Tesis: "LITERARY CRITICISM / American / General"

1

Lewis, Dennis L. M. "Speech, voice and parable : reading and writing through Auden (letters to Auden, a reading of his poems, and a serial poem of Barack Hussein Obama)". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/16955/.

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This thesis comprises three main components: firstly, close readings and critical analyses of four major poetical works by W.H. Auden—“The Watershed”, The Sea and the Mirror, “New Year Letter”, and “In Time of War”; secondly, ten semi-informal letters addressed to W.H. Auden; and thirdly, a serial poem consisting of short and long poems based on the speeches of the public figure, Barack Obama. The thesis proposes a creative writing discipline founded on the productive and intensive exchange between reading and writing poetry, and reflection through letter writing. The chapters of critical analysis argue the following: firstly, that through his idiosyncratic handling of syntax and voice in poems like “The Watershed”, Auden introduced a new element of the uncanny into English poetry; secondly, that in The Sea and the Mirror, Auden re-evaluated his poetics and altered his poetic voice in response to a new reading public; thirdly, that in the “New Year Letter,” Auden uses tone to expand the range of his poetic voice; and fourthly, that in the sonnet sequence “In Time of War”, Auden uses parable to combine lyric and narrative elements in order to universalise the Sino-Japanese War. Some of the issues raised in the chapters of critical analysis, such as poetic truth, poetic voice, the lyric subject, and parabolic writing, are elaborated on in the letters to W.H. Auden. Finally, the Serial Poem presents 74 short and long poems produced using appropriative writing procedures. The idea that runs through all parts of this thesis is that speech, voice, and parable are crucial elements in the poetic practice of W.H. Auden, and that close attention to these three elements through all stages of this project— critical reading and writing, letter writing, and creative writing—has contributed to the development of a rich and productive poetic writing practice.

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2

Vogel, Molly. "Florilegium". Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7743/.

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This thesis is composed of two parts, encompassed in a third: a poetry collection; a critical dissertation; and an artist’s book. The thesis as a whole is entitled Florilegium. This title, from the Latin flos, or ‘flower’, and legere, ‘to gather’, refers to the medieval system of collecting extracts from various authors to form a larger body of work. It is also applicable to flower-treatises, dedicated to their ornamental nature rather than medicinal or scientific. The critical dissertation comes in the form of a glossary. It intends to show that the flower plays an essential role in linking Modernist poetics with that of its Romantic predecessors and beyond. In isolated and ‘illuminated’ examples from Aristotle to Zukofsky, it examines the lineage of botanical poetry, in the light of its unique linguistic makeup: a vernacularized scientific lexicon established in the Latin of Carl Linnaeus. While the critical component of the thesis is an interrogation of botanical language, the poetry collection is its living representation. To enhance the living nature of the text, I have designed and printed an artist’s book, which also acts as an herbarium for floral specimens collected and pressed over the duration of my degree. The design of the book is in keeping with traditional florilegia, incorporating historic binding techniques, typography, paper, and size.

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3

Muscolino, Stephen J. "Writing in real-time, fictions of digitization : the novels of Don DeLillo and Dave Eggers". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8276/.

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By tracking the intersection of contemporary fiction and the information technologies of the digital age, this thesis argues that the narratives being produced over the past ten years have evolved into a distinct genre of literature, one where the aesthetics of fragmentation and postmodern uncertainty must confront the new realities of a digitally saturated culture and society. In order to demonstrate this alteration in contemporary fiction, this thesis considers novels written within the past ten years that reflect on this new form of textuality, namely Don DeLillo’s Cosmopolis (2003) and David Eggers’ The Circle (2013). These texts demonstrate a paradigm shift in contemporary literature, a new kind of fiction in which American society, culture, economics, and politics, are all directly affected by various forms of digital mediatisation. These authors reflect an altered cultural zeitgeist within their fiction—writings which can be differentiated from the postmodern literary aesthetic—prompted by neoteric digital technologies coupled with the ubiquitous nature of the Internet. Although this topic is broad and covers multiple fields of scholarly interests, my thesis nonetheless concerns itself with a very specific line of questioning: will our authors have the imaginative wherewithal and social sensitivity to keep pace with changes brought forth by the explosion of information technologies? If so, what type of fiction is likely to emerge from this new digital environment? By taking a focused approach and using contemporary literature as representative of these massive social, economic, and political transformations, my research recalls Kurt Vonnegut’s “Canary in the Coal Mine” dictum: the writer has always been the first to notice the dramatic effects of technology on the individual and the culture at large.

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4

Davidson, Ryan J. "Affinities of influence : exploring the relationship between Walt Whitman and William Blake". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5590/.

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This project explores the nature and extent of the relationship between Blake and Whitman. I examine their works to find affinities in tone, style and themes and seek to understand the origin of these affinities. The resultant discoveries, however, lead to the conclusion that, because of Whitman’s lack of exposure to Blake’s work, these affinities must be accounted for through a coterie of indirect influences on Whitman. Over the course of the introductory chapter, I establish the critical proclivity of connecting William Blake and Walt Whitman, providing examples of such critical interpretation; in addition, I provide an introduction to the key figures, terms, and works with which this thesis engages. The work of the second chapter of this project is to uncover in Whitman’s work, before he could have read Blake, those elements that are read as points of contact between them. Through close readings, I show that those aspects of Whitman’s work which are read as points of contact between Blake and Whitman predate Whitman’s exposure to Blake’s work, and so necessitate an engagement with influences shared by Blake and Whitman. The third chapter articulates the notion that a variety of influences affected Whitman’s composition of Leaves of Grass, and these various influences serve as an explanation for those apparent similarities between Blake and Whitman discussed in chapter two. The final element this chapter engages with is that of nineteenth-century periodical culture; this aspect of the influences articulated in this chapter provides a secondary explanation for the similarities discussed in the second chapter. The fourth and fifth chapters focus on the 1860 and 1867 iterations of Leaves of Grass and the 1867 and 1871–72 versions of Leaves of Grass, respectively, both with special emphasis on the poem that would become “Song of Myself.” The changes seen throughout these iterations will be used to understand Whitman’s evolving prosody as well as his changing public persona. These chapters also engage with the work of Swinburne, in chapter five, and of Gilchrist, in chapter four, as integral elements of this mediated influence of Blake on Whitman. In the final chapter of this work, I summarize my findings, suggest possible avenues for further inquiry, and discuss the implications of this research. There is a trend in Anglo-American literary criticism to see the relationship between America and England as adversarial rather than generative. The concluding chapter of this work will explore the idea of the Anglo-American literary tradition as a continuum—a complex of acceptance, extension, transformation, and refusal—and place the relationship of Whitman to Blake accurately on this continuum.

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5

Elston, Suzanne Poteet. "Garrison Keillor and American Literary Traditions". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500338/.

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Although Garrison Keillor is perhaps best known as the creator and host of Minnesota Public Radio's A Prairie Home Companion (1974-1987), the focus of this study is his literary career. Keillor's literary accomplishments include a successful career as a writer for The New Yorker and two best-selling books about the fictional town of Lake Wobegon, Minnesota, entitled Lake Wobegon Days (1985) and Leaving Home (1987). His literary style incorporates elements from several traditions in American literature--the precise, sophisticated "New Yorker style" practiced by writers such as E. B. White and James Thurber; the oral tradition prominent in the works of Mark Twain and the nineteenth-century literary comedians; and the satiric realism associated with the small-town literature of writers such as Sherwood Anderson and Sinclair Lewis.

