Thesis (Th. M.)--St. Vladimir's Orthodox Theological Seminary, 1983. / Includes bibliographical references (leaves 131-135).

Thesis (M. A.)--Trinity Evangelical Divinity School, 2009. / Abstract. Description based on print version record. Includes bibliographical references (leaves 91-93).

No description available.

A collection of poetry.

The forty-one poems comprising this thesis are written in a variety of styles and reflect my general international eclecticism. The most prominent influences on my work are ancient Chinese verse, as exemplified by the poems for N., and Zen tanka and haiku, as exemplified by "Detail from a Cubistic Autobiography." Largely imagistic rather than narrative, the poems were conceived in an effort to record my experiences and to define my reactions to those experiences.

The protagonist of each of these stories has the same problem. Without really willing it, he finds himself involved with people whom he really does not like. These people have little regard for his individuality or for his welfare because they are so immersed in their own worlds that they cannot imagine anyone existing outside them. In both stories the protagonist realizes finally that he is being dragged into these worlds against his will. More importantly, both characters realize that passive resistance will not work, that they must resist actively if they are to retain personal dignity and their very identities. Sammy, in "A Cimmerian Holiday," rejects the Ashburns' world by walking away; Andy, in "Darkling I Listen," repudiates the various worlds of his acquaintances by withdrawing into the solitary world of books and music.

The five stories contained in the thesis show the changes that take place in the city of Tulsa, Oklahoma, and the narrator of the stories, Lucius. The first story, "Getting Ready," depicts a society that builds absurd monuments to itself. The other stories, "Dog Days," "The Narwhal in the Arkansas," "Mayflies," and "The Razing of the Brown & Duncan Building," show the society's deepening commitment to the absurd. Insane actions are condoned by the society as long as they do not threaten the society's equilibrium; acts of madness that conform to the society's norms are tolerated. Finally, the society becomes so immersed in its own absurdity that the pointless destruction of monuments to the society begins. Through this world of random slaughter wanders Lucius, the survivor. He survives by remaining detached, autonomous, and static.

Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Clyde Fitch was the most successful Broadway dramatist of his time. Following his considerable popularity and success with American audiences, Fitch saw his plays staged across the globe, and particularly in London. His female-led dramas of contemporary life, though popular with audiences in his own time, received scant praise and often censure from the playwright's critics, both in America and the UK. Writing and producing plays from 1890 until his death in 1909, Fitch's plays, and the critical discourse surrounding his productions, intervened in fin de siècle debates concerning gender, sexuality, and fears of moral degeneration. Influenced in construction, technique, and stage-craft by French naturalism, Fitch's plays utilised theories of heredity and social Darwinism to explain the psychological motivations of his characters. Central to the narrative of each play, however, was the conflicting message that individual will and strength of character is of greater importance than genetic or social circumstance. Rather than following theatrical convention in punishing the liars, flirts, suffragettes, and fallen women of his plays, Fitch encouraged the sympathies of his audiences with these morally ambiguous characters and insisted, wherever possible, upon happy endings that drew the ire of the conservative male press. Fundamentally, these productions contradicted American and British ideologies rooted in the notion that national prosperity could only be secured through the marriage and propagation of white men and women of 'good breeding'. The gendered biases of Fitch's critics, I argue, often led to dislocated interpretations of his heroines, and to the wilful dismissal of a body of work which successfully marketed marginalised configurations, encouraging inclusivity and acceptance over fear and social division.

please see original submittal