This study of D'Arcy McNickle (1904-1977) focuses primarily on his literary work: his two novels, The Surrounded (1936) and Wind from an Enemy Sky (1978), the manuscript versions of the two novels, and his short fiction. McNickle regarded fiction as a vehicle to explore his own identity as an American Indian. Of mixed French-Cree-American ancestry McNickle grew up on the Flathead Reservation in western Montana. Cut off from the Reservation and its traditions by a rather unhappy childhood, he struggled throughout his life to reestablish the severed bonds to his roots. In addition to this personal involvement in his fiction, McNickle also considered fiction a proper medium for writing tribal history, one that could include such diverse materials as oral tradition, literature, history, anthropology, etc. The first three chapters of the dissertation provide some background information on the Flathead tribal history, as well as the problems and prejudices McNickle encountered while growing up as a "breed," which led to a rejection of his American Indian heritage. This section ends with a consideration of his pivotal years in New York City when he started to rethink his earlier experiences and took the first step on his journey back to his tribal roots. The middle section, chapter four, gives a brief summary of McNickle's activities during the years he was involved with federal Indian policy. Even though McNickle did not work on any new fiction during those years, he continued his journey in a more detached way through non-fiction and biography. The last two chapters of the dissertation, the final stage of his journey, analyzes McNickle's disassociation from the abstract policies of the Bureau of Indian Affairs and how he turned to fiction once more in order to complete the painful but successful journey back to his tribal roots.

The political popular theatre which has developed in the West since the 1960s challenges the current hegemony in Western cultures by attacking its basic models of knowledge, yet little critical attention has been paid to the dramaturgies particular to this form. An application of the Possible Worlds theory, the concept of ludic framing, and feminist "standpoint" theory to the Irish stage plays written by Margaretta D'Arcy and John Arden after they left the "legitimate" stage, shows how the dramaturgy of this theater is a critical part of its strategic challenge to the status quo. This analysis shows how D'Arcy and Arden foreground the encompassing Theatre Possible World, within which the performance takes place, in order to cast doubt on the natural character of generally accepted meanings, and to induce the audience to consciously choose the frames within which it makes sense of action.

Diss. : Philosophische Fakultät : München : 1985-1986. - Bibliogr. p. 427-436. Résumé en anglais. -

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Thesis (Ph. D.)--University of California, San Diego, 1999. / Vita. Includes bibliographical references (leaves 218-222).

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 249-256). Also available for download via the World Wide Web; free to University of Oregon users.

Although confusion about the genre of New Woman Ella D'Arcy's only novella has resulted in a lack of scholarship, The Bishop's Dilemma can now be read as a social commentary that reaches beyond the New Woman subversion of the Victorian marriage plot, broadening the gender discussion at the fin-de-siècle. In this essay, I examine how D'Arcy uses Catholicism as a vehicle to create a unique space in the Catholic ritual of the confession that gives her reader privileged access to Victorian manhood. I argue that by placing her examination of masculinity in the context of the Catholic priesthood, D'Arcy renders her protagonist, Herbert Fayler, unable to use the convention of marriage as a means of subjugation or salvation of Dilemma's female characters, removing the marriage plot as a framework for the tension in the text and leaving Fayler's masculinity vulnerable to his own self-censure. I conclude that D'Arcy does not condemn Fayler any more than she blames the New Woman characters of her earlier short stories for their plight, but rather, D'Arcy constructs a figure of masculinity that exposes dangers present when men are groomed in a romanticized world with idealized notions of masculine life.