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6

McLean, Ralph R. "Rhetoric and literary criticism in the early Scottish Enlightenment". Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/802/.

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In recent years the importance of the Scottish contribution to rhetoric and literary criticism has begun to be fully recognised by historians and literary critics. Men such as Hugh Blair, Adam Smith and George Campbell have now been afforded a just place in the canon of literary critics. However, the period before the 1760s which saw a great flourishing in Scottish intellectual activity has, by in large, remained untouched. The main purpose of this thesis is to rehabilitate those thinkers in Scotland who were active in the period before this, and who began to change the boundaries of rhetoric and literary criticism, which ultimately paved the way for their fellow countrymen to export their own systems to Europe and the wider Atlantic world. In addition to this, the thesis addresses two other major concerns. Firstly, it will argue that Scotland in this period does not deserve to be viewed as merely a cultural province of England, reacting solely to its larger neighbour’s cultural agenda. Instead, the Scots were engaged in a European-wide exchange of ideas which allowed them to develop a system of rhetoric and literary criticism which was richer than a brand that was developed only in response to English cultural pressure. Secondly, the thesis will demonstrate the importance of the classical influence on Scottish thinkers in their attempts to forge a new style of rhetoric for modern consumption. The structure of the thesis has been set in such a way as to provide a balance between the development of rhetoric in regional enlightenment centres, in terms of both university and club activity, and its development and progression in the traditional institutions of Scotland: the parliament, the church and the law. The first three chapters focus on Aberdeen, Edinburgh and Glasgow, and chart the different influences that each city was subjected to, that in turn led to the construction of differing, yet still in many respects, complementary systems. Within the universities themselves, the figures of Thomas Blackwell of Aberdeen, Francis Hutcheson of Glasgow, and John Stevenson of Edinburgh, merit substantial analysis for their role in this process, not only for the influence which they exerted on future generations of literary critics in Scotland and abroad, but also for their own contributions to the discipline, which have been frequently overlooked. The focus on the regional varieties of Enlightenment also permits for a discussion of club activity in Scotland, which was an integral part of the Scottish Enlightenment. This will demonstrate that the growth of rhetoric and literary criticism in the country was not the sole preserve of the educated elites, but was something which could be accessed from all levels of society. The second half of the thesis focuses on the institutions of Scotland. This section seeks to restore to parity, sources such as political pamphlets, sermons and style books which, under the rules of modern day criticism that concerns itself with only a narrow band of literature, have become overlooked as a foundation for rhetorical development. Furthermore, it provides an opportunity to assess the contribution to the advance in critical theory of those individuals such as Lord Kames and Sir George Mackenzie of Rosehaugh who did so away from the universities.

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7

England, Peter S. (Peter Shands). "American Literary Pragmatism : Lighting Out for the Territory". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278511/.

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8

Dunn, Angela Frances. "The continental drift : Anglo-American and French theories of tradition and feminism". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63972.

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9

Smith, James Gregory. "The Dostoevskyan Dialectic in Selected North American Literary Works". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278268/.

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This study is an examination of the rhetorical concept of the dialectic as it is realized in selected works of North American dystopian literature. The dialectic is one of the main factors in curtailing enlightenment rationalism which, taken to an extreme, would deny man freedom while claiming to bestow freedom upon him. The focus of this dissertation is on an analysis of twentieth-century dystopias and the dialectic of Fyodor Dostoevsky's Grand Inquisitor parable which is a precursor to dystopian literature. The Grand Inquisitor parable of The Brothers Karamazov is a blueprint for dystopian states delineated in anti-utopian fiction. Also, Dostoevsky's parable constitutes a powerful dialectical struggle between polar opposites which are presented in the following twentieth-century dystopias: Zamiatin's Me, Bradbury's Farenheit 451, Vonnegut's Player Piano, and Atwood's The Handmaid's Tale. The dialectic in the dystopian genre presents a give and take between the opposites of faith and doubt, liberty and slavery, and it often presents the individual of the anti-utopian state with a choice. When presented with the dialectic, then, the individual is presented with the capacity to make a real choice; therefore, he is presented with a hope for salvation in the totalitarian dystopias of modern twentieth-century literature.

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10

Muller, Adam Patrick Dooley. "The importance of being elsewhere : modernist expatriation and the American literary tradition". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35022.

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My dissertation concentrates on Americans writing at home and abroad in the inter-war period and contextualizes their expatriation with reference to debates between modernist critics over the nature and substance of the American literary tradition. I clarify the definitions of terms like "exile," "emigrant," and "expatriate" central to my analysis but muddied by years of misuse. I do so with reference to coercion, a concept which I develop in accordance with recent work in the philosophy of action. At the same time I make the case for a realist, causalist hermeneutics. Next I explore the aesthetic corollary to my argument with reference to the fiction, autobiography, and literary criticism of Gertrude Stein. I argue that Stein's decision to leave America must be viewed as uncoerced, and as therefore indicative of her emigration to France. Viewed as an emigrant, and not as an exile or expatriate, Stein can be shown to manifest tendencies in her work (towards subjectivity, abstraction, and retrospection) which reflect her dissociation from, rather than ongoing connection to, America. Lastly, I look closely at the work of Van Wyck Brooks and Harold Stearns, two modernist literary and culture critics whose writings on expatriation demonstrably influenced generations of subsequent biographers and intellectual historians. Steams and Brooks can be counted among the most articulate and vociferous proponents of literary change in America, and can be situated at the poles of a vigorous debate within the literary community of their day over whether American letters were better served from within or without the United States. I contrast Brooks' civic humanism with Steams' rugged individualism and identify in the debate over expatriation a powerful analogue to ongoing debates in literary and cultural critical circles referred to as "the culture wars."

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11

Liu, Victoria Xiaoyang. "The Reception of Mo Yan in the British and North American Literary Centers". Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-115370.

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This thesis investigates the two major conflicting modes of interpretation applied to Mo Yan’s literary texts diachronically and synchronically in order to reveal both the aesthetic imperative and the liberating force of the British and North American literary centers in receiving literature from the periphery. After an introduction to the centers’ disparate responses to the paradigmatic shift of the local Chinese literary trend in the 1980s, the thesis continues with a theoretical discussion on reader-response theory and the uneven power relations between the literary center and the periphery. Jauss’s concept of horizon of expectation and Fish’s interpretive community are adopted to stress openness in interpretation while Casanova’s conceptualization of the world republic of letters provides the framework to study the competition among interpretive communities for the legitimacy of their respective interpretation. The study of the press reception of Mo Yan focuses on the ongoing shift of horizon of expectation from the dominating political and representational mode of interpretation to one that stresses the literary and fictional nature of literature. The study shows that the imperative in the reception of Mo Yan is the extension of the Western cultural hegemony sustained by an Orientalist dichotomy. The academic promotion in the public sphere, however, shows critics’ effort to subvert such domination by suggesting an alternative mode that brings the Chinese literary context to bear on the interpretation. In addition to this, Mo Yan’s strategic negotiation with the dominating mode of reception is analysed in my close reading of POW!. At the end of the thesis, I call for general readers to raise the awareness of the hegemonic tendency of any prevailing mode of interpretation. By asserting a certain distance, readers enable the openness in interpretation and hence possible communication among different communities.

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12

Clarke, Joni Adamson. "A place to see: Ecological literary theory and practice". Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187115.

