This thesis studies the concept of the baroque as applied to the works of the Cuban novelist Alejo Carpentier (1904-1980). It revisits the original inspiration that the writer found in baroque architecture and sculpture, as expressed in the articles he wrote from Spain in the early 1930s, and follows his use of baroque culture in each of his novels. It is found that, through his attempt to create a period ambience for his historical fictions by incorporating into his novels descriptions of the art and architecture of the Baroque era, and by imitating the literary style of Spanish Golden Age writers, he ultimately produced a parodic and ironic style that was put to a highly original use even in those works set in the contemporary period. Finally, the mature works produced in the last decade of Carpentier's life are studied, and the continuities and discontinuities between these works and those of previous periods are examined, in order to arrive at a critical assessment of the potential to renovate the Latin American novel created by this writer's use of the baroque. Throughout this thesis the primary focus is placed upon the role played by the visual arts, including architecture, in Carpentier's development of baroque themes and style, a secondary focus being placed upon literary influences. Thus the importance for Carpentier of various writers and artists is examined, such as Cervantes, Quevedo, Piranesi, Vico, Goya, Barr????s and d'Ors. It is found that Carpentier's use of baroque themes, motifs and style enabled him to make a unique contribution to literature in a number of ways: by creating an original means of representing the position of the individual with regard to society and the historical process, by reevaluating Latin American culture and environment vis-????-vis is Europe, and by adopting a postcolonial perspective of cultural self-assertiveness that was to pave the way for the 'boom' in the Latin American novel.

This thesis takes up J. G. Ballard's contention, that 'the act of intercourse is now always a model for something else,' to show that Don DeLillo uses a particular sexual, cultural economy of adultery, understood in its many loaded cultural and literary contexts, as a model for semantic reproduction. I contend that DeLillo's fiction evinces a promiscuous model of language that structurally reflects the myth of the adulterous triangle. The thesis makes a significant intervention into DeLillo scholarship by challenging Paul Maltby's suggestion that DeLillo's linguistic model is Romantic and pure. My analysis of the narrative operations of adultery in his work reveals the alternative promiscuous model. I discuss ten DeLillo novels and one play - Americana, Players, The Names, White Noise, Libra, Mao II,Underworld, the play Valparaiso, The Body Artist, Cosmopolis, and the pseudonymousAmazons - that feature adultery narratives. I demonstrate that these narratives resist conservative models of language, space, and sex by using promiscuity as a method of narrative control. I argue that DeLillo's adultery narratives respond subversively to attempts to categorise his work, and that he extends the mythologised rhetoric of the adulterous triangle by adopting sexual transgression as a three-sided semantic structure that connects language, sex, and space. I refer to theories of narrative, postmodernity, space, desire, and parody to show that DeLillo's adultery narratives structurally influence his experiments with linguistic meaning. My analysis reveals that contradiction performs at several spatial, sexual, and dialogical levels to undermine readings that suggest DeLillo's language models pure meaning. I identify the sexualised fissure within DeLillo's semantic style that is exposed by the operation of contradiction. I believe this gap distinguishes DeLillo from postmodern fiction's emphasis on the placeless, because it is a meaningful space that emphasises the reproductive adulteration of signification. I expose several sites of dialectic rupture, including the hotel/motel room, oppositional and metaphorical description, the journey, the image, and the secret. I contend that sex in these transgressive narratives is a model for something else: promiscuous meaning. This thesis demonstrates that DeLillo's fiction charts the typography of the mythical third side of the adulterous triangle in order to respond to language's own promiscuity.

