This thesis examines Frost’s conception of poetry as the labor of human value. It investigates how Frost consciously shaped his notions of “sound of sense” and metaphor, which he deemed fundamental elements of poetic labor, in contradistinction to the Modernist poetics of Eliot and Pound. The author closely examines a representative sample of Frost’s poetry and prose as critiques of Modernist poetic theory and its implications for what Frost deemed the essential human function of poetry. The thesis will interest scholars studying strains of English poetic thought that developed concurrently with and against Modernist poetic thought. More broadly, it will interest those who seek a serious and thoughtful challenge to Modernist literary trends that prevail even today.

<p>One of the most discussed archaeological subjects is the neolitisation, and the start of a neolithic lifestyle which is characterized by several significant events. The traditional view has been that settled people were cultivating and breeding, but this picture has been questioned and changed in later years. The development is principally based on two models; that already neolithic people immigrated and took over, or that the new lifestyle gradually developed out of the existing cultures. Southern Scandinavia was characterized by a settlement pattern with permanent settlements which were complemented by temporary special settlements, but in time more domestic settlements originated. On the British Isles the settlements didn´t consist of permanent agricultural settlements but instead did the people here move freely between several short term settlements.</p><p> </p><p> </p>

Victorian inquisitiveness about sleep and dysfunctions of sleep is exemplified in novels published during the fifty-year period from Jane Eyre (1847) to Dracula (1897). This inquisitiveness foreshadows modern medical sleep science and immerses the reading public in a body of popular literature that subverts the concept of "normal" sleep. My dissertation explores the ways in which Victorian fiction brings physiological and psychological female concerns to the fore through the plot devices of sleep and sleeplessness. I examine the Victorians' diverse interpretations of illness, physical and sexual vulnerability, moral insanity, criminality, and anxiety to determine the thematic and narratological ways in which these issues are linked to sleeping and waking states. Drawing on feminist literary criticism, cultural historicism, and medical insight from the early nineteenth-century to the present, I argue that Charlotte Brontë, Wilkie Collins, and Bram Stoker use sleep and wakefulness as vehicles to navigate gendered fluctuations of power and loss. Jane Eyre, The Woman in White, and Dracula each present sleep as a gendered space in which power is contested. I argue that sleeplessness and restlessness are the methods women adopt, either on purpose or unintentionally, to realize self-sufficiency and protect themselves from patriarchal jurisdiction and other social restrictions on women. Women must reject their instinctual desires for a certain amount of sleep so that they can maintain agency and authority over their bodies and narratives. Implicit in the novels is the idea that deep sleep is a mechanism for achieving health and moral strength of character. However, explicitly and without apology, the novels use the trope of sleep for women as a violent instrument of loss, infection, powerlessness, and weakness. The cultural and medical artifacts of the time suggest that deep, indulgent sleep is the only way to achieve or maintain health. Yet Victorian authors write sleep as a sure road to incapacitation and subjugation. Brontë, Collins, and Stoker demonstrate that a woman's mind is only as healthy as her sleep, while her body is always safer awake.

Embedded within various works of Eighteenth-Century literature lie themes regarding how the protagonists of these stories pursue their own versions of happiness. This thesis examines how characters from a wide variety of Eighteenth-Century novels engage with their surroundings, often resisting the dominant social structures of the time, to fashion more fulfilling lives for themselves. From Robinson Crusoe to Elizabeth Bennet to Frankenstein's monster, these characters come from a wide variety of backgrounds but all reveal several unifying themes. They seek out personal connections rather that striving to fulfill antiquated social expectations and they focus on their own agency, rather than circumstances out of their control. Their respective journeys are often fraught with peril, but each one is a journey worth embarking on.

T.S. Eliot is a monumental figure in literature. He distinguished himself as a poet in his youth, as a critic in his middle age, and as a dramatist in his later years. Because of the vitality of Eliot’s early literary works, his dramas are frequently bypassed by critics when discussing the major themes that interested him as an artist. The purpose this study is to examine thoroughly Eliot’s position on isolation and alienation as revealed in his seven plays: Sweeney Agonistes (1926), The Rock (1934), Murder in the Cathedral (1935), The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk (1954), The Elder Statesman (1959). Only by a consideration of the whole of his dramatic writings can it be seen that the theme of total isolation and alienation which the early plays have in common with his poetry moves through intermediate solutions in the middle plays to be finally abandoned for an affirmation of human relationships in the later plays. This thesis will attempt to reveal the full pattern of the isolation motif, as well as to explore secondary elements in the dramas that directly relate to it.