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"A Place to See: Ecological Literary Theory and Practice" approaches "American" literature with an inclusive interdisciplinarity that necessarily complicates traditional notions of both "earliness" and canon. In order to examine how "Nature" has been socially constructed since the seventeenth century to support colonialist objectives, I set American literature into a context which includes ancient Mayan almanacs, the Popol Vuh, early seventeenth and eighteenth century American farmer's almanacs, 1992 Nobel Peace Prize winner Rigoberta Menchu's autobiography, the 1994 Zapatista National Liberation army uprising in Mexico, and Leslie Silko's Almanac of the Dead. Drawing on the feminist, literary and cultural theories of Donna Haraway, Carolyn Merchant, and Michel Foucault, Julia Kristeva, Edward Said, Annette Kolodny, and Joseph Meeker, I argue that contemporary Native American writers insist that readers question all previous assumptions about "Nature" as uninhabited wilderness and "nature writing" as realistic, non-fiction prose recorded in Waldenesque tranquility. Instead the work of writers such as Silko, Louise Erdrich, Simon Ortiz, and Joy Harjo is a "nature writing" which explores the interconnections among forms and systems of domination, exploitation, and oppression across their different racial, sexual, and ecological manifestations. I posit that literary critics and teachers who wish to work for a more ecologically and socially balanced world should draw on the work of all members of our discourse community in cooperative rather than competitive ways and seek to transform literary theory and practice by bringing it back into dynamic interconnection with the worlds we all live in--inescapably social and material worlds in which issues of race, class, and gender inevitably intersect in complex and multi-faceted ways with issues of natural resource exploitation and conservation.

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13

MacDonald, Deneka C. "Locating resistance/resisting location : a feminist literary analysis of supernatural women in contemporary fantastic fiction". Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/5344/.

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In this thesis I examine the ways in which feminist and human geographies intersect with contemporary women-centred fantasy fiction. In particular, I consider space and place to be significant to female characters in their role as a physical presence as well as an intangible location. Thus I explore the forest, the body and the mind as territories occupied by the supernatural women. These various spatial themes, I suggest, outline distinctive locations for supernatural female characters and enable them to engage in a position of resistance from patriarchal ideologies. Through a spatial analysis of selected fiction, I reflect on challenges to notions that construct identity, gender and sexuality as well as conflict among women. I argue that the supernatural woman in fiction has been frozen in one-dimensional representation within traditional male-centred texts. This one-dimensionally, I suggest, hinges on the juxtaposition of the overly simplistic good/bad binary that has often illustrated female characters within fantasy fiction. As fantasy is a genre typically more concerned with worlds than characters, the women-centred fantasy text is unique in its exploration and pursuit of the literary character. Given the contemporary and interdisciplinary nature of this thesis, I have drawn upon filmic adaptations of texts at times to illustrate a further level of cultural awareness. The main emphasis is, however, on literary texts and, thus, reference to film is meant to supplement my textual analysis.

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14

Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.

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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.

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15

Kensky, Eitan Lev. "Facing the Limits of Fiction: Self-Consciousness in Jewish American Literature". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10716.

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This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination.
Near Eastern Languages and Civilizations

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16

Murdock, Robert Pearson III. "Scarecrow". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195513157.

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17

Hise, Patricia Jean Fielder. "Carson McCullers Beyond Southern Boundaries: Diagnosing "An American Malady"". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935671/.

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The loneliness theme of Carson McCullers' fiction falls into three divisions or levels. And because of her focus on the individual, her general theme of loneliness as it results from human isolation is universal. She develops her "broad principal theme" through an examination of human characteristics common to all human beings. In expressing her concept of isolation as a human condition, however, she presents loneliness as she believes it exists in her own culture, and, for this reason, her works present a loneliness that results from American cultural attitudes and is tempered by a Southern sense of nostalgia. After first establishing an understanding of McCullers' basic theme through an analysis of The Heart is a Lonely Hunter, this study analyzes the nature of the Southern tradition and its influence on the criticism of her fiction with particular focus on the problems of determining to what degree her Southern settings inhibit the interpretation of her works beyond a regional perspective. A comparison of thematic elements, events, and characterization in The Heart is a Lonely Hunter to nonfiction critical discussions of American culture in The Image by Daniel Boorstin and The Pursuit of Loneliness by Philip Slater shows that the social context and the theme of isolation in the novel reflect a condition of life that is American, not distinctively Southern. The final portion of this study continues the analysis of McCullers' basic theme in Reflections in a Golden Eye, The Member of the Wedding, The Ballad of the Sad Cafe, and Clock Without Hands, comparing elements of these later works to The Image and The Pursuit of Loneliness in order to demonstrate the particularly American loneliness of her characters and the value of her works to the tradition of American novel.

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18

Weir, Rebecca Jane. "Written war : reportage and the literary, 1861-1866". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609236.

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19

Barry, Juli. "American families in fact and fiction : decentering a constrictive ideal /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9835407.

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20

Kan, Tabitha G. "Renderings of the abyss : some changing nineteenth-century literary perceptions of the animal/human divide". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19458/.

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The aim of this thesis is to amalgamate philosophy and history of science with literature to achieve an overview of changing ideas of the animal/human divide during the nineteenth century. Drawing on the ideas of Jacques Derrida, Friedrich Nietzsche, Julia Kristeva and Giorgio Agamben. I consider this divide and its contents, often regarded as an abyss. The study is written like a time line, starting at the beginning of the nineteenth century and finishing at the end. I split the nineteenth century into four time periods centred around the emergence of Darwinian theory, considered by this study to be the single most prolific scientific event to have occurred during the nineteenth century. These time frames are the pre-Darwinian, the early Darwinian, the late Darwinian and the post-Darwinian. The study is split into four chapters which coincide with these time frames, covering four different novels which exemplify contextually relevant ideas of the abyss. These are Frankenstein by Mary Shelley, Moby-Dick by Herman Melville, Crime and Punishment by Fyodor Dostoevsky and The Island of Doctor Moreau by H.G. Wells. During the course of this study I consider various ideas applied by the authors about the abyssal limits and what they consist of. These include considerations on reason, society, morality and spirituality, all ideas used in various different manners to attempt to explain the abyss. From these various deliberations I formulate a conclusion which takes into account the various nuances which would have effected each of the writer’s formulations of the abyss.

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21

Viteri, Marquez Elisa Andrea. "Literary masculinities in contemporary Egyptian dystopian fiction : Local, regional and global masculinities as social criticism in Utopia and The Queue". Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184262.

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In the aftermath the 25th January Revolution of 2011, two Egyptian dystopian novels stand out as particularly relevant: Utopia (2008) by Ahmed Khaled Towfik, and The Queue (2013), by Basma Abdel Aziz. Due to the absence of studies that pay attention to how gender relations are portrayed in Arabic dystopian novels, this study focuses on the literary representation of men and masculinities in Utopia and The Queue. This thesis uses narratology and content analysis in order to show that, although patterns of local masculinities are different in both novels, regional and global models of masculinity clearly point out men as controlling, violent and hypersexual, which is supported by multiple institutions, such as the state, media, and the religious establishment. The inclusion of relevant ethnological studies of masculinities in Egypt confirms that the social criticism of the novels include gender relations, and refers to the time in which the novels were written. This study points out the need for recognizing Arabic dystopian fiction as a valuable instrument that carries meaningful and intricate social criticism, as well as the need for the inclusion of gender as a category of literary analysis.

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22

Farrington, Tom Joseph William. "'Breaking and Entering' : Sherman Alexie's urban Indian literature". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10589.

