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Item The affective phenomenology of beyond-ment and the narrative voice of Toni Morrison's Jazz(2025) Hagedorn, Kara; Bancroft, CorinneThis project outlines a new method for understanding the affective phenomenology of narrators in literary fiction and I demonstrate its application through Toni Morrison's novel Jazz (1992). When this method is applied to literary fiction, it assumes that there is a spatial-temporality to the narrator's emotions, which produces their sense of embodiment and the narrative's trajectory as well. Furthermore, this method demonstrates how the sense of embodiment of Jazz's narrator is the Jazz Age itself. Affective phenomenology is a theory that originates from Maurice Merleau-Ponty's Phenomenology of Perception (2012), Sara Ahmed's Queer Phenomenology (2006), Teresa Brennan's Transmission of Affect (2004), and Eve Sedgwick's Touching Feeling (2003). Additionally, this project demonstrates the affective phenomenology of Jazz's narrator by referencing Toni Morrison's own reflections on the novel too. This project approaches a pivotal moment in Jazz when the narrator admits that their emotions have affected their "imagining" the characters disingenuously. Here, I demonstrate how the feelings of loss, hostility, and bereavement make the narrator see the characters inauthentically. It is here that I demonstrate how their realization ignites their imagination. It is in this moment that the narrator senses the beyond-ment of their emotions and situates themselves in their own authenticity. This realization then causes the narrator to move towards a future that originates from the past, the site of their authenticity. This method invites scholars to be curious about how the emotions of a narrator's voice produce the spatial-temporality of the narrative and the futurity of the fictional world.Item Imperialist interpretive repertoires : cultural investments and self-preservation(1996) Yuen, Chin KongAn imperialist interpretive repertoire translates other cultures in derogatory terms with the purpose to preserve the imperialist's power. Journalists, museum advertisers, and movie makers use tropes of violence and invasion to describe the Mongolian subject in the 1995 exhibit "Empires Beyond the Great Wall: the Heritage of Genghis Khan" at Royal British Columbia Museum and in the movie The Shadow. Although these media have different forms of production and requirement, they all share an imperialist interpretive repertoire that creates orientalist presentations. These presentations have double standards that exaggerate the barbarism of Mongolian colonization and promote the civilizing agency of European colonization. The ideology and language available to naturalize and rationalise the biased power structure wihin these presentations encompass political and economic endorsements that control what we learn about other cultures and how these cultures are perceived and treated.Item Wanker Punster con man queer: Melville's The Confidence-Man(1994) Young, Bryan KirkItem Prince Hal's soliloquy: The legacy of King Richard in Shakespeare's second tetralogy(1991) Yorath, Linda CarolIn addressing the problem of thematic continuity in Shakespeare's Second Tetralogy (Richard II to Henry V), this thesis examines the solar imagery that links Prince Hal with his ill-fated predecessor King Richard, and explores the far-reaching ramifications of such a connection. Hal's "imitation" of the sun, announced in his first soliloquy, is viewed more specifically as his identification with King Richard, whose personal badge or emblem "the sunburst"--in heraldic terms, "a sun emerging from behind clouds"-undoubtedly inspired the playwright's intricate development of this imagery in the previous play. Just as Richard's "sun" had been eclipsed by the "clouds" of Bolingbroke's treason, so does Hal mask his sun-like identity with the "base contagious clouds" that represent his tavern companions. His later "throwing off" this pretence will likewise signify the rejection of Bolingbroke's illegitimate reign and Hal's emergence as the new sun-king: Richard's true heir. A close look at the solar imagery of Richard II reveals that much of the playwright's imaginative treatment of later events is pre-figured in this first play of the tetralogy. For example, it becomes apparent that, whereas Richard's reign is dominated figuratively by the sun and its correlative images, Bolingbroke's "misruled" kingdom is "sunless," "stormy," the dominant image being water instead of the sun's fire. Moreover, in light of Richard's characterization of Bolingbroke as "the thief who reveled in the night," Falstaff emerges in Henry IV as the ideal double for a treasonous king. It becomes apparent that, during his prolonged truancy from princely duty, covered roughly by the two parts of Henry IV, Hal's purpose is to purge the stain of treason from his own accession to the throne. He accomplishes this vicariously through his interaction with Hotspur and Falstaff, both of whom function as dramatic "doubles" or alter-egos of the Prince and