Gosse’s reputation, both during his lifetime and thereafter, was compromised by his propensity for error, a trait that Henry James famously described as ‘a genius for inaccuracy’. Though much of his biographical and critical writing justifies this criticism, my study of Gosse’s use of the device of allusion, mainly in his fictional writing, reveals a strategy of misprision that is creative and innovative. Since the concepts of Modernism and Postmodernism have changed the way in which texts are read, it is now time to re-read Gosse, and to explore the potential meaning of passages that would hitherto have been dismissed as error or exaggeration. Using Ziva Ben-Porat’s characterisation of allusion ‘as a device for the simultaneous activation of two texts’ as my methodology, I explore the complex and often subversive resonances of Gosse’s allusive practice. Allusion requires four participants: author, reader, the source text by the precursor, and the alluding text. Because a phrase does not ‘become’ an allusion until all four parties have been ‘activated’, many of Gosse’s allusions have for a long time lain dormant in the palimpsest of his writings. I argue that Gosse’s evangelical, tract-writing mother, rather than his father, exerted primary influence on him. I foreground the impact of her prohibition of fiction as the genesis for Gosse’s idiosyncratic vision, showing that its legacy was more bewildering, and ironically more creative, than has hitherto been recognised. Using the revisionary ratios of Bloom’s theory of the anxiety of influence, I establish a trajectory of charged interactions between the texts of Gosse as ephebe and those of his mother as precursor. Many hitherto puzzling and unresolved aspects of Gosse’s writing now make sense in the context of his ‘answering back’ the spectral Bowes. Although Gosse never fully extricates himself from his maternal precursor, he metaphorically orphans himself, and transfers his ephebe allegiance to a host of literary fosterfathers, constantly invoking them in his texts. He thus secures his ‘mental space’ through the covert mode of allusion, and the zenith of this practice is manifested in Father and Son. My thesis demonstrates the potential of allusion as a methodological tool in literary analysis. By his acts of re-reading, Gosse achieves the paradoxical act of simultaneously arresting and promoting a sense of cultural continuity. On the one hand, Gosse arrests tradition by fragmenting texts: by importing a phrase or a passage from a past work into his present text, he engenders textual instability in both. On the other hand, Gosse promotes cultural continuity by importing into his work fragments that serve as allusive bridges forging connections through space and time. I hope that this exploration of his practice will initiate a reassessment of Gosse’s role in relation to the allusive mode as employed by the early Modernists.

The bibliography of Greene's cony-catching pamphlets which precedes my discussion of them supplies a deficiency in our knowledge and enables us to distinguish between editions which in the past have been confused. In my opinion, however, its greatest value is that it supports Greene's claim for the immediate popular success of his 'Notable Discovery of Coosenage', and disproves the common assumption that Greene was deliberately misrepresenting the facts in his "Address" to The Second and last part of Conny-catching. This, in turn, affects our view of his character. Collation of the extant copies of the cony-catching pamphlets has revealed the existence of a hitherto unknown edition of 'The Thirde and last Part of Conny-catching'. It has also revealed that there is only one edition extant of 'The Defence of Conny catching'; a defective copy in the British Museum, made up with the Epistle from a copy of the 1592 edition of 'A Notable Discovery of Coosenage', has in the past been mistakenly described as another edition. Since 1915 there has been no exhaustive study of Greene in English. It is time that his character and work were reassessed in the light of our fuller knowledge of his age, and this I have attempted in the chapters that follow my bibliography.

A study of Henry Vaughan’s early life and friends; his attitude to and part in contemporary affairs; poems (1646); Olor Iscanus: translations; Silex Scintillans; the prose works 1651-1655; Thalia Rediviva; his attitude to nature; his views on pre-existence; childhood; the past; style; reading and teachers; and his influence.

