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Género y confusioń en el teatro de Tirso de Molina /Galoppe, Raúl A. January 1999 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 289-335). Also available on the Internet.
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Género y confusioń en el teatro de Tirso de MolinaGaloppe, Raúl A. January 1999 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 289-335). Also available on the Internet.
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Transnational romance : the politics of desire in Caribbean novels by women /Taylor Meyers, Emily January 2009 (has links)
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 228-236). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Kissing by the book carnal knowledge and bookish metaphor in the works of John Donne ; and, the pen, the sword, and the prison key : Lady Mary Wortley Montagu and eighteenth-century suicide discourse /Currin, Elizabeth R. Currin, Elizabeth R. January 1900 (has links) (PDF)
Thesis (M.F.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Christopher Hodgkins; submitted to the Dept. of English. Includes bibliographical references (p. 30-33, p. 66-70).
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Investigating smara : an erotic dialecticHunt, Amanda. January 2000 (has links)
No description available.
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The discourse of confession and the rhetoric of the devil: unnatural attraction and gender instability in Wuthering Heights and The Master of BallantraeUnknown Date (has links)
Often overlooked in the nineteenth century Gothic novel are the complicated social issues existing within the text. In Emily Brontèe's Wuthering Heights and Robert Louis Stevenson's The Master of Ballantrae, the authors each create villains who represent the preoccupation with appropriate sexuality and conventional gender roles existing in Victorian England. Brontèe's Heathcliff and Stevenson's James Durie embody all that is immoral and non-normative in society with their depraved behavior ; however, because of the authors' craftiness with language, the authors, through their villains, manage to magnetize the other characters and subsequently emasculate those men in the text who emulate the Victorian ideal of masculinity. By focusing their novels on the plight of the Other and his disruption to the homogeneous rules regarding sexuality and gender in the nineteenth century, both authors articulate a profound understanding of the societal fears regarding these issues existing in their time. / by Dana DeFalco. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.
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Intimate geographies romance and the rhetoric of female desire in contemporary historical fiction by Caribbean American women writers /Rohrleitner, Marion Christina. January 1900 (has links)
Thesis (Ph. D.)--University of Notre Dame, 2007. / Thesis directed by Kate Baldwin and Glenn Hendler for the Department of English. "July 2007." Includes bibliographical references (leaves 200-215).
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My ornament writing women's moving, erotic bodies across time and space /Gillespie, Christine. January 2008 (has links)
Thesis (Ph.D.)--Victoria University (Melbourne, Vic.), 2008.
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" Feasting with panthers": unstable sexual identity and the pedagogic Eros in the Divine ComedyUnknown Date (has links)
The purpose of this study is to analyze the problem posed by homosexuality in Dante's Commedia. I look at several topics and questions : A) What are the implications of homosexuality in regards to both justice in the polis and to divine justice in the next world? B) What are the poetics of queer variance? C) What are the oedipal issues surrounding the Dantean father-figures VIrgil, Brunetto Latini, and other males? D) What is the role of the pedagogic Eros in promoting a strong national bond and social ethos? E) Where does Dante situate "sodomites" (and, by extension, what role does desire play) in the schemata of Inferno, Purgatorio, and Paradiso, and why is this important? All of these questions are interrelated and have a bearing on Dante's notion of the good society and divine justice. / by Albert Morris. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.
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'Wounded Harts' : metaphor and desire in the epic-romances of Tasso, Sidney, and SpenserPhelps, Paul Chandler January 2014 (has links)
If we consider the representation of the body in the epic-romances of Torquato Tasso, Philip Sidney, and Edmund Spenser, certain instances of wounding and laceration emerge as crucial turning points in the development of their respective narratives: Clorinda’s redemptive mutilation, Parthenia’s blood-drenched pallor, Amavia’s disquieting suicide, Venus’s insatiable orifice, Amoret’s “perfect hole.” This thesis affords a detailed comparative study of such passages, contending that the wound assumed a critical metaphoric dimension in sixteenth-century epic-romance literature, particularly in relation to the perceived association between body condition and erotic desire. Along with its function as a marker of martial valor and somatic sacredness, the wound, I argue, increasingly is designated in these epic-romances as an interiorizing apparatus, one liable to accrue at any instance into a surplus of unanticipated meaning. As such, the wound becomes an emblem in these texts of what I call the phenomenology of desire—the equation of consummation and loss—as well as the aesthetic and metaphoric mechanism by which these writers seek to overcome it. The four chapters of this thesis constitute individual but cumulative points of response to the problem of thinking about desire as a type of wound. For Tasso, a wound poses a challenge to physical, psychological, and spiritual integrity, but its remarkable capacity for aestheticization also allows Tasso to envision it as a synthesizer of sacred and erotic affects. For Sidney, the prospect that a wound could define a body as courageous or pathetic, as sacred or corrupt, became both politically and socially troubling, and the New Arcadia, I argue, proleptically attempts to defend Sidney against interpretations of wounds that register them as manifestations of corrupt desire. For Spenser, body fracture and erotic wounding are analogic (indeed, almost indistinguishable), and The Faerie Queene investigates the prospect that confusing these analogies can become an empowering, even revelatory experience. In each of these epic-romances, a wound serves both a literal and a figurative function and, in this way, is established as the foremost image by which these writers imagine strength and mutilation, affect and heroism, epic and romance as being inextricably bound.
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