Typescript (photocopy) / xv, 439 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1982

Bibliography: leaves 281-298. / vi, 298 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Some text in Greek. / Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 2001

2 v. (iii, 625 p.) : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea. / Thesis (Ph.D.)--University of Adelaide, Elder School of Music, 2001

Mike Rose researcher, professor, scholar, and author of numerous articles and books including the literacy memoir - Lives on the Boundary - has been active in the field of education and composition for over 30 years. This thesis looks back at the development of the discipline of composition studies to suggest that Rose has played an important role in this process, particularly with his significant early work on cognitive writing process research and his later attention to the social-cognitive aspects of learning. This thesis contributes to the scholarly conversation on Rose by composing a reading of Rose's oeuvre on the theme of inclusion. Three chapters analyze Rose's various presentations of inclusion in his scholarly articles and in Lives on the Boundary. These instances of inclusion reveal his commitment to helping students succeed - particularly students who might be marginalized due to race, gender, ethnicity or socioeconomic class. In suggesting this way of reading Rose's oeuvre, this thesis encourages further consideration of his many contributions to the field of rhetoric and composition. The appendix includes an extended annotated bibliography. / Graduation date: 2004

Brenda Ueland is a writer whose most noted work is a book which explains her theory about how to write. She also published an autobiography and a co11ection of essays as well as achieving some notoriety as a magazine writer to the twenties and thirties. Ueland's writing theory is based on the premise that all people have a natural desire to express themselves in writing. In her book about writing she explains her belief that all people have the potential to write as an expression of their natural, creative instincts. Ueland's theory identifies her as an Expressionist in terms of contemporary rhetorical theories. Considered eccentric by her family and friends, Ueland chose to live a life that demonstrated a desire for independence and equal treatment as a woman in a male-dominated society. Ueland's attitudes and ideas about choosing a lifestyle not within the bonds of the conventional expectations of marriage identified her with feminist ideals. Although feminism as a recognized movement was to come later, Ueland felt that equal work required equal pay, and, therefore, she objected to the inequalities in salaries based on gender. Ueland also tried to define herself in terms of her own accomplishments and not through her husband's career. In her published works Ueland not only teaches about writing as a form of self-expression, she also shares her search to discover her personal beliefs and values as an inspiration to other people who want to write. / Graduation date: 1992

A majority of critics examine Raymond Carver’s fiction in terms of minimalism, but in this thesis, I highlight the themes in Carver’s work rather than emphasize the format. Many women in Carver’s work contrast the futility of their male counterparts by showing a determination to move on with their lives. By looking at each of Carver’s major collections of short stories, one may find a progression in the way women react to the hopeless situations in their lives. Carver’s early stories, found in "Will You Please Be Quiet, Please?", show women who are capable of handling situations, yet unproductive in finding true autonomy. Later stories in "Cathedral" and "Where I’m Calling From" find women working with men and eventually finding their own independence - a characteristic that begins to develop in Carver’s second collection, "What We Talk About When We Talk About Love". / Thesis (M.A.)--Wichita State University, Dept. of English. / Includes bibliographic references (leaves 57-60). / "May 2006."