Bolingbroke respectively. This symbolic process unfolds in two stages. Whereas killing Hotspur banishes his own treasonous tendencies, Hal's rejection of Falstaff marks a final expunging of Bolingbroke's crime. Henry V can be seen as the fulfilment of Hal's earlier promise to emerge a renewed sun-king. His style of kingship is marked by a return to solar images, divine sanction, and chivalric values, all of which were abandoned during Bolingbroke's reign. Also functioning to dissociate him from the previous reign are his identification with the illustrious ancestors he shares with Richard, as well as his choice of a French campaign over Bolingbroke's dying wish for a Crusade to the Holy Land. Henry's revelation on the eve of Agincourt that he has honorably reburied King Richard serves as the culmination to his longstanding symbolic identification with the wronged king. It is this positive bond between the two monarchs that lends not only consistency of character to the Prince who becomes Henry V, but thematic unity to the entire tetralogy.Item Margery Kempe and the dramatic imagination : a study of The book of Margery Kempe in relation to the Middle English Corpus Christi plays(1989) Wilson, ChristinaAlthough medieval literary works are usually examined in relation to other literary sources , other art forms are also relevant in the understanding of literary texts. In a largely illiterate society the visual arts would have been especially significant , particularly medieval drama which was easily apprehended and retained in the memory. This thesis attempts to show how knowledge of the English Corpus Christi plays can illuminate the reader's understanding of both the life and the Book of Margery Kempe. Used as an educational tool by the Church, the Corpus Christi plays not only reflected the e vents of the past, they also took a critical look at the moral and social life of society as it existed in the Middle Ages. The religious drama provides important evidence about Margery and the society she lived in, the development of her spirituality, and the nature of her devotional practices. In Chapter One Margery is viewed in relation to the medieval attitudes t o wards women as they are reflected in the characterization of Noah ' s wife , in the N.Q.ah plays. In an antifeminist society, where all women are considered corruptible and disobedient, Mrs. Noah is depicted as the typical female shrew, the label given to any woman threatening the established order of society through a show of independence. Unlike Mrs. Noah whose "rebellious" activity is curbed at the end of each play, Margery's spirit of independence exists both before and after her religious conversion, disturbing religious and laypersons alike. By comparing the behaviour of both Margery and Mrs. Noah, and the reactions each receives, it is possible to show how Margery is able to use the medieval system against itself in order to achieve and maintain a measure of personal independence not usually afforded to women in her time. Chapter Two discusses two aspects of Margery's spiritual growth: 1) the various influences on Margery which increased her sense of dramatic awareness and participation in her meditations, and 2) the importance of visual stimuli to Margery. The spiritual influences Margery would have encountered included the Franciscan teachings on meditation, and the revelations of various female mystics and visionaries, including those of Saint Bridget of Sweden. The religious drama, however, provided Margery with an effective visual influence, particularly in the characterization of figures like the Virgin and Mary Magdalene, who were role models for Margery and who, through their shared womanhood, brought Margery closer to Christ. In Chapter Three the importance of the Passion to medieval Christians is discussed in relation to Margery's own meditations on the Passion. In this section the Corpus Christi Passion sequences are used to explain Margery's heightened awareness of, and devotion to, the Passion, and illustrate Margery's use of the dramas as a direct source for her own meditations. In the Conclusion, it is suggested that the dramatic qualities which existed in and influenced Margery's life allowed her to live a life essentially of her own making. Like the Corpus Christi plays, Margery could blend the past with the present, fantasy with reality, and reconcile her secular life with her religious vocation. With her active imagination and heightened sense of the dramatic, Margery is able to move back and forth between her daily, physical activities and her all-consuming spiritual meditations while continuing to live in a society which never ceased trying to govern her life for her.Item Drifting from the pattern : the changing treatment of religion in the novels of Guy Gavriel Kay.