No description available.

No description available.

Inaug.-Diss.: Philosophische Fakultät I: Zürich: 1975. _ Contient des extraits de: "Michael Kohlhaas" de H. von Kleist. _ Bibliogr. p. 117-118.

Ben-Zion Bobrovsky and Ofer Zeitouni. / Caption title. "September 1988." / Includes bibliographical references. / The work of the second author was partially supported by a Weizmann postdoctoral fellowship and an AFSOR grant 85-0227B

Thackeray's post-1847 novels make increasing use of a complex and indecisive narrator. The clear perspectives of Thackeray's early narrators—such as the boastful Gahagan, the cynical Yellowplush, and the sentimental Fitzboodle—are superseded by the man of many parts, who is the mature narrator of the novels from Vanity Fair to Denis Duval. This many-faceted figure keeps one eye on his reader as he moves between joyous certainty and utter bewilderment regarding his own feelings and his own fiction. He is not afraid to be fickle, and appears in many guises:—as novelist and historian, visionary and disenchanted worldling, preacher and clown. The secondary fictional world is determined by the narrator's continued changes of stance, not only towards the characters, but also towards the reader, who, too, must play many parts. In its focus upon Thackeray's secondary fictional world, this study sees Thackeray as one of a line of novelists from Cervantes and Sterne to Joyce and Nabokov. These "novelists in motley" present their fiction as an elaborate game drawing the reader into the dual process of involvement in the main story, or primary fictional world, and detachment from it. In the secondary fictional world, both narrator and reader see the primary illusion as an illusion, yet they feel also its instinctive truth, its power to quicken their responses, and its value as a mode of self-discovery. Thus, while Thackeray's primary fictional world frequently suggests the neatness of conventional patterns found in heroic myth., moral fable, or the contemporary melodrama and fashionable novels, the secondary fictional world undermines these forms, even while they are being used as probes of the narrator's consciousness. These established literary conventions are the means through which the indefinite self attempts definition. In Thackeray's secondary fictional world, the reader is made to see himself playing such parts as those of hero, villain, and lover, but he is also made to understand that his whole self consists of an infinite number of potential parts, none of which defines him exclusively. Thackeray's own vacillation and waywardness becomes increasingly obtrusive in his mature work until, in Philip and Lovel the Widower, the plot and setting are dwarfed by the vastness of the narrator, whose monologues, in a bewildering variety of tone, style, and viewpoint, dominate the novels. The sharp satire and detached social observation of Yellowplush and Titmarsh give way to the ironies of a later narrator, who is painfully involved with his creations. Thackeray's typical novels thus purposely present no conclusive form, but, rather, a medley of loose ends and unresolved conflicts, Unlike the central intelligence of the traditional novel, the Thackerayan narrator never finally sheds his illusions, never comes to see the truth about himself, and never reaches a climactic moment of ultimate vision; yet neither does he become victim of the illusion that man can live without illusions. He presents his reader not with a progression of events leading to self-discovery, but with a revelation of the forms through which the changing self becomes manifest. / Arts, Faculty of / English, Department of / Graduate

As a background figure in the Pre-Raphaelite movement, William Bell Scott suffers from an unattractive reputation largely because of attitudes expressed in his Autobiographical Notes. Chapter One of this thesis examines his life and work, but although a chronological approach is used, it is Scott's wide range of activities and friends which is given prominence. In Chapter Two, Scott's Autobiographical Notes is considered. Scott's lifelong interest in journal writing is traced as much as is possible, using manuscript material in the Penkill Papers at the University of British Columbia. The chapter then covers the actual editing of the Notes by William Minto, making the point that even before his book was published Scott's potential readers were prejudging the work. Manuscripts in the Penkill Collection provide the Material for these disclosures. The three parts of the third Chapter are concerned with the shaping of Scott's reputation through prejudice and hearsay. The "Rossetti Legend," as it existed while Scott was writing his Notes and until the time of their publication, occupies the first part of the chapter. Next, the controversy which developed after his book met public view is examined. Finally, Scott's reputation is traced over the eighty years since the publication of his autobiography. The final chapter opens with a survey of Scott's relationship with Dante Gabriel Rossetti. Most of the attacks made on Scott's Notes were prompted by his treatment of Rossetti. The survey suggests that Scott was both as friendly and as useful to Rossetti as he claims to have been. The second and longer part of the chapter deals with charges made against Scott by William Michael Rossetti in the Memoir volume of his Family Letters. Information in the Penkill Papers proves on one hand that Scott did not fabricate anecdotes, and that he kept back much information which would have been of interest. On the other hand, this material makes it obvious that William Michael Rossetti, the authority of whose book rests on his filial relationship, did not tell the entire truth about his brother. Scott's Autobiographical Notes, then, should be seriously re-examined as a reference work on Rossetti and the Pre-Raphaelites. / Arts, Faculty of / English, Department of / Graduate

Graduate

No description available.

Thesis (Ph. D.)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 343-355).

No formalized philosophical system has officially represented the Church of Jesus Christ of Latter-day Saints to this time. Some claim there is need for one while others believe that none is forthcoming or necessary. Let the question be argued elsewhere. It is to be observed that metaphysics, epistemology, ethics, aesthetics, and science are all essentially represented in mormonism and should at least be recognized in comparison with their kind. The useful practices of various epistemologies were employed for verification purposes although authoritarianism dominated the acquisition of knowledge in the infant Church. This need not indicate that the submitting authority was held in doubt. Various methods were found helpful in converting to personal knowledge that which had been given publicly. Thus, rationalism, mysticism, empiricism, pragmatism - any and all possible contributors - were utilized in the learning process. Some of the keenest minds in the Church were turned to the consideration of the philosophical implications of revealed doctrine. Outstanding among those minds was that of Orson Pratt.