This dissertation examines the theme of irredeemable egoism in all seven of George Eliot's novels. Irredeemable egoists are those characters who do not complete the process of shedding what Eliot identifies in Middlemarch as the "moral stupidity" into which all people are born, and they contrast with those major characters in her novels that achieve a moral victory over egoism.The characters share in common a predilection for self over others. They are self-deluded, have a narrow imagination, and lack compassion for others. Depicted as pitiful and miserable, these characters are doomed by their natures to imprisonment within themselves. They are also incapable of redeeming themselves for actions that harm others, actions they all commit, for all of them break, betray, or deny the bonds a commitment entails. Their blocked or distorted vision of the world prevents a clear understanding of their duty to their fellow men, a duty which Eliot sees at the heart of the fulfillment of mankind's quest for not only improvement and enrichment but finally salvation.Chapter two looks at Hetty Sorrel and Arthur Donnithorne in Adam Bede. Hetty is a creature whose primitive egoistic cravings lead to a cold alienation from all human contact, while Arthur's morally irresponsible behavior is inexcusable despite his efforts to seek redemption.In chapter three, Torn Tulliver and Stephen Guest are scrutinized. Tom's rigidity and narrowness make him unresponsive to Maggie's natural warmth and affection. This unresponsiveness results in anguish and emotional turmoil for Maggie. Stephen produces the same results with opposite motives, seeking self-gratification despite Maggie’s explicit belief in self-denial.Silas Marner is examined in the next chapter, with Godfrey Cass at the center of the study. While the nemesis is mild, as Eliot herself says, the basic theme remains the same; Godfrey crows to regret his abandonment of Eppie, but his misgivings come too late to change the effects of his actions. Rompla, the subject of chapter five, contains Eliot's archetypal villain, Tito Nelema, who represents the extreme of moral degeneration. Tito's wanton disregard of other people's good will and well being is evident from the beginning, as Eliot carefully depicts his complete deterioration while he betrays family, friends, and country for personal gain.In chapter six, three characters in Felix Holt the Radical are discussed. Mss. Transome is perhaps the most sympathetic portrayal of despair and bitterness in all of Eliot's fiction. Her sin years earlier has produced only emotional deprivation, disillusionment, and tortured regret as she finds her son to be no source of joy and her former lover a grim reminder of her post transgression. Harold Transome is oblivious to the needs of his mothers and Jermyn is self-seeking and untouched by the needs of others. Middlemarch contains three major characters that clearly do not shed moral stupidity. Bulstrode, the religious hypocrite, Casaubon, the desiccated pedant, and Rosamond Vincy Lydgate, the self-centered beauty, are closely analyzed in chapter seven.Chapter eight focuses on Eliot's final novel, Daniel Deronda, which contains a character as evil as Tito Melema, Henleigh Mallinger Grandcourt. His psychological cruelty to his mistress, his wife, and everyone else he cares to trifle with marks him a sinister, repugnant example of unregenerate egoism. On the other hand Gwendolen Harleth, though clearly as potentially destructive as Grandcourt, is rescued from moral impoverishment by Deronda. Eliot uses all these characters, shown at various stages of moral dissolution, to illustrate her belief that egoism is harmful, often deadly, and produces consequences that are extensive and unalterable. The characters are punished by remorse, degradation, humiliation, defeat, or even death for their inability or refusal to emerge from moral stupidity.

John Milton's Christian Doctrine reveals a number of doctrinal opinions clearly in disagreement with the orthodox Christianity of his day. His four major heresies, his monism itself, his theory of creation ex Deo, his anti-Trinitarianism, and his mortalism, form a logical system, developed in accordance with his monistic conception of the cosmos.Milton's monism denies the Platonic dualism between matter and spirit. He presents a world which is a continuum in which that which is usually called material is merely further removed from God than that which is normally called spiritual. This monism serves as the basis of his concepts of the universe, God, and humanity.Since Milton sees God as the total of reality, the things of this world cannot have their source in anything outside God. They cannot be created either from a preexistent prime matter or from nothing. His monism requires that they somehow be created ex Deo, from God's own substance.Milton's monism denies the possibility of the traditional concept of the Trinity. The Son is neither coeternal, co-essential, nor co-equal with the Father. The Holy Spirit is even less important, subordinate to both Father and Son. Since Christ must also be a unity, Milton presents a unique concept of the Incarnation, in which two total persons are mysteriously combined into one new person.His monism requires that the human being also be a unity. Two heresies result: (1) Traducianism, in which the soul is generated by the parents just as is the body; (2) Thnetopsychic mortalism, in which the entire human being dies together and then is resurrected to either reward or punishment.Through a study of monism, Milton's reader can find a key to the phenomenon of John Milton. He uniquely combines his monism with a staunch Biblical literalism, presenting himself as a Christian, but a Christian with a difference-a Christian who will allow no outside authority of any kind to define his faith. As a part of Milton's general application of a monistic cosmos to all his thought, the monistic continuity of the Miltonic heresy can clearly be discovered.