Seismic records contain information that allows geoscientists to make inferences about the structure and properties of the Earth’s interior. Traditionally, seismic imaging and tomography methods require wavefields to be generated and recorded by identifiable sources and receivers, and use these directly-recorded signals to create models of the Earth’s subsurface. However, in recent years the method of seismic interferometry has revolutionised earthquake seismology by allowing unrecorded signals between pairs of receivers, pairs of sources, and source-receiver pairs to be constructed as Green’s functions using either cross-correlation, convolution or deconvolution of wavefields. In all of these formulations, seismic energy is recorded and emitted by surrounding boundaries of receivers and sources, which need not be active and impulsive but may even constitute continuous, naturally-occurring seismic ambient noise. In the first part of this thesis, I provide a comprehensive overview of seismic interferometry, its background theory, and examples of its application. I then test the theory and evaluate the effects of approximations that are commonly made when the interferometric formulae are applied to real datasets. Since errors resulting from some approximations can be subtle, these tests must be performed using almost error-free synthetic data produced with an exact waveform modelling method. To make such tests challenging the method and associated code must be applicable to multiply-scattering media. I developed such a modelling code specifically for interferometric tests and applications. Since virtually no errors are introduced into the results from modelling, any difference between the true and interferometric waveforms can safely be attributed to specific origins in interferometric theory. I show that this is not possible when using other, previously available methods: for example, the errors introduced into waveforms synthesised by finite-difference methods due to the modelling method itself, are larger than the errors incurred due to some (still significant) interferometric approximations; hence that modelling method can not be used to test these commonly-applied approximations. I then discuss the ability of interferometry to redatum seismic energy in both space and time, allowing virtual seismograms to be constructed at new locations where receivers may not have been present at the time of occurrence of the associated seismic source. I present the first successful application of this method to real datasets at multiple length scales. Although the results are restricted to limited bandwidths, this study demonstrates that the technique is a powerful tool in seismologists’ arsenal, paving the way for a new type of ‘retrospective’ seismology where sensors may be installed at any desired location at any time, and recordings of seismic events occurring at any other time can be constructed retrospectively – even long after their energy has dissipated. Within crustal seismology, a very common application of seismic interferometry is ambient-noise tomography (ANT). ANT is an Earth imaging method which makes use of inter-station Green’s functions constructed from cross-correlation of seismic ambient noise records. It is particularly useful in seismically quiescent areas where traditional tomography methods that rely on local earthquake sources would fail to produce interpretable results due to the lack of available data. Once constructed, interferometric Green’s functions can be analysed using standard waveform analysis techniques, and inverted for subsurface structure using more or less traditional imaging methods. In the second part of this thesis, I discuss the development and implementation of a fully non-linear inversion method which I use to perform Love-wave ANT across the British Isles. Full non-linearity is achieved by allowing both raypaths and model parametrisation to vary freely during inversion in Bayesian, Markov chain Monte Carlo tomography, the first time that this has been attempted. Since the inversion produces not only one, but a large ensemble of models, all of which fit the data to within the noise level, statistical moments of different order such as the mean or average model, or the standard deviation of seismic velocity structures across the ensemble, may be calculated: while the ensemble average map provides a smooth representation of the velocity field, a measure of model uncertainty can be obtained from the standard deviation map. In a number of real-data and synthetic examples, I show that the combination of variable raypaths and model parametrisation is key to the emergence of previously-unobserved, loop-like uncertainty topologies in the standard deviation maps. These uncertainty loops surround low- or high-velocity anomalies. They indicate that, while the velocity of each anomaly may be fairly well reconstructed, its exact location and size tend to remain uncertain; loops parametrise this location uncertainty, and hence constitute a fully non-linearised, Bayesian measure of spatial resolution. The uncertainty in anomaly location is shown to be due mainly to the location of the raypaths that were used to constrain the anomaly also only being known approximately. The emergence of loops is therefore related to the variation in raypaths with velocity structure, and hence to 2nd and higher order wave-physics. Thus, loops can only be observed using non-linear inversion methods such as the one described herein, explaining why these topologies have never been observed previously. I then present the results of fully non-linearised Love-wave group-velocity tomography of the British Isles in different frequency bands. At all of the analysed periods, the group-velocity maps show a good correlation with known geology of the region, and also robustly detect novel features. The shear-velocity structure with depth across the Irish Sea sedimentary basin is then investigated by inverting the Love-wave group-velocity maps, again fully non-linearly using Markov chain Monte Carlo inversion, showing an approximate depth to basement of 5 km. Finally, I discuss the advantages and current limitations of the fully non-linear tomography method implemented in this project, and provide guidelines and suggestions for its improvement.

