Bibliography: v. 1, leaves 384-410 / 2 v. (xi, 410 ; xii, 454 leaves) : ill., facsims., music ; 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 Music, 1984

Includes bibliographical references (leaves 309-330) / vii, 330 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Resists the notion of a subversive Beckett appropriated by the cultural mainstream, by tracing the discursive limits of avante-garde writing, and by exploring how Beckett paradoxically reinforced the traditional author-function even as he appeared to challenge it. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2001

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.

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.

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.

Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2004. / Bibliography: leaves 270-277. / Introduction -- George MacDonald's religious heritage -- George MacDonald's philosophical and literary roots -- Of friends and teachers -- Conversion studies and critical application -- Children on the path -- Waking from slumber -- Courageous stances -- Toppled pride -- Broken vessels -- Implications of MacDonald's conversion depictions. / Victorian author George MacDonald is best remembered for his writing in the genres of fairy tale and fantasy. MacDonald was, however, most popular during his own time as a writer of realistic adult fiction. He was widely read but critically dismissed as a writer whose works were both didactic and predictable in plot. MacDonald was primarily a teacher who used the novel as a means to convey to readers his Christian message of hope and transformation. -- This thesis begins with a study of those individuals and ideas that influenced MacDonald's thoughts and beliefs. The second part of this thesis is an overview of studies of spiritual conversion, with particular emphasis on the works of V. Bailey Gillespie, Lewis Rambo, John Lofland, and Norman Skonovd. Their works in the field of conversion studies include several schemata which are helpful in explaining specific depictions of conversion within MacDonald's adult fiction. -- The remainder of the thesis focuses on MacDonald's portrayals of characters who experience conversion in his novels. They are placed into the following categories: Children on the Path; Waking from Slumber; Courageous Stances; Toppled Pride; and Broken Vessels. The experiences of the characters are thoroughly examined and justification is offered for their inclusions in their respective categories. -- This study counters the criticism levelled at MacDonald during his own time that he was caught in repetitive plots for lack of skill or inspiration. My findings suggest that MacDonald's depictions show a deep as well as wide understanding of the process of conversion, an understanding which seems to have encompassed a broader understanding than those of most of the religious writers of his own day. I suggest that his focus was on his message rather than his art. Therefore, his adult realistic fiction constitutes a very substantial literary achievement and offers contemporary readers and writers a benchmark against which to measure both their own understandings of conversion and their own expressions of it. / Mode of access: World Wide Web. / 277 leaves

Thesis (M.A.) in Modern Languages and Classics--University of Maine, 2003. / Includes vita. Abstract, table of contents in French and English. Includes bibliographical references (leaves 93-94).

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Introduction: This present essay is an analysis of the place of man and nature in [Wordsworth's] poetry ... I have been concerned essentially with trying to discover how Wordsworth used his two most prominent poetic subjects. I have attempted to trace Wordsworth's development from the poet of nature, to the poet of man, and finally to the poet of man and nature. What I have hoped would emerge from this essay is an understanding of Wordsworth's relationship with nature and his attitude to it in the poems. I have attempted to stress that man and humanity were not always important to Wordsworth as a poet, and that their importance does not eventually equal that of nature. For by 1807 man, the mind of man and humanity in general are very much more important and much more vital as poetic subjects than is nature. I have tried to show that Wordsworth was at different times a poet of landscape descriptions, a poet interested only in man and humanity, and finally a poet interested in man within nature.