This study is an examination of the rhetorical concept of the dialectic as it is realized in selected works of North American dystopian literature. The dialectic is one of the main factors in curtailing enlightenment rationalism which, taken to an extreme, would deny man freedom while claiming to bestow freedom upon him. The focus of this dissertation is on an analysis of twentieth-century dystopias and the dialectic of Fyodor Dostoevsky's Grand Inquisitor parable which is a precursor to dystopian literature. The Grand Inquisitor parable of The Brothers Karamazov is a blueprint for dystopian states delineated in anti-utopian fiction. Also, Dostoevsky's parable constitutes a powerful dialectical struggle between polar opposites which are presented in the following twentieth-century dystopias: Zamiatin's Me, Bradbury's Farenheit 451, Vonnegut's Player Piano, and Atwood's The Handmaid's Tale. The dialectic in the dystopian genre presents a give and take between the opposites of faith and doubt, liberty and slavery, and it often presents the individual of the anti-utopian state with a choice. When presented with the dialectic, then, the individual is presented with the capacity to make a real choice; therefore, he is presented with a hope for salvation in the totalitarian dystopias of modern twentieth-century literature.

The period of 1919 to 1939 was a significant one for the development of the literature of Oregon and the Pacific Northwest. The literary work produced in the region prior to the first world war was greatly influenced by the "Genteel tradition" of the late nineteenth century. By 1939, however, the literature of Oregon and the region had emerged from the outdated literary standards of the pre-war period and had found a new, realistic, natural voice, strongly regional in nature and rooted in the modern American tradition.

This thesis intends to show how the application of the Verfremdungseffekt (alienation effect), originally formulated by Brecht, serves to express different Weltanschauungen in the works of Dürrenmatt, Frisch and Handke. The main emphasis is on the works of Peter Handke however, in order to demonstrate the changes in the interpretation of the alienation effect, some of the plays by Dürrenmatt and Frisch are analysed.

The great literary movements affected Spanish drama less than that of any other country, though romanticism drew the public and stage closer. Realism and naturalism were slow in developing due to the "manifest incompatibility existing between the very spirit of the French realists and the Spanish national dramatic ideals."2 Spanish national drama deals in elemental passions, is poetic in situations, and magnificently conventional in tone; while its literary form is more important than its dramatic structure.2 French literature contains fine and subtle psychology, witty and ingenious, but is sometimes a little unsubstantial. Not universal theme but complex and involved feelings are characteristic. Spain has been slow to appreciate the modern French realistic play; indeed she has never adopted it in its original form. Attempts to imitate Ibsen3 and the foreign symbolism of Maeterlinck have been unsuccessful. The modern movement in the theatre starts at the end of the nineteenth century. Of all the writers the man most responsible for introducing modern drama, as we understand it in Europe, was Jacinto Benavente. No consideration of the modern theatre would be complete without a discussion of this interesting and brilliant dramatist. Wherever reforms have been accomplished, wherever barriers have been broken down, wherever new paths have been formed, he has been the leader.1 He is generally considered the greatest living dramatist in Spain, and worthy to rank with the best in any country. Of all the realistic dramatist of our time none is more realistic than Benavente. New ideals of literature and art, the method of the modern dramatist, more refined, more serious in aim than of old -- these are some of his contributions to modern drama. He has reacted on the drama and compelled it to change its traditional conventions for modern stage technique. Benavente is to be the master builder of modern Spanish drama; at the same time he mirrors the society of his time, its virtues and vices.

Therefore, it is the main purpose of this thesis to arrive at some conclusions in regard to one aspect of cowboy fiction - the cowboy novel. In the main, this study will attempt to place the cowboy novel in its proper position in American literature, While doing this, it will try to show that there are two distinct schools of cowboy novels - the romantic and the realistic; and that of these two schools, the realistic tends to produce novels of a higher literary quality.

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Studies of postwar Germany, from 1945-1955, have concentrated on the American influence as a military occupier, the development of German reconstruction and national identity, and memory of this period from the German perspective. Within the memory analyses, firsthand accounts have been analyzed to understand the perspectives of Germans living through the postwar period. Absent from this historiography is an account of American memories and firsthand perspectives of the occupation, particularly during the 1950-1955 period. This thesis employs oral histories of American veterans stationed in postwar Germany, American propaganda and popular cultural mediums during the early 1950s, and modern historiographical trends to provide an understanding of how Americans remember the German postwar decade. American veterans remembered this period, and their encounters with local Germans, as a positive experience. These positive memories were mediated by 1950s Cold War rhetoric and propaganda and were subsequently predicated upon the men's perspective as occupying soldiers. Their recollections align with American popular memory delineating the military occupation as ending in 1949 upon the creation of the Federal Republic of Germany, therefore overshadowing the 1950-1955 period of occupation. The ways in which Americans remember the postwar occupation in Germany, particularly from 1950-1955, inform broader memory and historical narrative trends of this era.

My work seeks to understand the origins of national identity as it pertains to the Anzacs of Australia and New Zealand, their service at the Battle of Gallipoli, and its use in the establishment of a white, male creation myth in both nations following the end of World War One. I furthermore plan to examine how this Anzac myth excluded and even erased the place of marginalized communities in the birth of Australia and New Zealand as modern nations. In other words, my thesis explores both the insiders and the outsiders of the Anzac myth. My cutting-edge research aims to build upon the small but growing scholarship about these "forgotten" Anzacs and their role in the construction of nationhood. Much has been written about white male Anzacs, and by writing this thesis, I hope to contribute to bridging this disparity in the scholarly literature. Not only will I highlight the roles of women and people of color in greater detail, but I will also analyze how the formation of the Anzac myth systematically excluded them in the first place. The work also explores the ramifications and implications of this exclusion in Australia and New Zealand as increasingly multicultural nations. In sum, it brings together three threads of research: the formation of national identity in these nations, the paradox of the public's reverence of the failed military campaign of Gallipoli, and the exclusion of the "forgotten" women Anzacs and people of color.