Few critics have had a greater impact upon the theory of poetry than T.S. Eliot. His critical works, spanning the decades of his literary career, embody a theory of poetry and by a careful scrutiny of his many essays, reviews and interviews, it is possible to formulate definite requirements for works in the genre of poetry. Beginning with the essay “Tradition and the Individual Talent” in 1919, Eliot stresses certain aspects of poetry that must be carefully considered by the poet, and Eliot does not radically alter his attitudes throughout his career. Eliot insists in his earliest essays that the poet must recognize the value of tradition to his work. To Eliot, tradition represents not only a knowledge of the past, but an assimilation of this past into one’s life. The artist must have a definite sense of tradition and realize that his work does not stand apart from all other art. Rather, each new work of art will modify the old existing order. Another element of poetry that Eliot considers important is prosody. Eliot insists that free verse is impossible; the poet can only thoroughly master technique, then has he the freedom to depart from the standard forms. Eliot cautions the poet to not sacrifice the sense of a line for its sound, yet always be aware that the musicality reinforces the meaning of the poem. Perhaps the most familiar term Eliot uses is objective correlative. Although much has been written about his meaning, Eliot basically uses the term to signify the objectification of emotions and thoughts; it is a technique to elevate the subjective into the objective, while retaining a sense of immediacy. Eliot never concedes that poetry should only be a personal statement; the poet may begin with very personal feelings, but he must transform them into an impersonal statement. This demand by Eliot for impersonality includes his belief that the poet can best express the universal through the particular. He believes the imagery should be definite and specific. The poet should also use the vernacular speech of his era; he must avoid the appearance of artificiality of language. Finally Eliot comes to a clear position toward the role of philosophy in poetry. Early in his career he argued that no poet should sacrifice the quality of the poem artistically in order to employ it as a vehicle for a particular philosophy. Eliot, recognizing that a poet will incorporate personal beliefs into the poem, insists that these views should be there almost unconsciously. A too conscious striving to use poetry only as a statement of philosophy Eliot views as corrupting the role poetry should play. To Eliot, the function of poetry is to serve as an aesthetically satisfying expression of universal truths.

Recent scholarship has explored the “Machiavellian” actions of Prince Hal in Henry IV, Part 1 ; yet the classical rhetorical pedagogy of Renaissance Britain suggests that the speeches in the play lead to a transformation in Hal that is antithetical to the emergent understanding of Hal as a great manipulator. Falstaff uses the ruse of rhetoric instructor in order to construct a classical rhetorical argument for his own ends, and Henry IV gives a passionate yet formally adept (and classically rhetorical) plea to his son in order to incite change. An analysis of Falstaff and Henry’s arguments as well as Hal’s responses provides the framework of understanding the play not as an example of what has been called “Machiavellianism” but rather as a testament to the power of what Cicero calls the "good man skilled in speaking.”

Many critics have examined the shifting nature of female friendship in Jane Austen’s Emma from cultural and historical angles. However, a comprehensive scientific analysis of female-female alliance and competition in the novel remains incomplete. The Literary Darwinist approach considers the motivations of fictional characters from an evolutionary perspective, focusing primarily on human cognition and behaviors linked to reproductive success, social control, and survival. While overt physical displays of male competition are conspicuous in the actions of the human species and those of their closest primate relatives, female aggression is often brandished psychologically and indirectly, which makes for a much more precarious study. In this paper, cultural criticism and evolutionary psychology work together to unravel the most complicated and arcane layers of intrasexual competition between women in Emma. Ultimately, this dual interpretation of the novel steers readers towards a deeper understanding of Emma Woodhouse’s imperiled friendships, and by extension, their own.

Since the First World War ended in 1918 and anthologies began to emerge, limited attention has been paid to the poets of this era. While a few select male poets have achieved canonicity, women war poets of this era have fallen into enigmatic obscurity. The intention of this paper is to expound, explicate, and expose the difficulties relating to gaining entry into the canon of English literature, especially where the poets of The Great War are concerned. This paper discusses the absence of the most profound and foreshadowing poems written during the war through research of scholarly journals and out-of-print poems. The paper also seeks to prove that the defenses offered up which exclude certain poems in the anthologies have had repercussions extending into the twenty-first century. Beyond all human imagination, the excluded poetry of The Great War is languishing, wanting, and imploring for exploration and canonicity.