When Rudyard Kipling died in January 1936, the resulting national and international mourning indicated the popularity and enormous influence of his life and work. It demonstrated the esteem in which he was still held and the consequent longevity of his literary success. This thesis examines how Kipling established, maintained and protected his reputation, his purpose in doing so and considers if concern about his own ethnic purity was a central motivation for him in this regard. This thesis explores Kipling‟s preoccupation with the reputation of the enlisted man – or „Tommy Atkins‟ figure – and his sympathy with the „underdog‟ and discusses how recuperation of this denigrated image was instrumental in establishing and increasing Kipling‟s poetic and literary success. His intimate personal relationship and fascination with the enlisted man is investigated, especially in terms of Empire and the Great War and juxtaposed with discussion of Kipling‟s numerous elite, establishment military and political connections. His post-war link to the soldier is considered, including the powerful and enduring effects of the death of his son. Exploration of Kipling‟s writing is undertaken using material from the University of Sussex Special Collections Kipling Archive, including Kipling‟s personal papers and correspondence which are referred to throughout and the six volume collection of Kipling‟s correspondence edited and published by Thomas Pinney. Additional, selective close-reading of his verse and prose illustrates arguments in the personal papers and indicates that Kipling‟s literary reputation vindicated both himself and the image of the soldier. Work from poets contemporary with Kipling is used in context, to provide comparison and contrast. In addition to the main thesis, an appendix volume is in place to offer further exploration of the primary archive material.

Androgyny evokes nowadays a plethora of images and associations. In order to discover the meaning of ‘androgyny' conveyed to authors of the so-called Decadent literature movement I found it necessary to give a brief history of the term. However, two androgynous images – ‘hermaphrodite' and ‘asexual' androgyny – have always co-existed and were especially in vogue in the literature of the Fin-de-Siècle period to denote an emerging homosexual identity and especially so in the works of Oscar Wilde. In order to illustrate this I take a psychological approach in an analysis of androgynous literary figures based on R.D. Laing's theories. Particularly in The Divided Self, Laing shows what kind of behaviour patterns stigmatised individuals display, prone as they were to suffering from a heightened consciousness of the ‘self'. In particular, characters not necessarily conforming to one or the other gender are determined by certain stages of ontological insecurity which can be traced in androgynous characters in Decadent literature. In this context ‘Camp' plays an important role, androgyny being one of its central images. Because signs of effeminacy in men were the first visible signs of homosexuality, I examine how ‘camping it up' was a method of dealing with their stigma. The first and most well-known male image associated with what we would now term ‘Camp' is that of the dandy. There are several types of the dandy and each of them undergoes an analysis as to whether they contain psychological signs of stigmatisation. The same procedure is applied to works of authors from the period of French Decadence of the nineteenth century and other literary works which influenced Oscar Wilde. It was there where an increasing psychologisation of protagonists, and especially also stigmatised characters first began to be recognised. I will demonstrate how much Oscar Wilde was greatly influenced by the literary French Decadent tradition of shifting the outer plot to an inner plot. In particular in The Picture of Dorian Gray, but also in his other works, this becomes clear by referring to R. D. Laing's categories of psychological character studies which display, as in Wilde's works, the effects of stigma caused by a gender nonconforming identity.

The creation of a highly detailed on-line catalogue of Walter Scott’s Library at Abbotsford has made it possible for the first time, not only to see exactly what items Scott collected, but also in many cases to determine when and how he acquired them. If, as Alberto Manguel has claimed, all libraries are autobiographical, what does this enhanced information about Abbotsford Library tells us about Scott? Five distinct topics have been selected for examination: Americana, Ireland, Science, Politics and Bibliography. They have been chosen because, although they are for the most part not subjects frequently connected with Scott, they are nonetheless areas on which he collected a substantial amount of books or manuscripts, and for which substantive information about his involvement or interest can be deduced from external sources such as his Journal or correspondence. In addition to the investigation of these specific subject areas, the collection as a whole is explored for evidence for Scott’s personal relationships, both with other writers and with members of his family, focussing especially on his collections of Burns and Byron, the commonplace book he kept as a young man, and his own marginalia. Evidence concerning Scott’s final book purchases is surveyed against the conflicting accounts of his mental and physical health in 1831/2 as given by J. G. Lockhart, William Gell, and other contemporary observers, and an account of the afterlife of the Library traces its history from Scott’s death to the present day to examine how closely the present arrangement of the books resembles that intended by Scott, and whether changes which took place after his death could mislead us into drawing incorrect conclusions. Finally a description of the twenty-first century cataloguing process with some statistical analysis of the contents of the Library examines the importance of the holdings to ask if this is a significant collection, even without the provenance of one of the most popular and prolific writers of the Romantic Era, and whether Scott’s influence on nineteenth-century book culture is one of his most important contributions to modern scholarship.