(1994) Walsh, Kathleen Susan MaeveItem Eden lost : the spiritual dimension in the Manawaka novels of Margaret Laurence(1982) Wagner, Jeannette EthelMargaret Laurence strongly believes .that one can only know oneself if one knows one's roots, and her own roots are firmly imbedded in the Scots Protestant tradition. Her four female protagonists in the Manawaka novels share this tradition. However, neither Laurence nor her protagonists are able to wholeheartedly accept their religious heritage and must find alternative means of coping with their spiritual dilemmas. This thesis begins by presenting Laurence's background and orientation and how they relate to her protagonists' lives. It then explores the traditional religious elements in the novels. Chapter Two deals with the single element Laurence finds positive-the Bible. She makes extensive use of Biblical: allusions and parallels. The protagonists also make Biblical allusions and quote or refer to verses at moments of deep emotion. The Bible remains a vital source of· succor and enlightenment. Not so the church, as Chapter Three illustrates. Institutionalized religion is depicted by Laurence and experienced by her protagonists as sterile and judgmental. The only strong feeling it is still capable of raising is guilt. Chapter Four, the main chapter, focuses on Laurence's protagonists. They all feel they have lost Eden, having been banished to a spiritual wilderness and suffering from culturally imposed bondage. Gradually they come to realize that much of their bondage is self-imposed. Hagar is bound by her upright p ride; Rachel is bound by childishness and fear of life; Stacey is bound by her fear that she cannot always make everything all right for her loved ones; Morag, the social outcast, is bound by her desire for social acceptance. As they each learn to accept themselves and their lives, they relinquish their often denied belief in an Old Testament judgmental, patriarchal God. They develop instead a personal relationship with a New Testament loving, compassionate God who becomes a source of grace in their lives. In the course of the four novels, then, there is a definite progression in the spiritual development of the protagonists from Hagar to Morag. The former does not gain any real awareness of her plight until she is on her deathbed. The latter, like Laurence, is a mature author who expresses her faith in God and life through her fiction.Item Articulating ecstasy : image and allegory in The booke of gostlye grace of Mechtild of Hackeborn(1990) Voaden, Rosalynn JeanThe Booke of Gostlye Grace of Mechtild of Hackeborn is the Middle English translation of the Liber specialis gratiae, a compilation in Latin of accounts of the visions of Mechtild of Hackeborn, a nun at the convent of Helfta in the last half of the thirteenth century . It is an intriguing example of medieval women's visionary writing which has been largely ignored by scholars. The Booke of Gostlye Grace is notable for its unusual mode of visionary expression; each visionary or mystic has to develop her or his own language to attempt to convey experiences of ecstasy . Mechtild of Hackeborn' s unique language emerges as an original combination of image and allegory. She materializes her spiritual sensations in vivid , concrete, highly detailed images which capture the imagination and draw the reader into the visionary experience. She then formulates t hose images into complex transformational allegories - allegories in which the various elements shift or change in significance as the allegory progresses - which defy the laws of nature and so subvert the materialization of the images . The mind is then forced to reach past the concrete visualization to contemplate a transcendent reality which is beyond both logic and language. Mechtild' s images are sensual and aesthetically pleasing; they are drawn from scripture, the liturgy, domestic life at Helfta, her own experiences, and the courtly love tradition. This thesis examines Mechtild's visionary images both as discrete entities and as elements of the allegories which contain them. It defines and categorizes the various types of allegory in The Booke of Gostlye Grace, and analyzes the interplay between image and allegory in Mechtild's visionary accounts. The thesis is structured around four groups of images: those deriving from the devotion to the Wounded Side and the Sacred Heart; those drawn from familial and domestic life; those focusing on erotic or nuptial union; and those originating in the courtly love tradition. One of the purposes of this thesis is to direct the attention of scholars to The Booke of Gostlye Grace as a possible source for later Middle English works, both spiritual and secular. To this end, Pearl, The Book of Margery Kempe, Piers Plowman, A Book of Showings to the Anchoress Julian of Norwich, and Le Morte d'Arthur will be briefly examined. It is in Mechtild's startling inconsistencies between image and allegory in The Booke Of Gostlye Grace that can be perceived the spiritual truths about the nature of God's love that she sought to express. Her accounts materialize the essence of her ecstatic experiences in vivid, sensual images; she formulates these into engrossing, unpredictable transformational allegories whose defiance of natural laws gives promise of a realm of transcendent order. The Book of Gostlye Grace is a rich and vibrant tapestry of image