Although highly regarded by critics, Mrs. Wilson's fiction has been subject to little detailed scrutiny. This thesis attempts to trace and consolidate the threads of her thought, to demonstrate that a substantial philosophical framework supports and enhances the more obvious presentation of "the vagaries of human conduct" which make her books so pertinent. An existential humanism allows her characters to attain individual dignity and authenticity regardless of status, sex, or endowments. In Chapter II, the concept that in our society only the fittest survive is supported by Mrs. Wilson's attitude to nature, in which, however, there is always defeat with victory. The human attribute of compassion is what enables man to transcend the sorrow of humanity (as illustrated in Swamp Angel); nevertheless indiscriminate pity debilitates man and prevents him from asserting his individuality and enjoying life. In an absurd world, man's anguish is that he has the power of choice, and his freedom depends on his ability to live with his decisions. Tuesday and Wednesday is analyzed as negatively illustrating the struggle toward meaning in a purposeless world. The element of chance is discussed in Chapter III as an introduction to Mrs. Wilson's theory that man would like to, but cannot be, an island. Focussing on the "odd man out," Mrs. Wilson finds complete detachment impossible, no matter how powerful are the factors militating against real communication between individuals: chance, misunderstanding, incompatibility (many of which are directly traceable to "character"). The resultant loneliness, and the means devised by humanity to ward off the realization of its predicament is noted. Hetty Dorval represents the predicament, and Mr. Willy's gnawing emptiness the result, of an a-moral world devoid of responsibility, love, or human intercourse. Because women are "all one flow" they form a demonstrable focus for Mrs. Wilson's philosophy of continuity. Emphasizing the individuality of women, rather than their roles as wives and mothers, Mrs. Wilson is harsher, yet kinder, in her judgement than are most male novelists. Chapter IV analyzes Mrs. Wilson's fictional women and the feminine world of Hettv Dorval is discovered to contain the many aspects of women that are elaborated, in the subsequent books. The questions of sin and justice as rationalized by women seem compatible with Mrs. Wilson's over-all view of life, and it is through their ability to rationalize that they are able (although limited by their economic role), to find fulfillment. Like women, truth is illogical, difficult to define, and, in essence, paradoxical. Chapter V attempts to explicate Mrs. Wilson's belief that by admitting a "multiple" truth, one can better understand man's place in the universe, and consequently acquire tolerance. The relationship between appearance and reality is fundamental to Mrs. Wilson's philosophy, as is the paradoxical nature of morality, both of which are explored in the context of modern society. Since truth is an accretion - not something hidden behind a mask - man is always more than he appears to be, so life is a constant journey of discovery. The Conclusion assesses the value of her work which seems to reside in her ability to transcend the current nihilism prevalent in sophisticated fiction, by orienting the reader's outlook towards a positive course of action. Most people's lives are worth living, even when they are lives of quiet desperation. Like Ellen, in Love and Salt Water, what one needs is courage, dignity and compassion. / Arts, Faculty of / English, Department of / Graduate