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This thesis reads the fiction and poetry of Spokane/Coeur d’Alene writer Sherman Alexie as predominantly urban Indian literature. The primary experience of the growing majority of American Indians in the twenty-first century consists in the various threats and opportunities presented by urban living, yet contemporary criticism of literature by (and about) American Indians continues to focus on the representations of life for those tribally enrolled American Indians living on reservations, under the jurisdiction of tribal governments. This thesis provides critical responses to Alexie’s contemporary literary representations of those Indians living apart from tribal lands and the communities and traditions contained therein. I argue that Alexie’s multifaceted representations of Indians in the city establish intelligible urban voices that speak across tribal boundaries to those urban Indians variously engaged in creating diverse Indian communities, initiating new urban traditions, and adapting to the anonymities and visibilities that characterise city living. The thesis takes a broadly linear chronological structure, beginning with Alexie’s first published collection of short stories and concluding with his most recent works. Each chapter isolates for examination a distinct aspect of Alexie’s urban Indian literature, so demonstrating a potential new critical methodology for reading urban Indian literatures. I open with a short piece explaining my position as a white, British scholar of the heavily politicised field of American Indian literary studies, before the introductory chapter positions Alexie in the wider body of Indian literatures and establishes the historical grounds for the aims and claims of my research. Chapter one is primarily concerned with the short story ‘Distances’, from The Lone Ranger and Tonto Fistfight in Heaven (1993), and the Ghost Dance religion of the late nineteenth century, reading Alexie’s representations of this phenomenon as explorations of the historical and political tensions that divide those Indians living on tribal lands and those living in cities. Chapter two discusses the difficulties of maintaining a tribal identity when negotiating this divide towards the city, analysing the politics of indigenous artistic expression and reception in Alexie’s first novel, Reservation Blues (1995). Alexie’s second novel, Indian Killer (1996), signals the relocation of his literary aesthetics to the city streets, and chapter three detects and unravels the anti-essentialist impulse in Alexie’s (mis)use of the distinctly urban mystery thriller genre. Grief, death and ritual are explored in chapter four, which focusses on selected stories from Ten Little Indians (2003), and explains Alexie’s characters’ need for new, urban traditions with reference to an ethics of grieving. Chapter five connects the politics of time travel to the representation of trauma in Flight (2007), and addresses Alexie’s representations of violence in Ten Little Indians and The Toughest Indian in the World (2000), proposing that it is the structural violences of daily life, rather than the murder and beatings found throughout his work, that leave lasting impressions on urban Indian subjectivities. My conclusion brings together my approaches to Alexie’s urban Indian literature, and suggests further areas for research.

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23

HOLLAND, ANYA B. "BLURRING BOUNDARIES: ISSUES OF GENDER, MADNESS, AND IDENTITY IN LIBBY LARSEN'S OPERA 'MRS. DALLOWAY'". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122913675.

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24

Jackson, Edward William. "David Foster Wallace's hideous neoliberal spermatics". Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8538/.

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This thesis investigates male sexuality and neoliberalism in the work of David Foster Wallace. I argue that his texts conceive of male sexuality through neoliberal logics regarding responsibility, risk, contract, property, and austerity. Informing such conceptions are spermatic metaphors of investment, waste, blockage, and release. These dynamics allow Wallace’s texts to ground masculinity in an apparently incontestable sexual hideousness, characterised in particular by negativity and violence. By figuring male sexuality as a neutral economic issue, and one that lends itself to spermatic metaphors, his fiction and nonfiction present such hideousness as a fact to be accommodated for rather than changed. My analysis is broadly revisionist. I depart from readings that stress his texts’ opposition to neoliberalism by showing how they are embedded in, and complicit in reproducing, its key logics. I also nuance considerations of Wallace’s gender politics by arguing that their sexual traditionalism is indicative of an attachment to male hideousness, not their author’s intentions or failings. In these ways my thesis evaluates the complex pessimism animating Wallace’s treatment of male sexuality. I trace the interaction between neoliberal logics and spermatic metaphors throughout his oeuvre to consider how and why Wallace presents male sexuality as being so immutably rotten.

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25

De, Bruin-Molé Megen. "Frankenfiction : monstrous adaptations and Gothic histories in twenty-first-century remix culture". Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/106947/.

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In the twenty-first century, the remix, the mashup, and the reboot have come to dominate Western popular culture. Consumed by popular audiences on an unprecedented scale, but often derided by critics and academics, these texts are the ‘monsters’ of our age—hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation. Like monsters, they offer audiences the thrill of transgression in a safe and familiar format, mainstreaming the self-reflexive irony and cultural iconoclasm of postmodern art. Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly: the heritage industry, high art, adaptation studies, and copyright law. With this context in mind, in this thesis I explore the boundaries and connections between remix culture and its ‘others’ (adaptation, parody, the Gothic, Romanticism, postmodernism), asking how strong or tenuous they are in practice. I do so by examining remix culture’s most ‘monstrous’ texts: Frankenfictions, or commercial narratives that insert fantastical monsters (zombies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation. Too engaged with tradition for some, and not traditional enough for others, Frankenfiction is a bestselling genre that nevertheless remains peripheral to academic discussion. This thesis aims to address that gap in scholarship, analysing Frankenfiction’s engagement with monstrosity (chapter one), parody (chapter two), popular historiography (chapter three), and models of authorial originality (chapter four). Throughout this analysis, Mary Shelley’s 1818 novel Frankenstein remains a touchstone, serving as an ideal metaphor for the nature of contemporary remix culture.

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26

Brauer, Kristen D. "The religious roots of postmodernism in American culture : an analysis of the postmodern theory of Bernard Iddings Bell and its continued relevance to contemporary postmodern theory and literary criticism". Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/6264/.

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This thesis is an examination and reassessment of an early work on postmodernism written by the once prominent American critic, Bernard Iddings Bell, in 1926. Bell's work, Postmodernism, and other essays, provides us with one of the earliest documented uses of the term "postmodernism" in the English language. It also anticipates many of the pronouncements of later critics regarding the development of postmodernism in politics, philosophy, and literary criticism. Despite these facts however, or perhaps because of them, contemporary critics have continued to ignore Bell's work, charging that his thesis is "anti-modern" rather than "postmodern", and otherwise irrelevant to current debates on postmodernism. This thesis will challenge that interpretation. Here it will be argued that the decision to exclude Bell's work from current debates on postmodernism is based upon Bell's religious predilections. In addition to constituting a radical break with the knowledge systems of the past, Bell argues that postmodernism will also be accompanied by a large scale religious revival. This argument runs counter to the dominant critical consensus regarding the relationship between postmodernism and religion adopted by critics from Arnold J. Toynbee in the 1950s, to Fredric Jameson in the 1990s. The first part of the thesis is dedicated to analysis of the philosophical influences and historical background to Bell's essay with the aim of comparing and contrasting Bell's ideas with those found in more recent works on postmodernism. The second part examines the possible impact of Bell's thesis on the interpretation of contemporary American literature and literary theory. Rather than focusing on a "poetics of parody", or the theoretical implications of "irony and humour", as previous critics have done, we will focus here on how contemporary writers like John Updike, Don DeLillo, and Toni Morrison, have chosen to incorporate the themes of postmodern criticism with a critique of that criticism, especially where this touches on the subject of religion. We conclude that Bell's insistence that postmodernism will be defined by a renewed interest in religion and mystical theology still has merit in the realm of contemporary cultural debates. Postmodern criticism that attempts to exclude religion from this arena does so on the basis of a modern interpretation of religious evolution and secularization, and therefore runs the risk of reiterating an older modernist critique.

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27

Percak, Eric Charles. "Dealing with the devil : a critical and creative look at the diabolical pact". Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7378/.

