No description available.

No description available.

No description available.

The thesis seeks to find evidence to support the assumption that British migrants were the ‘pampered’ and ‘protected’ of the post-World War Two intake of migrants. Contemporary students of historical writing of the migration experience have virtually written British migrants out of the history of this era by such unsubstantiated assumptions. / The assimilationist construct of the 1940s to the 1960s that defined non-British migrants as assimilable, and British migrants as ‘kith’ and ‘kin’ was a vital component in the ideology of governments. It enabled them to carry out a migration programme the extent of which had no precedent in Australian history. Because social participation is vital in the process of admitting new knowledge, the construction of assimilability needed to be developed and legitimated on the basis of shared values. In effect the imposition of ‘new’ information promulgated by the institutions of society needed an empathetic response from the community, for the successful implementation of the programme. If the concept of non-British migrants as being assimilable could be ‘sold’ to the public, then it went without saying that British migrants would be the exemplar of trouble-free assimilation; they were ‘kith’ and ‘kin’. When British migrants did not fit the archetypal mould designed and fashioned for them by others, they had to be redefined for the continuing success of a policy. The thesis examines the experience of British migrants during the assimilationist era and how their settlement was affected by this ideological construct.

This thesis analyses the work of British writer Sarah Waters, focussing on the inseparability of spatiality and the expression of sexuality in her novels. Since 1998, Waters has published three books set in the mid-to-late Victorian era, featuring lesbian protagonists: Tipping the Velvet, Affinity and Fingersmith. All three novels are examples of lesbian fiction, but they are also arguably works of historiographic metafiction and post-Victorian novels. They have been critically and popularly acclaimed, added to university reading lists and adapted for television. There has thus far been a small amount of scholarship in response to Waters' novels, primarily concerned with generic classification and lesbian identity. The entwined discourses of space and sexuality form the theoretical basis of this discussion. There is a large body of academic work on this subject, by cultural theorists such as Michel Foucault, Eve Kosofsky Sedgwick and Mark Wigley as well as geographers such as Tim Creswell. Previous studies of Waters' work have made little use of theories of space and sexuality, despite their relevance to her novels. I draw upon these theories in my analyses of Tipping the Velvet, Affinity and Fingersmith, exploring the way in which the historically transgressive sexualities of Waters'heroines are constructed spatially, via the characters' movement (or lack thereof) through confining interiors. Chapter One looks at the ways in which theatrical and performative transgressions affect sexual expression in Waters' first novel, Tipping the Velvet. Sites of performance, or stages, are not only located in theatres in this text, but are present everywhere: on the streets and in the homes of both the rich and poor. Upon these numerous and diverse stages Nancy Astley, the protagonist of the novel, reveals the inherent performativity of gender and sexuality through cross-dressing and impersonation. The second chapter shows the way sexual identities are confined within both the private sphere and the prison in Affinity. The desires of the protagonists can be articulated only through spiritual or ghostly transgressions, which are simultaneously arousing and frightening. The third chapter focuses on domestic spaces and madness in Fingersmith. Waters draws on Victorian notions of hysteria and female sexuality in this novel, re-appropriating them for her own purposes. This thesis concludes that Waters re-presents Victorian sexuality through the spaces in which it was enclosed.

No description available.

Robert Louis Stevenson continues to enjoy popular fame for his adventure tales, Treasure Island and Kidnapped, and for his gothic crime story, Jekyll and Hyde. The popularity of these books, combined with some of his own statements and his unconventional and adventurous life, have given him a reputation as a whimsical and lightweight writer who stood aside from mainstream Victorian life. Recent criticism, especially of Jekyll and Hyde, has done much to redress this, and to show Stevenson as an essentially Victorian figure. It has not, however, shown the extent to which Stevenson internalised ideas of deviation from the normal and envisioned himself as constrained by a degenerative ethos. Stevenson's fiction came to be formed in a matrix of deep anxiety caused by chronic illness, social and familial pressure, censorship, and onerous financial burdens. The thesis assesses Stevenson's fictional works in light of his belief that he was deformed, both as an artist and as an individual, by what he saw as the degenerative power of the age in which he lived. Drawing heavily on Stevenson's correspondence, and that of his personal and literary circle, this work contends that the associated motifs of deformity, disguise and degeneration are widespread in Stevenson's fiction, and that they frequently refute the prevailing cultural attitudes of his time. The thesis explores representations of deformity in a variety of forms, including physical, social and artistic depictions. It shows that Stevenson, one of the most experimental and broad-ranging writers of his era, was forced by the dictates of an age increasingly obsessed with control and delineation to produce fiction that conformed to rigid codes of genre and style. It demonstrates that when Stevenson violated these codes - as he did with heightening determination - he was forced either to temper or to abandon the works he had created. Finally, the thesis assesses Stevenson's Pacific fiction in relation to his failed escape from - as he saw it - the oppressive and corrosive effects of the Old World, and it considers how, ultimately, notions of deformity overwhelmed the writer entirely.

Thesis (B.A. (Hons.))--University of Adelaide, Dept. of History, 1979.

Thesis (B.A. Hons. 1973) from Dept. of History, University of Adelaide.

Thesis (D. Mus. Arts)--University of Washington, 1994. / Vita. Includes bibliographical references (leaf [275]).