and allegory, sensuality and spirituality, which repays further study.Item Deconstruction and originary analysis : Gans, Derrida, and generative anthropology(1994) Van Oort, RichardItem Moonbeamin' for lobster traps : notes toward the definition of Maritime literary regionalism(1986) Tremblay, M. AnthonyThis thesis addresses the essential problem inherent in the criticism of Maritime literature: while a distinguishable literary tradition certainly does exist in Maritime Canada, rarely have critics attempted to investigate that tradition. Consequently, few insights into writing "maritime" have been recorded. This lack of critical attention is particularly unfortunate at a time when postmodernism is becoming increasingly common as a form of narrative intertext in many Canadian regional literatures. Correspondingly, without a comprehensive understanding of the accepted myths and even the collective unconscious of a regional tradition (Northrop Frye, after all, espouses that an environment and a tradition affect a writer's imagination more than does a nation), an appreciation of the new phenomenon of postmodernism is virtually impossible. A preliminary investigation of the central myths of the Maritime literary tradition must, therefore, precede an introductory analysis of David Adams Richards, the Maritimes ' foremost postmodernist. Since there is a real lack of critical scrutiny into the archetypal and mythic base of the Maritime literary tradition, this study will examine the most fundamental parameters of Maritime literature. The introductory chapter, by identifying major writers and major literary trends, will establish the historical framework out of which that literary tradition evolved. Subsequent to the introduction, three chapters will isolate and identify the basal myths and archetypes attendant in the Maritime literary tradition: chapter two will identify representative fictional landscapes and examine the extent to which writers employ concepts of environmentalism; chapter three will analyze the traits and mannerisms that typify Maritime characters; and chapter four will isolate the two predominant patterns of recurring motifs that comprise the Maritime thematic tradition. Finally, the concluding chapter will show how David Adams Richards works within the archetypal framework of the Maritime literary tradition--a tradition Richards uses as a backdrop against which he illuminates the misfortune and hopelessness inherent in the Maritimes of his own experience. Although the conclusions to an eclectic study of varied authors and different historical eras are generally (and often sufficiently) manifest in the identification of recurring concepts, motifs, and sources, the major conclusion to this work goes beyond the recognition of particular concepts. Rather, this study reveals that the Maritime regional tradition ls predominantly comprised of a set of culturally distilled myths, adopted and perpetuated by writers who, whether consciously or not, either accept or reject the regional literary tradition and archetypal myths synonymous with the Maritimes. Whereas L.M. Montgomery, Charles G.D. Roberts, Ernest Buckler, Charles Bruce, and Alden Nowlan, at least on the surface, appear to have accepted the Maritime literary tradition as an authentic voice--all employing what Frye termed the mythic formulas concomitant with their literary tradition--David Adams Richards certainly has not accepted the regional tradition of his predecessors. This thesis will conclude with an investigation of the methods Richards uses to subvert the established mythic formulas of the Maritime tradition. Finally, this study will end with a possible reason for Richards' postmodern alternatives amidst a literary tradition wholly steeped in conventional regional myths, the most notable of which is the agrarian myth.Item The presentation of women in the fiction of Ford Madox Ford(1987) Trimmer, Karen-MarieWomen play major roles in most of Ford's novels, yet little critical attention has been paid to their presentation in his fiction. Through a close examination of three of Ford's works, The Fifth Queen trilogy (1906-1908), The Good Soldier (l9l5), and the Parade's End tetralogy (l924-28), this study establishes that Ford was strongly claimed by several considerations in his presentation of female character, which considerations he articulated only very generally in his advocacy of "realism" in their portrayal. Taking Ford's realism as a starting point, this study utilizes several criteria to determine what would theoretically constitute an acceptable presentation of female character, and applies them to Ford's writing as a means of measuring his accomplishment in the three works considered. Allowing for the independent and very real artistic achievement which each of these works represents, the presentation of women in each is explored in a different chapter. In "Katherine Howard: The Creation of a Personality," Ford's engaging portrayal of an historical personage is probed and the limitations of his creation - for in a very real sense he does indeed "create" this