In der vorliegenden Arbeit wird gezeigt, wie der Dichter der zweiten Hälfte des neunzehnten Jahrhunderts geistig in eine Isolierung gerät, die es ihm nicht mehr erlaubt, sittliche Werte der Vergangenheit unbesehen hinzunehmen; er muβ sie vielmehr untersuchen und sich gegebenenfalls neue Werte schaffen. Für Storm bedeutet dies die bewuβte Lösung vom christlichen Glauben, der in einigen Novellen als Zeichen menschlicher Unreife bewertet und überwunden wird. An die Stelle der verlorenen göttlichen Liebe tritt die menschliche, an die Stelle der menschlichen Abhängigkeit von Gott tritt die Suche nach dem Mitmenschen, die gegenseitige Abhängigkeit durch das Band der Liebe. Die Ehe verleiht einem solchen Bund Ausschlieβlichkeit, Dauer und Tiefe; sie schenkt dem Menschen einen Halt im Leben. Nur auf diesem Fundament kann sich die Familie gründen und erhalten. In der Familie findet der Einzelne den zeitlichen Anschluβ an Vergangenheit und Zukunft, reicht damit über die Begrenzung der eigenen Lebenszeit hinaus. Hat der Mensch im Rahmen der Ehe und der Familie einen organisch gegründeten Platz gefunden, dann darf und soll er sich im Geist der Nächstenliebe seiner Umwelt tätig annehmen. Hier, wie in der Ehe, reift der Mensch zur vollwertigen Persönlichkeit, wenn er sich ohne Vorbehalt dem andern gibt, auch wenn die Umwelt nicht zu dem gleichen Dienst bereit ist. Storm gibt für das sittliche Bemühen des Menschen, für dessen Suchen nach einem organisch-harmonisch bestimmten Platz nur einen Grund: Alles geschieht, damit das Leben an sich erhalten bleibe und gefördert werde. Die Ewigkeit ist dem Menschen verlorengegangen, da heiβt es, die einem zur Verfügung stehende Lebensspanne auszuweiten, einmal durch den Kontakt zura Mitmenschen, zum an-deren durch die Verbindung im Rahmen der Familie zur Vergangenheit und zur Zukunft. Das Leben an sich wird zum höchsten sittlichen Wert, alle anderen Werte, einschlieβlich der Liebe, finden nur in ihrer lebenserhaltenden Funktion einen positiv-ethischen Gehalt. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This study discusses three of Cary's first person novels—Prisoner of Grace, Except the Lord, and Not Honour More published from 1952 to 1954 and usually termed the Political Trilogy—and examines in particular the craft with which he gave depth to his characterization by providing each narrator with a unique personal style. The analysis of the style in each of the three novels follows a pattern. First the syntactical structure, pace and tone, and choice of words are examined as indicative of the narrator's character. Next the metaphorical pattern is investigated to assess the narrator's interests, motives, desires or anxieties. The allusions, references and quotations are identified and analyzed. This reveals the intellectual and cultural background of each character, and shows how much each depends upon outside authority to support his judgments. The narrative style and the use of descriptive setting are then examined to assess the narrator's dramatic qualities and visual acuity. The quality and use of humour are analyzed to determine the general attitude of the character to the world outside himself. And, because each protagonist gives his own view of his counterparts through his style and develops and rationalizes that view, these complex interrelations are also investigated. The application of this method to Prisoner of Grace results in bringing out the many facets of character of a narrator, Nina Latter. Her involuted style with its continual use of brackets reveals a mind in which there is clash of ideas and a conflict of emotions, the essential dualism of a personality torn between loyalty to her first husband, Chester Nimmo the politician, and love of James Latter, her lover and second husband. This use of parentheses also reveals a mind that qualifies judgments and perceives diverse viewpoints. Nina's sources of metaphor--natural phenomena, children's entertainments, war and human illness—reveals her feminine qualities as woman and mother, and by association they expose deep-rooted conflicts, claustrophobic oppressions and irrational fears. Her allusions and references show a keen appreciation of culture, while her wide range of humour enriches and humanizes her character and shows her strong capacity for happiness. In Except the Lord, Chester Nimmo's memoir of his early life, the narrator's pomposity of diction, his use of evocative expressions and rhetorical devices show his power as a spellbinder, his tendencies towards the demagogue. However, Nimmo's frequent use of a simpler style enriched by rural and biblical expressions reveals sincerity and awareness of human suffering. His choice of subjects for metaphor—death, buildings, oriental splendours, nature— shows preoccupation with death, search for security and foundations of faith, romantic tendencies and interest in the transcendental. His selection of allusions and quotations from the great exponents of nineteenth-century liberalism reveals his essential idealism and humanitarianism. The interpolation of philosophic comment in the narrative expresses Nimmo’s deep moral concern and his attempt to analyze his own motives for political action as well as to expose general evils in society. In Not Honour More, James Latter's apologia for his "execution" of Nina, the narrator's elliptical, telegraphic style, with its sardonic invective and ironical hyperbole, expresses the violence and paranoic fanaticism of his nature. His choice of abstract words reveals his adherence to moral absolutes and traditional loyalties. His subjects for metaphor—animals, visceral functions, sport—suggest a man of action. Latter's selection of quotations and allusions shows dependence upon authority and reveals prejudice of viewpoint. His occasional use of a simple, even sentimental style shows a warmth and loyalty towards his friends, while his awareness of humour in himself as well as in others also adds to this milder side of his nature. A trifocal view of the three novels of the Political Trilogy reveals similarities as well as differences in the styles of the three narrators, suggesting certain affinities between them as well as contrasts in their natures. The multi-focus on the characters allows each to be seen "in the round" making possible a more objective evaluation. While each narrator reveals subjective opinion through his style, the trifocal view distills the objective truths related to Cary's own ideas about man and the universe. / Arts, Faculty of / English, Department of / Graduate

The purpose of this thesis is to follow the artistic development of Scipio Slataper, a young Italian writer at the dawn of the twentieth century and to discuss his literary achievements from the early writings to the works that mark the peak of his literary career. In chapter one, the activities of Slataper with "La Voce", one of the leading literary journals; of the period, will be discussed. The cultural personalities involved in this journal were responsible for major changes brought about in modern Italian literature. Chapter two will be devoted to Slataper's correspondence with three young ladies of the period. The collection of these letters, destined to become a book, constitutes and interesting document of the intimate life of the artist, his loves, fear, frustration and triumph over disillusionment. The third chapter will focus on the later relationship Slataper had with the writers who contributed to "La Voce" and will show the increasing friction and final rupture of this group. The fourth chapter will deal with "II mio Carso", one of the major works of Slataper and an original contribution to the development of the narrative forms in modern Italian literature. The fifth chapter will offer an evaluation of Slataper's career as a writer and critic which culminates in his major work: "Ibsen". Slataper's essay views the life of the Norwegian dramatist, not through the sharp instruments of the critic, but rather through the sensitivity of another artist. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The purpose of this thesis is to isolate and examine the major technical devices of the short stories of Katherine Mansfield. Since the emphasis will be on Mansfield's technical skill, not on the development of that skill, my discussion will be limited to the stories of Mansfield's major writing period, to the completed stories of Bliss. The Garden Party, and The Dove's Nest. The introductory first chapter gives a summary of the critical attention Mansfield's work has received, attention largely commendatory but generally lacking in specific examination of the stories themselves, and of the few statements Mansfield herself made on her artistic principles. From this starting point the stories themselves are examined as evidence of Mansfield's technique. For the purpose of this paper, I limit my discussion to what I believe are the major aspects of Mansfield's art of story writing: her use of time, of point of view, of names, and of symbolism. In Chapters II - V these techniques are examined separately in relation to the stories. Chapter VI summarizes the conclusions reached in previous chapters: that Mansfield's skill is a unique blend of several largely traditional techniques. A brief discussion is given of the problem of Mansfield's unwritten work, work she hoped to do but was prevented from attempting by her early death. The report of a conversation with Mansfield a few weeks before her death is cited as evidence that Mansfield had come to recognize the emotional flaw in much of her earlier work. The conclusion reached is that, if indeed Mansfield had succeeded in widening her view of life, she would have been able to produce work of a very high literary standard since she had certainly attained a very high degree of technical skill. / Arts, Faculty of / English, Department of / Graduate

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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