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This thesis is comprised of three parts: a critical dissertation, a creative work of fiction and a bridge piece that connects the two. The critical work is an examination of the Devil as a satirist in Faustian bargains. Through the usage of the Devil as a literary figure, his character has become a more secular being: a trickster rather than evil incarnate—a facilitator of sin rather than its originator. In the tragicomedy of pacts with the Devil, he acts as a mirror, reflecting mankind’s foibles and vanity, while elevating the reader in the process. The thesis considers the language, tone, purpose and conceits of several versions of the story. While the focus is primarily on American Literature, the influence of English, Scottish, French and German folklore and fiction are recognized as an essential component of the theme’s evolution. In the bridge piece, the pact with the Devil is literalized in a modern context; a corporate business of reaping souls is theorized in which techniques of persuasion are streamlined into an effective formula. Whether immersive or expository in approach, the portrayal of the supernatural depends on the literary principles of science fiction and fantasy in order to manipulate the reader and allow irrational concepts to obey rational laws. Such theories are cited to support how the Devil functions as a believable character. The novel, Could Be Much Worse, relates the story of an egocentric boss and his dependable employee, a scout who disguises himself as a taxi driver and seeks candidates who may succumb to temptation. Passengers’ monologues of desperation and pathos are interspersed throughout the protagonist’s day-to-day narrative. At times, the work is experimental, utilizing irregular storytelling techniques, alternative forms and conceits. Light-hearted, but nonetheless poignant, the story serves as a cautionary tale, illustrating the tedium of a bureaucratic job in a transmundane existence.

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28

Leopold, Amanda A. "Dealing with the Digital: Literary Media, Mediated Narratives, and Sketchy Politics". Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495718816858325.

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29

Banks, Gemma. "Impressions of an analyst : reassessing Sigmund Freud's literary style through a comparative study of the principles and fiction of Ford Madox Ford, Henry James, Virginia Woolf & Dorothy Richardson". Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8368/.

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The connection between Sigmund Freud and modernism is firmly established and there is an increasing (though still limited) body of scholarship that adopts methods of literary analysis in approaching Freud's texts. This thesis adds depth and specificity to a broad claim to literariness by arguing that Freud can be considered a practitioner of modern literary impressionism. The claim is substantiated through close textual analysis of key texts from James Strachey' s Standard Edition of the Complete Psychological Works of Sigmund Freud, alongside theory and fiction by significant impressionist authors Ford Madox Ford, Henry James, Virginia Woolf and Dorothy Richardson. The authors' respective approaches to various aspects of literary impressionism are considered, such as the methods of textual development, the instability of genre, and the stylised techniques utilised to convey the impression. This research illustrates that whilst each of the chosen novelists engages with literary impressionism differently, Freud's texts share common practice with each, facilitating the reassessment of the analyst as a specifically 'impressionist' author.

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30

Stayton, Corey. "Too Terrible to Relate: Dynamic Trauma in the Novels of Toni Morrison". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/69.

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This study examines trauma, particularly in the thematic contexts of the individual and the community as reflected in her novels Sula, Song of Solomon, and Beloved. By utilizing the specific theoretical modes of new historicism and trauma theory, the veil of double consciousness imposed on African Americans is explicated and exposes various forms of trauma in the individual and the community. The unspoken atrocities experienced as a result of slavery, Jim Crow, and physical and sexual violence in many of Morrison’s novels, suggest the common thread of trauma. The particular traumas depicted in Morrison’s novels Sula, Song of Solomon, and Beloved, damage agency, lead to detachment and paralysis in the individual. The scope of this study is limited to the novels Sula, Song of Solomon, and Beloved as they best illustrate trauma in Morrison’s characters and the damage it causes to agency, leading to detachment and paralysis in the individual. The literary theories of new historicism and psychoanalysis provide cultural and literary context for the novels and allow for a deeper rendering of the characteristics of trauma and provide the context for the term dynamic trauma. of oppression as a mean of dysfunction in the thematic These novels reveal a pathology of trauma disguised as normalcy in the African American community, which leads to disrupted lives, relationships, and communities. Morrison not only depicts these dysfunctional behaviors due to traumatic circumstances but also offers a remedy for the dysfunction—acceptance without acquiescence.

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31

Van, Hove Hannah Jean. "'How to begin to find a shape?' : situating the mid-twentieth century fiction of Anna Kavan, Alexander Trocchi and Ann Quin". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8199/.

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This thesis is concerned with situating the works of Anna Kavan (1901-1968), Alexander Trocchi (1925-1984) and Ann Quin (1936-1973) within a discussion of British mid-twentieth century fiction. The relative neglect of these authors in academic criticism may be due to the fact that much British experimental writing has previously been ignored in surveys of this period. This thesis argues that a study of their work warrants a more nuanced understanding of the mid-twentieth century literary landscape than conventional accounts have allowed for. In that sense, it aims to contribute to research undertaken in more recent years which is concerned with revising dominant accounts of this period. The broader framework for the thesis is provided in Chapter 1 which examines past and present accounts and categorizations of mid-twentieth century British fiction. The remaining three chapters then focus on the 1940s work of Kavan, the fiction written during the 1950s by Trocchi and Quin’s novels of the 1960s. As well as contributing to research concerned with overviews of this period, this thesis furthers individual studies of each of the novelists presented here. By drawing on archival material and reading their works in conversation with their time and place, it attempts to understand the ways in which the experimental fiction of these three authors responded to the social, cultural and historical forces at work in Britain between the forties and the sixties. Whilst all three authors started out from a strategy of subjectivity, rooting their experimentation in a turn inwards, their works, as this thesis suggests, can be construed of as political in their concern with drawing attention to the osmotic effects of exteriority on interiority.

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32

Moran, Omar Agustin. "The representations of masculinities in 1920s American literature: Ernest Hemingway and Willa Cather". CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2029.

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33

Rhodes, Molly Rae. "Doctoring culture : literary intellectuals, psychology and mass culture in the twentieth-century United States /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9809139.

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34

Ingram, Seth. "The Extraordinary Double Body: Images in Literature, Art, and on the Sideshow Stage". Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1323292411.

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35

Veciana, Romeu Maria del Mar. "La recepción crítica de la novela hispanoamericana en España (1927-1958)". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/401330.