woman, disregarding as he does most historic accounts of her character - are delineated. In "The Good Soldier: Some Edwardian Women," Ford's masterwork of literary Impressionism, the complex, and not untroubling, accomplishment of presenting female character through a male narrator who is himself the embodiment of many of the ills of Edwardian society, and, most especially, the constraints under which Ford's female characters live in a society preoccupied with the forms of propriety, are the focal points of the inquiry. And, in "The Women in Parade's End," two of Ford's most compelling female characters, and their relation to the society in which they live, are treated in some depth. In the final analysis, Ford's sensitivity to the complexity, difficulties, and limitations which define the female relation to society is made manifest through his presentation of female character in these works, and is appreciated for the considerable achievement that it is. But it is an achievement which is tempered by the fact that Ford chose not to explore what things in society needed to be changed in order to remove, or substantially lessen, the difficulties and limitations which characterize the relation of women to the society in which they live.Item Soya beans and cricket bats : society and the artist in the plays of Tom Stoppard(1984) Thompson, Doreen HelenIn the early Stoppard plays, the hero-heroine prototypes are super-sensitive characters whose exclusive, often irresponsible behaviour is Justified by the special dispensation implied in being an artist, whether in factor in fancy. But in Travesties, Stoppard expresses a concern with the neutrality of the artist vis-a-vis the day-to-day politics of t he rest of society. The shift from detached craftsman to committed artist becomes increasingly apparent in the later plays as the artist-figures become participants in issues which move substantially closer to real-life situations An exploration of the role of the artist throughout the plays provides a valuable insight int the continual tension that Stoppard experiences as regards the privilege and responsibility of the artist and the function of art in society. The first chapter examines the spectator-hero of Stoppard's earliest writings , beginning with Lord Malquist, who advocates stylish withdrawal from social pressures Similar escapist maneuvers are employed by the artist-figures in Albert's Bridge, Enter a Free Man, If You're Glad, I'll Be Frank, and Jumpers, who find themselves at odds with an incompatible world For Stoppard himself, artistic detachment manifests itself as an overt intellectualism that refuses to take sides, and a fascination with his own unique ability to present i de as cleverly, effectively, and with a dazzling theatrical flair The verbal and visual jokes which claim no other purpose than to entertain can be justified however on the basis of Stoppard's particular "art for art's sake" Stoppard's artfulness, at least in the early plays, can be seen as stylish withdrawal. The second chapter focuses on Travesties, the work in which Stoppard most clearly articulates the problem of neutrality versus involvement Significantly, the war of ideas in Travesties is waged with no suggestion of a clear-cut authorial position. But Stoppard's link with Oscar Wilde, through frequent allusions to The Importance of Being Earnest, encourages the view that the author is operating on more than one level, deliberately assuming a superficial frivolity as a means of advancing more serious considerations. Even though, in Travesties, Stoppard continues to create visual and verbal complexities in the cause of "art for art's sake," he is faced with the same dilemma that he devises for his artists-in-war who ask themselves whether the pursuit of art for its own sake can be maintained amidst political disasters that affect all mankind. The third chapter deals with the social commitment of Stoppard's later, more polemical writing, in plays such as Every Good Boy Deserves Favour and Professional Foul, which also heralds a departure from his former dispassionate rendering of ideas by puppet-like figures to the creation of relatively self-motivated characters, capable of expressing human emotions in recognizably true-to-life situations A gr owing uneasiness with the discrepancy between his own art and actuality probably caused Stoppard to narrow the gap in his most recent play, The Real Thing Questions pertaining to art are no longer presented in the form of an open-ended debate, but relate to matters which the hero, Henry, must resolve on a personal level The theory of art for art's sake has now been replaced by Henry's conviction that art is his means of shaping what he has to say into a more effective instrument for conveying his ideas As Stoppard aligns himself more directly with the play's central character, we receive a clearer picture of the privileged and gifted artist coming to terms with his responsibilities as they relate to his art, and to the politics of his public and private life.Item In search of a definitive : some variorum problems in the poetry of