This thesis examines the early stages of the transformation of emblematic political prints into political caricature from the beginning of the Seven Years' War (1756) to the Treaty of Paris, which ended the American Revolutionary War (1783). Both contextual and iconographical issues are investigated in relation to the debates occasioned by Britain's imperial project, which marked a period of dramatic expansion during the Seven Years' War, and ended with the loss of the American colonies, consequently framing this thesis as a study of political prints during the rise and fall of the so-called 'First British Empire'. Previous studies of eighteenth-century political prints have largely ignored the complex and lengthy evolutionary process by which the emblematic mode amalgamated with caricatural representation, and have consequently concluded that political prints excluded emblems entirely by the end of the 1770s. However, this study emphasizes the significance of the Wilkite movement for the promotion and preservation of emblems, and investigates how pictorial political argument was perceived and received in eighteenth-century British society, arguing that wider tastes and opinions regarding the utilization of political prints gradually shifted to accept both modes of representation. Moreover, the marketplace, legal status, topicality, and manufacturing methods of political prints are analyzed in terms of understanding the precarious nature of their consumption and those that endeavoured to engage in political printmaking. The evolution, establishment, and subsequent appropriation of pictorial tropes is discussed from the early modern period to the beginning of the so-called Golden Age of caricature, while tracing the adaptation of representational models in American colonial prints that employed emblems already entrenched in British pictorial political debate. Political prints from the two largest print collections, the British Museum and the Lewis Walpole Library at Yale are consulted, along with a number of eighteenth-century newspapers and periodicals, to develop the earlier research by M. Dorothy George, Charles Press, Herbert Atherton, Diana Donald, Amelia Rauser, and Eirwen Nicholson.

This thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.

This thesis considers George Orwell’s response to the emergency legislation of the Second World War. Considering legal and historical sources alongside his biography and corpus it reassesses the impact of Orwell’s works in the context of his patriotism, Englishness and views on the law. This thesis argues that Orwell’s experiences in Burma and Spain established his expectations – as an Englishman – for the law during a crisis. It juxtaposes Orwell’s pre-war anxiety regarding potentially ‘fascising measures’ to his relative silence when emergency powers were introduced in England, suggesting Orwell tacitly endorsed controversial measures, including internment, in the unique context of the early war. The thesis considers wartime compromises Orwell felt were necessary, noting his complicity in curtailing freedom of speech at the BBC, before his critical voice re-emerged regarding the normalisation of emergency powers. New readings of 'Animal Farm' and 'Nineteen Eighty-Four' highlight both their resonance with the English wartime regime and the dangers implicit in emergency legal systems, drawing out Orwell’s concern that eroding English values and legal traditions removed a bulwark against totalitarianism. Given his changing positions concerning individual freedoms this thesis consequently argues for a more nuanced appraisal of Orwell’s reputation as an unwavering defender of civil liberties.

<p>Antitumour properties of the cyanoguanidine CHS 828 and analogues were discovered in 1997. CHS 828 is presently in clinical phase I/II trials. This thesis encompasses in vitro studies of the kinetics and mode of cell death induced in the human cell line U-937 GTB, by CHS 828 and the standard antitumour drug etoposide.</p><p>Etoposide induces apoptosis in U-937 GTB within 4 h. The cells exhibited apoptotic morphology, including condensed and fragmented nuclei and formation of apoptotic bodies, activation of caspase 3 and 8, and DNA fragmentation, visualised by TdT-mediated dUTP nick end-labelling (TUNEL).</p><p>CHS 828 induced few and weak signs of apoptosis. Metabolic activity was the only parameter affected during the first 24 h of exposure. After ~30 h, proliferation (DNA synthesis) and protein synthesis ceased, and viability started to decrease towards 10% at 72 h. Morphology and ultrastructure of dying/dead cells showed predominant necrosis. The decrease in viability was postponed by protein synthesis inhibition or maintenance of ATP levels by 3-aminobenzamide. In addition, 3-aminobenzamide switched morphology towards apoptosis. </p><p>Continuous co-exposure to CHS 828 and etoposide resulted in impressive cell kill synergy in U-937 GTB cells at effect levels of 30-70%. Pre-exposure to CHS 828 for 18 h or more, on the other hand, resulted in diminished cell kill and inability to activate the apoptotic machinery upon etoposide stimulation, evaluated by morphology and caspase activity.</p><p>In summary, CHS 828 induced cell death is predominantly non-apoptotic, does not involve caspases and can be postponed by maintained protein synthesis and ATP levels.</p>