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La mayoría de estudios sobre la recepción de la literatura hispanoamericana en España se habían centrado en el finisecular Modernismo, en la figura de Rubén Darío, en el vanguardismo y, sobre todo, en el llamado boom de la novela hispanoamericana de los años 60. Sin embargo, el segundo tercio del siglo XX había sido con frecuencia olvidado, así como el peso que el contexto histórico, político, social y cultural podía tener en la interpretación de otras realidades culturales. Resultaba necesario examinar cómo la intelectualidad española había contemplado la narrativa de sus excolonias en un período especialmente inestable y turbulento del devenir español, siendo aún reciente el golpe moral de la pérdida definitiva de las últimas posesiones ultramarinas. Así pues, al analizar la recepción crítica de la novela hispanoamericana en España en el intervalo 1927-1958, la presente tesis viene a rellenar la ausencia de investigaciones exhaustivas y rigurosas sobre dicha materia y época. Nos interesaba rastrear, sistematizar e interpretar las figuraciones de lo americano en la Península y comprobar el poder performativo de los discursos culturales en la construcción de identidades nacionales, partiendo del estrecho vínculo entre literatura, nación y poder. En la época estudiada existió en la Península un interés patente por la realidad americana -y por fomentar las relaciones transatlánticas- que estuvo íntimamente ligado al origen y desarrollo del hispanoamericanismo español. El hispanoamericanismo, en su doble faceta de idea -como corriente y voluntad de acercamiento y de unión espiritual entre los pueblos hispánicos-, y en tanto que movimiento, es decir, agrupando las acciones concretas para afianzar dicha unión, empezó a postularse durante la Restauración. No obstante, adquirió especial importancia en el segundo tercio del siglo XX, instituyéndose como un elemento fundamental -vector- del nacionalismo español, cambios de gobierno incluido. Esta atención por América también englobaba a su narrativa, tal y como lo demuestra la edición de novelas hispanoamericanas, pero también las obras y estudios críticos, secciones literarias y reseñas en la prensa que se le dedicaron. Sin embargo, se trató de un interés parcial y paradójico: si bien se admitía un considerable desconocimiento de la literatura hispanoamericana, al mismo tiempo, la ex metrópoli se autopresentaba como autoridad competente para hablar y definir a Ultramar. Sus letras aparecían simplificadas –y en cierto modo encasilladas- en una serie de características y tópicos, como el protagonismo de la naturaleza, el mestizaje, la unidad continental y el vínculo hispánico, los cuales se reconocían y/o se aplicaban a los autores y obras más valorados y conocidos, un número relativamente escaso teniendo en cuenta la vasta producción americana. Estas ideas fueron igualmente preconizadas como rasgos propios desde América, sin embargo, en España, ostentaron un carácter reduccionista y, de algún modo, “determinista”. Tras nuestra investigación podemos concluir que la interpretación mayoritaria de la narrativa hispanoamericana en España entre 1927 y 1958 aparece íntimamente vinculada a la imagen que se tenía de Hispanoamérica, a las relaciones intercontinentales y, sobre todo, al discurso hispanoamericanista. Dicha recepción se mantuvo, -con ligeras disimilitudes y algunas excepciones-, sorprendentemente uniforme y constante a lo largo de todo el período, a pesar de los profundos sobresaltos y rupturas político-sociales: no respondía tanto a una voluntad o un planteamiento organizado y dirigido, sino al peso del hispanoamericanismo y de su sustrato ideológico. Esta visión colaboró a difundir una determinada imagen de Hispanoamérica, pero también de España, en tanto que Madre, hermana, guía, interlocutora, portavoz o tutora. Todo ello concordaba, en una época de claro retroceso y aislamiento internacional, con la voluntad de la Península de recuperar cierto prestigio en Europa y de ejercer influencia y hegemonía cultural en el Mundo Hispánico.
Our thesis intends to fulfill the lack of accurate and exhaustive studies, from a multidisciplinary and critical perspective, about the reception of Hispano-American Literature in Spain during the second third of the twentieth century. This period being a turbulent and unsteady time – with the setback caused by the recent loss of their last overseas possessions –, it seems necessary to analyze how the Spanish Intelligentsia attended the narratives of its ancient colonies, based on the premise of the intimate connection between literature, nation and power. During this time period, a patent interest for Hispano-America existed in Spain, as well as a desire to strengthen transatlantic relations. This concern was also expanded to its narrative, as proven by the edition of Hispano-American novels and the existence of critical works, literary sections and reviews about them. However, this attention was debatable and paradoxical since on the one hand, the Intelligentsia admitted an appreciable ignorance of Hispano-American Literature but, on the other, intellectuals were constantly defining it, and therefore categorizing it, within a series of features and topics, such as the importance of Nature, the Hispanic bond, hybridism and continental unity. They were recognized in and applied to the authors and novels known in the Peninsula, which constituted a relatively reduced corpus considering the extensive American production. Additionally, these ideas were also defended from overseas as American traits, but in Spain they acquired a reductionist, and in some way determinist, nature. In fact, the main interpretation of the Hispano-American narratives performed by the Spanish Intelligentsia from 1927 to 1958 appeared intimately connected to the image of Hispano-America itself, as well as to the intercontinental relations and, more interestingly, to the Hispano-Americanist discourse. This reception remained quite constant and uniform despite the breakdowns and socio-political changes of the period at study because it responded to the importance of Hispano-Americanism and the persistence of its ideological background, instead of being produced by an organised will or driven proposal. That perception contributed to spread a particular image of Hispano-America, as well as of Spain, considered as its mother, sister, guide, interlocutor or mentor; a vision that would allow Spain to exert a certain influence and cultural hegemony in the Hispanic world.

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36

Porchak, Aynsley. "“If I Could Only Win Your Love”: Lyrical Analysis of the Sacred and Secular Songs of the Louvin Brothers". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3687.

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In this thesis, I demonstrate how analysis through literary criticism can provide a commentary on Appalachian song. While literary analysis of both sacred and secular song lyrics is an approach that is largely overlooked in this region’s traditional music, it nonetheless provides insightful perspective on the art form itself. As I argue, one particular duo of Appalachian musicians, the Louvin Brothers, are uniquely suited to this inquiry. I propose that themes that are found in many of the Louvin Brothers’ songs, such as love, acceptance, and rejection, create a bridge between the historically documented theoretical gap between bluegrass and country music’s sacred and secular songs. I document how the Louvins successfully navigated these traditionally separate subgenres using these common subjects while offering a commentary on musical history, their own upbringing, and religion.

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37

Petersson, Niklas. "Horrifying Empathy : A comparative study of empathy in Stephen King's Pet Sematary and The Shining, with a discussion of the use of horror literature in the EFL-classroom". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-75435.

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This essay is a comparative analysis of the novels Pet Sematary and The Shining by Stephen King, where the empathy that the characters may invoke is analyzed. The focus lies on the children, mothers and fathers of the two families featured in the novels, who are analyzed in terms of Leake’s division of easy or difficult empathy. The essay also discusses the use of horror fiction in the EFL-classroom and how it may train students’ ability to empathize and motivate reluctant readers. The child characters mainly offer easy empathy since they experience negative emotions and victimization. The adult characters appear to be more nuanced, especially the two fathers who may invoke a combination of easy and difficult empathy through their change towards antagonists, or through their abusive behavior. Due to King’s complex characters, and suspenseful storytelling, it is possible that horror fiction of this kind can be used in the EFL-classroom to attract reluctant readers. As the students also come in contact with difficult empathy they can train their ability to understand and empathize with people who may act in ways that the students normally would disagree with. In that regard, it appears that horror fiction can have a pedagogical use in the EFL-classroom.

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38

Bird, Darlene L. "(Extra)Ordinary evenings in New H(e)aven : the religious element in the poetics of Wallace Stevens". Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1675/.

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Wallace Stevens was profoundly affected by Nietzsche’s declaration of the death of God and his poetry reflects an ongoing struggle to understand what it means to be a poet in an age of disbelief. Although Steven’s early poetry suggests that this loss of belief created a sense of crisis in the poet, his later work indicates a full acceptance, even an embracing, of this loss, recognising it as the inspiration for poesis. The thesis considers Stevens alongside of such thinkers as Nietzsche and (the later) Heidegger and shows how the poet came to regard the shaking of the metaphysical foundations as a gift offering the possibility for poetry.

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39

Vázquez-Medina, Olivia. "Cuerpo presente : imaginería corporal, representación histórica y textura narrativa en Yo el Supremo (1974), Noticias del Imperio (1987) y el General en su Laberinto (1989)". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670014.

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40

Mohammed, Pshtiwan Faraj. "The representation of the Iraq War in selected Anglo-American and Iraqi novels". Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/13584.