Robert Graves to 1948(1975) Thomas, William DavidThis study is a collation of all accidental and substantive variants in a selection of poems from the work of Robert Graves. A representative selection has been made from poems published between 1914 and 1948, covering three of the four periods in his literary development. The three periods are from 1916 to 1923, 1923 to 1927, and 1927 to 1938. The collations are continued to include poems from the volume Collected Poems (1914-1947), published in 1948. This cut-off date (1948) has been chosen because in the following year, 1949, Graves' The White Goddess appeared. The White Goddess marks a significant change in the poet's work and provides a convenient terminal point for this study. In each instance, the basic text used for a poem was that of the first book publication. Collations were made from this. No magazine, periodical, or anthology versions have been considered or collated because it is not the standard procedure with such publications to offer the author galleys for proofing. For this reason, such versions are not deemed to have the author's authority. The methodology used has been a modified version of that employed by Peter Allt and Russell K. Alspach in their work The Variorum Edition of the Poems of W B Yeats (New York Macmillan, 1957).Item Modern British socialist theatre : social revolution and the drama of Howard Brenton and John McGrath(1984) Thompson, Ian CharlesThe thesis discusses the political function and production problems of socialist theatre in a capitalist society. Brita in has seen a remarkable growth of political theatre in the last few decades. This theatre is discussed within its context of Britain's changing economic and political climate since the 1950's. The thesis examines the relationship between theatre and society, the production of literature, and the cultural identification afforded to a rt by institutions and classes. It is argued that socialist playwrights are faced with two choices: (1) either they work within the bourgeois theatrical institutions as oppositional voices against the hegemony of ruling class ideology, or (2) they work outside these institutions, performing to working-class audiences and attempting to create a socialist counter-culture based on the working class. The careers of Howard Brenton and John McGrath represent two conflicting responses in both theory and practice by socialist playwrights to this choice. Finally, the thesis examines three plays from each playwright to show the development of differing theatrical form in relation to theoretical considerations and practical constraints.Item Between "Play" and "Power" : performing "Waiting" Under Siege : Susan Sontag's staging of Waiting for Godot in Sarajevo(1996) Taylor, Rachel MaryThis project considers Susan Sontag's 1993 staging of Samuel Beckett's Waiting For Godot in besieged Sarajevo, staged amid an entanglement of political, ideological, cultural, ethical and epistemological discourses. The production is discussed in the theoretical context of emerging postmodern aesthetic/political praxis, and in the western cultural context of a distanced post cold-war crisis within postmodernity. An interrogation of existing representations of this theatrical event reveals that Sontag's production has previously been constructed in traditional, inherited terms of aesthetic/political praxis. This study suggests the inadequacy of these representations, and argues for a different way of seeing the political capacity of the production and, therefore, the aesthetic. In its interrogation of the politics of the aesthetic economy of Beckett's text, amid besieged Sarajevo, this study yields an aesthetic critique of what is at stake in the ambiguous role of the west in relation to contemporary European political and social strife.Item The significance of the female in the poetry of Ezra Pound(1976) Taylor, JanetThis thesis will suggest, by citing and describing five examples, that "the female," as a symbol, as an abstraction or as an historical reality, is an important aspect of Ezra Pound's poetry. I examine woman and sexuality in Mauberley, in which there is a gradual realization of the connection between artistic stultification and sexual frustration. This connection between woman and aesthetics is also discussed in Chapter Two, which traces Pound's metaphor of "the female chaos" in his poems, essays and letters. Largely under the influence of De Gourmont, Pound sees "the female" as a chaos which the artist must order into form, The third chapter is an analysis of two of Pound's historical personae, Bertrans de Born and Sextus Propertius in relation to their respective mistresses. Both "Near Perigord" and Homage to Sextus Propertius seem to state the opposition between female passivity and male activity and between love and political expediency, but this apparent polarization is complicated by various, interwoven concerns. The final two chapters of the thesis discuss the female mythological figures of the Cantos, beginning with the ambivalent benevolent' and malevolent forces represented by