Thesis (Ph. D.)--University of Wisconsin--Madison, 1958. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 211-217).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1956. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 477-532).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1959. / Typescript. Abstracted in Dissertation abstracts, v. 20 (1959) no. 3, p. 1099-1100. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 491-502).

<p> The 18th century poet and writer Samuel Johnson claimed, &ldquo;Deviation from nature is deviation from happiness.&rdquo; I have found this assertion to hold true. In one way or another, nature has always been an important part of my life. I am drawn to its intricacies and inherent complexities&mdash;characteristics that I both appreciate, but also struggle to understand. According to research, spending time in nature is psychologically important for humans, but today&rsquo;s technologically reliant society seems to be losing that connection. Even when we are &ldquo;in nature&rdquo; often times these places are merely an artificial representation, not truly natural. For instance, a park in the middle of a city serves as a contrived natural environment for the city&rsquo;s inhabitants, but, again, it is then constructed, not actually an organic experience. For me, nature is a place where one is surrounded by plants, land, and animals that still hold their unaltered characteristics&mdash;places that lack human culture and have been minimally interrupted by contemporary society. My work creates space for viewers to inhabit which mimics these natural environments synthetically.</p>

My thesis considers the profound effect of the all-pervading late Eighteenth-Century revolutionary climate on the evolving religious and political views of the young Coleridge, and their expression through his published works from 1794-1800. I consider how Coleridge‘s continuing use of religious imagery evolved, following his transition from the established tradition of Dissenting religion, towards a more personal form of Dissent, grounded in Pantheism. Chapter One considers how Coleridge‘s sonnets, lectures and periodical (The Watchman) of 1794-5 articulated his developing radical political and Dissenting religious views. Fundamental to Coleridge‘s views was a notion of the Establishment Anglican Church as a hollow Christian sham, needing a spiritually renewed form of religion to bring it back to God. Chapter Two compares Religious Musings and Fears in Solitude, examining how Coleridge‘s political and religious views matured in the intervening four years. I also focus on iconic and archetypal figures featured in The Wanderings of Cain, The Rime of the Ancient Mariner, and Christabel. A key figure is the Wanderer, who appeared in different guises in Coleridge‘s works of this period. I also examine the protean nature of Geraldine, from Christabel, as a rare female manifestation of the Wanderer, as well as the iconic and archetypal guises of serpent, Lamia, Lilith, and succubus. Chapter Three considers Coleridge‘s exploration of the relationship between power, politics, and religion, in his translation of Schiller‘s Wallenstein trilogy, through a comparison of Wallenstein and the archetypal figures of Satan and Faust. I consider how Coleridge has used the vehicle of translation as a creative space, allowing him to articulate and develop his changing religious and political opinions. The notion of translation as creation has not previously been considered. Chapter Four examines Coleridge‘s influence on second-generation Romantic Period writers, specifically Mary Shelley. I discuss the evidence for Coleridge‘s influence on her novels and short stories, also drawing attention to her religious and political expression in microcosm, compared with Coleridge‘s macrocosmic political views.

published_or_final_version / Chinese / Master / Master of Philosophy

No description available.

'Never Forget Your First' presents the story of Gillian - a young woman who, from a young age, expresses an attraction to violence. Following an encounter with her father - in the course of which he suffers a fatal injury - Gillian begins her journey towards her first murder. Never Forget Your First aims to illustrate how contemporary authors can deviate from narrative norms in regard to representing female violence. Complementary to this, the critical portion of this thesis, Violent Women: Representations of Female Violence in Muriel Spark's 'The Driver's Seat', Virginie Despentes's 'Baise-Moi', Gillian Flynn's 'Gone Girl', and C.S. Barnes's 'Never Forget Your First', discusses how depictions of female violence in fiction remain heavily gendered. Through an analysis of three novels- Muriel Spark's The Driver's Seat (1970), Virginie Despentes's Baise-Moi, trans. by Bruce Benderson (1993), and Gillian Flynn's Gone Girl (2012)- this essay aims to highlight that even innovative narratives of female violence remain, to some extent, governed by gendered expectations. This analysis also draws on feminist theory, above all on Betty Friedan's and Judith Butler's work. The critical essay highlights problems with the gendered representation of violence in fiction and calls for a revision of literary tropes governing the representation of violence.

This study brings together for the first time four non-canonical memoirs written by women from various backgrounds who emigrated from Germany to the United States in the early post-war years and whose texts were published in English in the United States between 2004 and 2011: Irmgard Powell, 'Don't Let Them See You Cry: Overcoming a Nazi Childhood' (2008); lrmgard A. Hunt, 'On Hitler 's Mountain: Overcoming the Legacy of a Nazi Childhood' (2005); Maria Ritter, 'Return to Dresden' (2004); Sabina de Werth Neu, 'A Long Silence: Memories of a German Refugee Child 1941-1958' (2011). The memoirs chosen for this study were written by women who were born in Germany between 1932 and 1941 . These memoirs address an American readership and entered the American public sphere via the popularity of the contemporary misery memoir. I demonstrate how the trope of the innocent child, articulations of citizenship and confessions to guilt and shame construct the necessary framework of German culpability for the Nazi past to enable a testimony to the victimhood of the protagonists, their families and, in part, the wider German population. The memoirs of childhood are, therefore, expressions of personal, collective and transnational memory. This study contributes not only to memory and literary studies but also to a historiography of National Socialism that includes diverse individual stories from the bottom up, of women belonging to the Kriegskinder generation who now live in the United States.

This thesis is the first full-length study on T. S. Eliot and the mother in thirty years. Responding to a shortfall in Eliot studies in understanding the true importance of Eliot’s poet-mother, Charlotte, to his life and works, it rethinks Eliot’s ambivalence towards women in the context of mother-son ambivalence, and shows his search for belief and love as converging with a developing maternal poetics. Utilising the work of feminist and psychoanalytic thinkers seeking to reinstate the mother against Oedipal models of masculinity, it looks at Eliot’s changing representations and articulations of the mother/mother-child relationship—from his earliest writings to the later plays. Particular focus is given to mid-career works: ‘Ash-Wednesday’, ‘Marina’, ‘Coriolan’ and The Family Reunion. Drawing on newly available materials, this thesis emphasises Charlotte’s death as the decisive juncture marking both Eliot’s New Life and the apotheosis of the feminine symbolised in ‘Ash-Wednesday’. Central to this proposition is a new concept of maternal allegory as a modern mode of literary epiphany. This thesis breaks new ground revealing the role of the mother and the dynamics of mother-son ambivalence to be far more complicated, enduring, changeable and essential to Eliot’s personal, religious and poetic development than was previously acknowledged.