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This thesis explores representation of the Iraq War in selected Anglo-American and Iraqi novels, examining how several authors have employed this theme in their narratives. The featured novelists are chosen from many writers who focus their efforts and their writing on this conflict. Criterion for selection included offering a critique of the diverse perspectives from which the conflict was perceived, the texts‘ engagement with the political conundrums underpinning war and its approach, how such fiction engages with a contemporary audience and what perspective are deployed to do so. Their public visibility provides the basis of one interpretative strand of the thesis. This study also explores and conceptualises how this conflict has entered the cultural consciousness and to what degree the novels fictionalise the conflict as their main subject, and assesses through which thematic emphases. The texts chosen and to be analysed are pivotal to our understanding of contemporary Iraq and its recent history. It will be argued that the thematic content of these texts contextualise modern war‘s multiple effects within not only the fictional textual world, but as well as their imaginative characters these representations become part of the experience at least vicariously of the audiences who read them. The texts discussed in subsequent chapters are either originally written in, or translated into English (for publication), and therefore all available in English, one major criterion of textual selection. It is interesting to examine the theme of the Iraq War and the historical and pragmatic vein and cultural point of reference from which authors write and has come to dominate the discourse of some contemporary novelists. The goal is to critically explore how the war has become a focal point and the framework of their narratives. The thesis will attempt to analyse how such novels depict the effects of political violence and why they are drawn to powerfully articulate the gruelling reality and experience of those fictionally engaged by and/or affected by it. It will be proposed that novels of and about this conflict are essential to study, understand, and engage with because of the content and the message they attempt to convey which is so crucial to understanding contemporary faultiness in socio-cultural histories, and the critical themes they utilize in writing and the dynamics through which they fictionalize their stories. Such fictional representations of this war serve an important societal, cultural, aesthetic and symbolic function. Thus the study encapsulates how novels of and about the Iraq War reveal and recapture the physical, psychological, and interpersonal losses that are felt by the civilians and military alike.

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41

Mamo, Josianne. "Then the Cicadas Sang : a novel ; and, Two essays on translingual writing". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30637/.

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This thesis consists of two parts: a creative work and two critical essays on translingual writing. The creative component, Then the Cicadas Sang, is a novel set in 1940s Malta. It is a story about love and aspiration. As a teenage girl, Mari vouches she will do anything to leave the tiny island she lives on. Foreigners – the British who governed the island at the time – and books give her a glimpse of the world beyond her shores. But she craves for more, unaware of what she risks losing by chasing her dreams. The novel deals with how books shape our imagination, how the languages we speak give us access to different systems of conceptualizing the world and how we navigate the spaces in between. It does this through the protagonist, Mari, and the people who help shape who she is, in particular Mrs Applegate, a British evacuee who sought shelter in Gozo in the midst of the Blitz. But as much as it is a story of a girl turning into a woman, the novel is also the story of an island. It sits between Junot Díaz’s The Brief Wondrous Life of Oscar Wao and Elena Ferrante’s The Neapolitan Series. The extract submitted is Book One in a series of two. The critical essays explore the poetics of multilingual writing. They analyse the linguistic, political and cultural stratifications in multilingual writing, with a focus on the perception and reception of Maltese literature written in English. I ask if a multilingual writer’s role can be akin to that of a cultural translator. They investigate whether, unlike the monolingual writer, a writer’s multilingual background gives him or her access to different systems of conceptualizing the surrounding environment and how this informs the creative process. This study informs my own process of writing Then the Cicadas Sang, with a particular regard to self-translation and how one language can carry another on the page. In this case the languages I am working with are English, Maltese and Italian.

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42

Saggers, Emma Louise. "Carnivalesque inversion : the subversive fiction of Kurt Vonnegut". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19697/.

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This thesis considers the novels of Kurt Vonnegut, focusing on Cat’s Cradle (1963), Player Piano (1952), and Slaughterhouse-Five (1969), through the literary theories of Mikhail Bakhtin. It concentrates on Bakhtin’s carnivalesque inversion from Rabelais and his World (1965), his theoretical perspectives on the text as a site of struggle from The Dialogic Imagination (1975), and the practical application of his theories with the novel as polyphonic from Problems of Dostoevsky’s Poetics (1963). The thesis concentrates on three main themes: religion, technology, and war. Chapter One will examine the theme of religion in Cat’s Cradle. It will consider how religion is presented in society and how fundamental opinion can become embedded in our social and cultural structures. It will further consider the cultural shift in belief from religion to science, juxtaposing the two ideals and highlighting the destructive forces of absolute belief and fundamental opinion. Chapter Two will concentrate on Player Piano, and how technology could have a detrimental effect on the progress of human civilisation. It considers how valuable technology is to the human experience, and what happens to civilisation if humans are forced to surrender everything that gives their lives meaning. Chapter Three will analyse Slaughterhouse-Five, looking closely at the representation of war, and its effects on the mental state of those that are forced to encounter it. It will engage with the ‘ideals’ of war presented in society juxtaposed with the experience of actually taking part in war. Vonnegut critiqued the American social, political and religious structures prevalent throughout his life. To Vonnegut, America had the possibility to become a blueprint for the rest of the world, a role model for the liberation and equality of all human beings, but it needed work.

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43

Al, Shalabi Rasha. "Mapping the Dominican-American experience : narratives by Julía Alvarez, Junot Díaz, Loida Maritza Pérez and Angie Cruz". Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19396/.

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Dominican mass-migration to the United States only started in the 1960s but Dominican Americans are now a sizable minority and in 2014 they became the largest Latino group in New York City. This thesis examines fictional works by Dominican American writers who migrated to the United States from the early 1960s to the 1990s which explore the predicament of Dominican Americans before and after the consolidation of Dominican-American communities. The novels under scrutiny here were published in English between 1991 and 2012 by Julia Alvarez (b. 1950), Loida Maritza Pérez (b. 1963), Junot Díaz (b. 1969), and Angie Cruz (b. 1972) and present us with characters whose search for a ‘home’ and for ways in which to articulate their individual and collective identity are shaped by continuous negotiations between the traditional values of their country of origin and the potentially transformative opportunities afforded by their new country. I will show how these texts powerfully challenge homogeneity, marginalisation, mainstream ideologies, nationalism, and discrimination while questioning the economic, social, religious, patriarchal, educational, and political structures of both the Dominican Republic and the United States in order to formulate diverse modalities of belonging to what Julia Alvarez has called a new “country that’s not on the map” and establish their own distinct position as Dominican American writers.

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44

Hamlin, Sarah Elizabeth. "Poetic politics : writers and the 2014 Scottish Independence Referendum". Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/8902/.

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This thesis considers the works of six major literary figures in the context of their engagement with the 2014 Scottish Independence Referendum. These writers are, in order of analysis, Edwin Morgan, J.K. Rowling, Liz Lochhead, Alasdair Gray, Kathleen Jamie, and John Burnside. Each has produced a significant literary oeuvre which is examined here in relation to each other's work and to the Referendum debate. The multifaceted relationship between literature and politics is investigated through the lens of the Referendum, utilising these six figures as interrelated case studies. Chapter One explores Edwin Morgan and J.K. Rowling in relation to each other and the concept of nationalism as manifested in the Referendum period. Chapter Two focuses on postcolonialism and the work of Alasdair Gray and Liz Lochhead in that same context. The third and final chapter is concerned with Kathleen Jamie's and John Burnside's preoccupation with ecopoetics, and how that concern overlapped with Referendum discourse. This thesis provides new readings of these six writers in the context of the Referendum. It sets out to establish that, while their published literary works are often connected to the spectrum of stances these writers took regarding the Referendum, these works need to be considered with respect to the nuanced attention all six had previously given to key themes of the Referendum debate in the decades leading up to that political moment.

