads these texts in the light of various forms of evidence for Mercian literary culture, including linguistic characteristics and preexisting scholarship. In so doing, it fleshes out a theoretical narrative of vernacular literature prior to the late ninth-century Alfredian renaissance.

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40

Brown, Raymond David. "Apo koinou in Old English poetry /". The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487684245465626.

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41

Oswald, Dana M. "Indecent bodies gender and the monstrous in medieval English literature /". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1116868190.

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42

Mullally, Erin Eileen. "Giving gifts : women and exchange in Old English literature /". view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061960.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 253-271). Also available for download via the World Wide Web; free to University of Oregon users.

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43

Morgan, David Ellis. "Pulp literature a re-evalutation [sic] /". Connect to this title online, 2002. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040820.122551.

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44

Battles, Kelly Eileen. "The antiquarian impulse history, affect, and material culture in eighteenth- and nineteenth-century British literature /". Diss., Connect to online resource - MSU authorized users, 2008.

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45

Skordili, Beatrice. "Destroying time topology and taxonomy in "The Alexandria Quartet /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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46

Hurwitz, Melissa. "Dispossessed Women| Female Homelessness in Romantic Literature". Thesis, Fordham University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10281988.

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“Dispossessed Women” examines the status of homeless women in late eighteenth and early nineteenth century literature, with special attention to both the cultural assumptions and aesthetic power that accrued to these figures. Across the Romantic era, vagrant women were ubiquitous not only in poetry, children’s fiction, novels, and non-fiction, but also on the streets of towns and cities as their population outnumbered that of vagrant males. Homeless women became the focus of debates over how to overhaul the nation’s Poor Laws, how to police the unhoused, and what the rising middle class owed the destitute in a rapidly industrializing Britain. Writers in the Romantic period began to treat these characters with increasing realism, rather than sentimentalism or satire. This dissertation tracks this understudied story through the writing of Mary Robinson, Maria Edgeworth, Hannah More, Robert Southey, and William and Dorothy Wordsworth.

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47

Jaber, Ahlam. "Sitt Marie Rose| A Female Vision of the Colonized Middle East". Thesis, Southern Illinois University at Edwardsville, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10275787.

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Transgression and identity are intertwined for the modern Arab American in a way where being offensive to one culture at any given moment is impossible to avoid. In this study of Sitt Marie Rose by Etel Adnan, I focus on the various contributing factors to the Arab American’s journey to self-discovery. These factors include colonialism and post-colonialism, religion, modern Western influence, and constructed gender roles.

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48

Erhart, Erin Michelle. "England's Dreaming| The Rise and Fall of Science Fiction, 1871-1874". Thesis, Brandeis University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10103436.

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This dissertation grows out of a conversation between two fields—those of Victorian Literature and Science Fiction (SF). I began this project with a realization that there was a productive overlap between SF and Victorian Studies. In my initial engagement with SF, I was frustrated by the limitations of the field, and by the way that scholars were misreading the 19^th century, utilizing broad generalizations about the function of Empire, the subject, technology, and the social, where close readings would have been more productive. Victorian studies supplied a critical and theoretical basis for the interrogation of these topics, and SF gave my reading of the nineteenth century an appreciation for the dynamic nature of the mechanism, and a useful jumping-off point for conversations around futurity, utopia, and the Other. Together, these two fields created a symbiotic theoretical framework that informs the progression of the dissertation.

In this project, I am shifting the grounds of engagement with early SF between two main terms; my aim is to question the establishment of “cognitive estrangement” as the seat the power in SF studies and supplant it with an emphasis on the “novum”. While both terms are indebted to Darko Suvin, I argue that the fixation on cognitive estrangement has blurred the lines of the genre of SF in nonproductive ways, and has needlessly complicated an already complex field. This dissertation is a deep engagement with the SF novels of 1871-2 to establish how the genre was defining itself from the very beginning, and looks to examine how a close-reading of early SF can inform our engagement with the field. Chapter one treats the work of Edward Bulwer-Lytton’s The Coming Race (1871), chapter two examines Sir George Chesney’s The Battle of Dorking (1871), chapter three engages with Samuel Butler’s Erewhon, and chapter four is an examination of the relationship between the first three novels and Robert Ellis Dudgeon’s Colymbia (1873) and A Voice from Another World (1874) by Wladyslaw Somerville Lach-Szurma (W.S.L.S).

There are four fundamental concerns. The first is that the near simultaneous publication of Chesney, Lytton, and Butler signaled the emergence of SF as a genre, rather than as the isolated texts that had existed prior to this moment. The clustering of the novels of 1871-2 marks the transition of SF concerns from singular outlier events to a generic movement. The second claim is that the “novum”, one of the key aspects of a SF novel, is not just a material component in the text, but is a kind of logic that undergirds these novels. While the novum is often thought of as “the strange thing in a strange world”, I lock onto the early language of Suvin and critics such as Patricia Kerslake and John Rieder to suggest that it is, instead, a cognitive logic that is experimented on within the narrative of the novel. The third claim is fundamentally tied to the second: this foundation logic of the text is technological or mechanical. It is this connection of cognitive logic and technology and the mechanism that situates the novum as a technologic that is experimented on or evolved within the body of an SF novel, and is important because it helps us lock onto how SF is a product of the industrial age. In the break that occurs in 1871, this form of the novum plays a critical role in the development and identification of SF as a genre, and helps to distinguish texts with scientific themes (what I am calling scientific fictions) from those featuring a fundamental technologic that is intrinsic to the development and deployment of the narrative (what will come to be called science fiction).

The fourth and final claim is a product of the function and nature of the novum: and is that SF as a genre not only helps to understand technology and culture, but actively works to define the relationship between the two. Technology is registered as an important influence on culture, and culture shapes the future of technology. This genre is ultimately growing out of the rise of the scientific method, and the logic of the texts reflects that experimental paradigm. The logic of SF is one that experiments with the future, testing the implications of the known world against the possibilities of time, and in doing so, defining the terms of engagement with what the future might bring.

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49

Thompson, Clarissa. "Pedagogy and prospective teachers in three college English courses /". Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/7826.

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50

Mediratta, Sangeeta. "Bazaars, cannibals, and sepoys : sensationalism and empire in nineteenth century Britain and the United States /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3175284.

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Tesis sobre el tema "English literature Hysteria in literature"

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