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Gustavo Adolfo Becquer presents a romantic vision of poetry summed up in the sentence "poetry is you" because according to this vision "poetry is feeling and feeling is woman." This means that the concept of poetry is formed by the essential parts of Becquer's world. Woman, presented as the centre of Becquer's poetic universe, is an asexual idea and an attractive and passionate muse at the same time. Poetry, which is feeling as well as woman, can be seen in the same way, and therefore can be not only pure and ideal, but also living and passionate. / The poet is placed in-between the irrational world of feelings and the rational world of writing, and these two worlds, despite their contradictory appearances, are no less than two halves of one whole. For that reason the poet is able to produce written poetry. / Written poetry cannot exist without reason, because it requires the use of the common language. The poet, being sensitive and rational at the same time, can transmit vivid and ineffable poetry through his writing. Nevertheless, words are nothing more then a medium to convey impressions located beyond linguistic signs, and these impressions can be (re)born in the reader's mind and imagination. This thesis demonstrates that Becquer's writing is conceived to provoke in the individual a (re)birth of creative impressions.

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This thesis is an examination of the double motif used by Charles Dickens in A Tale of Two Cities, Great Expectations, and Our Mutual Friend. There is a subtle shift that takes place in these last completed works, from a double motif which is used to prescribe individual behaviour along the lines of domestic or Christian ideology, to one which examines the social and psychological consequences of the individual's submission to such ideological imperatives. In fine, Dickens begins to distance himself from the stock, physical double he had inherited, turning instead to a double that finds its causes and ramifications firmly located in both the social and psychological spheres. This increasing complexity of the double motif is indicative of Dickens' gradually more sophisticated, less stereotypical view of the relationship between the individual and society than that suggested by his famous caricatures or his previous works.

Food has a near-ubiquitous role in the fiction of Charles Dickens. From the action that does and does not take place, to the appearance and essence of the characters, and to the language and style in which they were written, virtually every aspect of Dickens's novels and short stories is, to some extent and at one time or another, connected with food. This thesis explores the nature and implications of food in Dickens and, in addition to its introduction and conclusion, it has been divided into three chapters: (a) Language, Style, and Subject/theme; (b) Plot and Setting; and (c) Characterization. As well, the parallel between food's omni-presence in Dickens's fiction and its centrality in the so-called 'real world' has meant that the literary concept 'realism' is a recurrent concern.

This dissertation attempts to trace hereditary motifs in the novels of Charles Dickens and to relate these motifs to broader concerns--specifically Dickens's depiction of the formation of the self, his understanding of history and of the role of time Towards this end, I offer an historical overview of scientific and popular thinking on heredity, and suggest how some of these notions were translated into Dickens's fiction. The discussion of hereditary themes in the novels falls into two broad categories--the private and the public. / In the first of these, I argue that Dickens tended to define positive moral qualities, such as goodness, as hereditable. At the same time, he was reluctant to portray negative characteristics, such as criminality or insanity as being amenable to hereditary transmission. This assumption of a moral basis to heredity had ramifications for Dickens's understanding of human nature which, in turn spill over into his depiction of the broader public issues associated with heredity--its relationship to class, to race, and to history. / The very last section of the thesis focuses on the Darwinian revolution. There I argue that Dickens's attitude towards the importance of hereditary endowment changed after the publication of Darwin's The Origin of Species in 1859. I suggest that Darwin's book prompted Dickens to rethink his earlier deterministic approach to the problem of human identity. After 1859, Dickens jettisons heredity entirely as a factor in the formation of the self and replaces it with environment and experience. The last novels displace the Dickensian metaphors of hidden kinship and universal connection--both of which are related to heredity--and put in their place, the thematics of dispersal and disintegration.

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This thesis is an analysis of the political thought and activities of an Iranian 'alim, SAYYID HASAN MUDARRIS (1870-1938). It demonstrates the continuation of the Iranian 'ulama's struggle, started in late 19th century, against colonialism and despotism during the years after the Persian Constitutional Revolution. This study investigates the deep causes of conflict between Mudarris and Riza Shah, the founder of the Pahlavi regime. Mudarris was a man of God as well as a man of his people. He was a mujtahid with high degree of patriotic sentiments. He devoted his life to Iran and to the dignity of his people for whose freedom from the yoke of Imperialism and despotism he lost his life.

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Bibliography: leaves 226-243. / vii, 243 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English Language and Literature, 1996