Helen, Diana and Circe in the earlier Cantos. The last chapter is concerned with Pound's assertion of the value of the fertility goddesses and cults in Canto XLVII and in The Pisan Cantos. The goddesses Aphrodite, Demeter, Persephone and Gea Tella are a vital part of the attempt to regain composure and hope in The Pisan Cantos. The thesis ends with a discussion of Pound's belief in the Eleusinian Mysteries of Demeter, especially in relation to the "lynx" passage of Canto LXXIX.Item Analogues and sources for the non-human characters in C.S. Lewis's planetary romances and Narnia chronicles(1985) Sumpter, Eleanor MarionThis thesis examines C. S. Lewis's use of selected analogues and sources in creating the non-human characters in his planetary romances and Narnia Chronicles in terms of his critical and religious perspectives on the natures of originality, realism and the Christian author's role. The thesis suggests that Lewis's fiction to some extent illustrates these features of his religious and critical position The thesis first identifies some of Lewis's philosophical sources and mythological analogues for the numinous creatures found primarily in the planetary romances and shows how his combination of selected details from a broad base of analogues results in characters that are original in whole even though derivative in their discrete elements. It then examines how Lewis's adaptation of archetypal, mythic and legendary creatures, found primarily in The Chronicles of Narnia, makes these sometimes incompatible creatures consistent within the secondary world of Narnia. Next, the thesis turns to the real and realistic animals in the planetary romances and the Narnia Chronicles in order to examine Lewis's adoption and combination of literary techniques typical of usually distinct sub-genres such as science-fiction and children's adventure stories or illustrated in specific works such as The Canterbury Tales, The Faerie Queene and Paradise Lost. Finally, the thesis demonstrates that the Talking Animals of Narnia are particularly vibrant and memorable because they combine elements from specific analogues, structural devices and techniques of characterization generally derived from popular or at least accessible sources, especially various types of animal fantasy. In each case, the examination of Lewis's adaptation or combination of limited elements from a plethora of individual and generic analogues demonstrates how Lewis employed his admiration for the medieval approach to originality, or how he practised the critical values he expounded regarding realism, or how his fiction embodies the values he suggested as appropriate for art produced by a Christian The thesis concludes by arguing that Lewis has used his broad literary background as source material for his non-human characters in much the same way that another author may use real world experiences as raw material for his characters, that Lewis's combination of elements from his analogues allows him to use disparate materials within consistent secondary worlds, and that, at least for the non-human characters of the planetary romances and the Narnia Chronicles, the broader the range of analogues and sources f or a specific or for a type of character, the more complete and hence the more believable and memorable the character.Item Beyond common sense : ideal love in three novels of Lily Dougall(1993) Swanson, Scott RothwellItem Contingency as form : the poetics of Marianne Moore and Elizabeth Bishop(1998) Strong, Laura KatherineThis thesis examines the form of Marianne Moore's and Elizabeth Bishop's poetry in light of the notion of contingency, arguing that various formal elements in Moore's and Bishop's poetics, such as metonomy and irony, demonstrate how a new ground for value is linked to, dependent upon, and made from existing ones. The thesis also examines the way in which an aesthetic moment occurs at the instance of exchange between one ground for value and the next, and it foregrounds the way in which the poetic subject -- a subjective position that often manifests itself as a voice or presence behind the speaker -- becomes known at this aesthetic moment. While primarily a close study of form and contingency in four poems, this thesis argues that Moore and Bishop demonstrate intriguing and liberating strategies for subjective and gendered positionings. The first chapter is a theoretical discussion of contingency, value, and aesthetics. Emphasizing the notion of contingency, this chapter draws upon pragmatists such as John Dewey and Richard Rorty, theorists such as Barbara Herrnstein-Smith and John Guillory, and feminists such as Judith Butler, in order to establish a framework through which to view the poetry of Moore and Bishop. The second chapter is a discussion of Moore's "The Plumet Basilisk" and Bishop's "Brazil, January 1, 1502" with a particular emphasis on the ways in which the poetic subject is manifested in those poems; and the third chapter is an examination of Moore's "Marriage" and Bishop's "In the Waiting Room" with specific emphasis on gendered positionings within those poems.