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45

Hartig, Andrea S. "Literary Landscaping: Re-reading the Politics of Places in Late Nineteenth-Century Regional and Utopian Literature". Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133485531.

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Thesis (Ph. D.)--Miami University, Dept. of English, 2005.
Title from second page of PDF document. Document formatted into pages; contains [3], iv, 143 p. Includes bibliographical references (p. 132-143).

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46

Phiri, Aretha Myrah Muterakuvanthu. "Toni Morrison and the literary canon whiteness, blackness, and the construction of racial identity". Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002255.

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Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.

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Wiechmann, Natalia Helena [UNESP]. "Tell all the truth but tell it slant: subtexto e subversão na poesia de Emily Dickinson". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/145002.

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O objetivo desta tese de doutorado consiste em analisar a poesia de Emily Dickinson (1830-1886) sob a perspectiva da crítica literária feminista estadunidense utilizando o conceito de subtexto literário enquanto recurso poético que revele na obra dickinsoniana diversas formas de subversão de normas sociais e literárias do patriarcado. Para isso, nosso corpus de análise se compõe de dezoito poemas e nosso trabalho está estruturado em quatro seções. A primeira discute algumas questões caras à crítica literária feminista estadunidense, como o conceito de autoria feminina e a tradição literária para, então, teorizar sobre o conceito de subtexto literário relacionando-o à ideia de subversão. Também nessa primeira seção analisamos do poema “Tell all the Truth but tell it slant – ”. Já na segunda parte de nossa tese apresentamos o contexto da produção literária estadunidense no século XIX e discutimos o fato de Emily Dickinson ter se recusado veementemente a publicar seus poemas. Os poemas analisados nessa seção são “Publication – is the Auction”, “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” e “Fame is a fickle food”. Na sequência, examinamos o ideal de feminilidade do século XIX e as formas como Dickinson subverte esse ideal nos poemas “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” e “I started Early – Took my Dog – ”. Por fim, analisamos poemas em que Dickinson empreende a subversão da imagem de Deus ao apontar as vulnerabilidades da fé e da condição humana e questionar preceitos religiosos: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” e “God gave a Loaf to every Bird – ”. Como suporte teórico, recorremos a diversos autores que compõem a fortuna crítica de Emily Dickinson bem como a importantes nomes da crítica literária feminista estadunidense, além de outros autores cujos estudos também dialogam com nossa pesquisa. Alguns dos autores utilizados neste trabalho são Virginia Woolf, Sandra Gilbert e Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe e Carlos Daghlian.
The aim of this dissertation is to analyze the poetry of Emily Dickinson (1830-1886) from the perspective of American feminist literary criticism drawing on the concept of literary subtext as a poetic resource that reveals in Dickinson’s work several ways of subverting the social and literary norms of patriarchy. To these ends, I analyze a corpus of eighteen poems, and the text is organized into four sections. The first section discusses some issues that are important to American feminist literary criticism, such as the concept of female authorship and literary tradition; it is then theorized about the concept of literary subtext and I relate it to the idea of subversion. Also, in this first section, I analyze the poem “Tell all the Truth but tell it slant – .” In the second part of this work, the context of American literary production in the nineteenth-century is presented and the fact that Emily Dickinson emphatically refused to have her poems published is considered. The poems analyzed in this section are “Publication – is the Auction”. “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” and “Fame is a fickle food”. After the discussion of the poems, in the third section I examine the ideal of womanhood in the nineteenth century and the ways Dickinson subverts this ideal in the poems “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” and “I started Early – Took my Dog – ”. Finally, in the closing section I study some poems in which Dickinson undertakes the subversion of God’s image, points out the vulnerabilities of faith and human condition, and questions religious precepts: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” and “God gave a Loaf to every Bird – ”. To provide theoretical underpinning, several critics who have written on Dickinson’s work were consulted and significant names in American literary feminist criticism are also discussed, as well as other authors whose studies intersect with our research as well. Included among the writers, critics and researchers mentioned in our work are Virginia Woolf, Sandra Gilbert and Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe, and Carlos Daghlian.

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48

Ciofu, Natalia. "Internal punishment : a psychoanalytical reading of F.M. Dostoevsky's 'Crime and Punishment' (1866), L. Rebreanu's 'Ciuleandra' (1927) and P. Ackroyd's 'Hawksmoor' (1985)". Thesis, University of Essex, 2018. http://repository.essex.ac.uk/22365/.

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This doctoral thesis examines the representations and dynamics of crime and inner punishment in a range of European literary works of the nineteenth and twentieth centuries: F.M. Dostoevsky’s Crime and Punishment (Преступлeние и наказaние, 1866), L. Rebreanu’s Ciuleandra (1927) and P. Ackroyd’s Hawksmoor (1985), while tracing the developments of crime fiction and the changes in criminal legal system over the span of one hundred and nineteen years. Utilising the methodology of comparative literature, I argue that the interiorized punishment - which I identify, after Foucault, as a new episteme - is a narrative thread that runs through all three novels, and informs much other writings in the same period. Informed by different socio-cultural, temporal, political, and stylistic backgrounds, each novelist utilizes distinct narrative techniques and strategies to configure their protagonists in such a way that permits the reader to get an insight into their psyches. The present study locates the literary tendency to fuse the character of the protagonist/hero and the perpetrator/anti-hero into one narrative entity and examines the literary representation of the factors that trigger the guilt or need for punishment in this entity. To this end, I focus on the narrative structure, temporal framework, geographical setting as well as the protagonists’ relations with other characters within the texts. The idea of self-punishment, its representations and manifestations, is explored through the lens of psychoanalytical theories of Sigmund Freud, Melanie Klein, Jacques Lacan and Otto Rank. My psychoanalytical readings of the texts are furthermore complemented by the theoretical frameworks offered by Mikhail Bakhtinʼs theory of polyphony, Linda Hutcheonʼs account of historiographic metafiction and relevant philosophical perspectives such as Søren Kierkegaardʼs and Jean-Paul Sartreʼs existentialisms.

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Loberg, Harmonie. "Hamlet Haven: An Online, Annotated Bibliography". Scholar Commons, 2002. https://scholarcommons.usf.edu/etd/1524.

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The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over. The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis. Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded. Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship. Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format.

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50

McCabe, Alexander. "Dostoevsky's French reception : from Vogüé, Gide, Shestov and Berdyaev to Marcel, Camus and Sartre (1880-1959)". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4337/.

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This history of Dostoevsky’s reception in France draws from critical responses, translation analysis, and the comparative analysis of adaptations as well as intertextual dialogues between fictional, critical and philosophical texts. It begins from the earliest translations and critical accounts of the 1880s and 1890s, such as Eugène-Melchior de Vogüé’s seminal moralist reading. It then traces modernist responses and adaptations from the turn of the century to the twenties. Existential readings and re-translations dating from the arrival of émigré critics and religious philosophers in the wake of the Russian Revolution are examined, assessing the contribution of these émigré readings to emerging existential readings and movements in France. Finally, French existentialist fiction is analysed in terms of its intertextual dialogue with Dostoevsky’s work and with speculative and critical writings of French existentialist thinkers on and around the philosophical reflections expressed in Dostoevsky’s fiction. By following specifically the existential and existentialist branches of Dostoevsky’s French reception, an overlooked aspect of the history of French, Russian and European existentialisms comes to the fore, reframed within a pivotal period in the history of European intercultural exchange, and of transmodal literary and philosophical discourse.

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Tesis sobre el tema "LITERARY CRITICISM / American / General"

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