Thesis (M.S.)--University of Wisconsin--Madison, 1959. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 149-156).

Thesis (Ph. D.)--New York University, School of Education, 2004. / Typescript. Includes bibliographical references (leaves 323-338). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

Thesis (Ph. D.)--New York University, Graduate School of Arts and Science, 2005. / Typescript. Includes bibliographical references (leaves 246-261). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

Thesis (Ph. D.)--New York University, Graduate School of Arts and Science, 2005. / Typescript. Includes bibliographical references (leaves 254-269). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

abstract: A collection of short stories, each told with a differing narrative structure and a different cast of characters. Some stories in the collection employ traditional narrative structures such as the frame tale and the three-act structure. Other stories borrow their structures from society at large, the bombardment of text and media Americans face every day (letters, recipes, song lyrics). The stories explore how people can read our world and possibly interpret larger shared narrative strands. These stories focus attention on human responses to illness, loss, family, war and protest, looking for opportunities to expand recognition of the range of emotions, moving beyond generic understanding to personal connection. The tone of the collection tends towards dark humor to hint at the deeper, possibly inexplicable human condition. / Dissertation/Thesis / M.F.A. Creative Writing 2011

A collection of poetry.

My dissertation examines the political significance of nineteenth-century domestic literature by situating it within the overlapping cultural and scientific histories of plants. While scholars have largely understood the gardens and plants of nineteenth-century American literature as metaphors for and projections of human experience, I demonstrate the ways in which literary authors, like the cultures in which they wrote, understood plants to be distinct. The writers considered here--Lydia Maria Child, Nathaniel Hawthorne, Harriet Beecher Stowe, and Emily Dickinson--examine how botanical life challenged the categorical systems and geographical boundaries that organized political thought and practice. I read canonical literary texts alongside home garden manuals, horticultural club records, seed catalogs, herbariums, botany textbooks, and popular periodicals to reveal how the discursive and material practices of domestic horticulture prove to be surprisingly international in scope and political in nature. My study is the first to offer a sustained examination of the way domestic writers invoked plant science and the language of grafting, transplanting, arranging, and weeding to engage central social issues of the century: imperialism, slavery, women's rights, and the democratic use of space. Chapter One explores how the idea of plant geography and transplantation fostered a nationalist discourse about plant origins. Focusing on writings across Lydia Maria Child's career, I argue for the central role plants play in her sentimental conception and eventual critique of American nationalism. Chapter Two shows how Hawthorne's understanding of botanical mobility--seedlings and soil whose circulation flouts national and legal boundaries--leads him to dismiss the idea of a civic identity grounded in personal property. Chapter Three demonstrates how Stowe comes to believe that biological diversity is necessary to America's democratic project. In attending to the ways that botanical science at mid-century celebrate ecological diversity, Stowe's second abolitionist novel, Dred, imagines a more racially diverse society than that envisioned in Uncle Tom's Cabin. In Chapter Four, Dickinson turns to theories of plant vitality and migration to critique a scientific method that set plants apart from humans, posing instead the possibility of a radical environmental ethic that accounts for plant rights. / 2019-06-01T00:00:00Z

<p> In the 1968 science fiction novel <i>Do Androids Dream of Electric Sheep?</i>, Philip K. Dick envisions a world where synthetic beings have become advanced enough to walk among humans unnoticed, blurring the boundary between human and machine. In a later interview, he claims that the inspiration of the novel came from reading a Gestapo officer&rsquo;s diary, believing that the writing represented a &ldquo;humanoid other&rdquo; that is morphologically human and yet is not human in essence. Using critical theory on object-orientation, technology, and identity, I investigate the novel&rsquo;s use of space, object description, and references to the ersatz to uncover the conditions under which a humanoid other emerges, and what Dick offers as the remedy for our &ldquo;bifurcated&rdquo; humanity.</p><p>

abstract: This dissertation provides a critical reassessment of the historical and modern conceptions of early American novelist Hannah Webster Foster as part of a larger disciplinary move toward recovering authors, primarily women, whose work has been lost or neglected by scholars. Although Foster is a fairly prominent writer from this early national period, remarkably little is known about her life due to her desire for anonymity and personal privacy. As a result, much of Foster’s legacy has been constructed through a combination of problematic assumptions related to the author’s class and gender as well as biases by those attempting to refashion the author according to contemporary approaches. While these concerns are examined in this study, much of this dissertation hinges on new opportunities for Foster scholarship by offering historical evidence related to and annotation of a recovered text to present a fuller perspective of Foster than has previously been available. Through an analysis of this recovered text, this dissertation challenges modern perceptions of Foster to show that Foster may best be understood through the ways she consistently models republicanism through her writings. / Dissertation/Thesis / Doctoral Dissertation English 2018

This work is a textual analysis of the editing of the posthumous fiction of Ernest Hemingway, including The Nick Adams Stories, Islands in the Stream, and The Garden of Eden. Through a study of the manuscripts of these works, I argue that in his posthumously published fiction, Hemingway was experimenting both stylistically and thematically, and that the editing of these manuscripts has functioned to suppress these new directions. In each of these three works, Hemingway's posthumous editors have been responsible for poor copyediting, substantial cuts of lines, scenes, and whole chapters, the addition of manuscript material that Hemingway had discarded, and transposed scenes and dialogue. Such editing has resulted in published texts which do not represent Hemingway's intentions in these works as he left them. In addition to these textual issues, I demonstrate that Hemingway was exploring new territory both in his prose style and in his view of the relationship between men and women. In his later work, Hemingway was reconsidering the male-female relationship and was exploring androgyny and the reversal of gender roles. The editing of the posthumous works has not allowed these new considerations in Hemingway's writing to appear. Rather, the texts have been edited to make the posthumous works conform to the received Hemingway canon, and do not allow for the new developments in both Hemingway's style and his treatment of the male-female relationship. I conclude that until a uniform editorial policy is applied to Hemingway's posthumous texts, we will never have a clear version of Hemingway's final works as he intended them.