Thesis (M.A.)--Kutztown University of Pennsylvania, 1999. / Source: Masters Abstracts International, Volume: 45-06, page: 2836. Typescript. Abstract appears on leaf [1]-2. Includes bibliographical references (leaves 92-94).

Much has been written about the effectiveness of speculative fiction, especially utopian works. In this thesis I will examine the source of fear in Margaret Artwood’s works The Handmaid’s Tale and Oryx and Crake using Sigmund Freud’s “The Uncanny” to illustrate the terror of doubles as they appear in the novels. The terror in The Handmaid’s Tale comes from the descriptions of distorted physical environments, while the horror in Oryx and Crake emanates from the familiar yet twisted animals and characters found inside the corporate compounds. Through the recognition of these doubles as uncanny, Atwood’s work moves readers to cognition and social action. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Thesis (M.A.)--University of Southern California, 2006. / Adviser: Dominic Cheung. Includes bibliographical references (p. 69-74)

Marguerite Yourcenar was a prolific writer and we can deduce that in the course of her writings, the revised version played a very important role. Thus, several pieces of works such as D'apres Rembrandt, D'apres Greco, D'apres Durer gave birth to L'OEuvre au noir, Anna soror..., Un homme obscur and Une belle matinee. Denier du reve was rewritten twenty years later. The collection of short stories Nouvelles orientales underwent numerous changes during the course of more than fifty years. / The "double" theme marks the different narratives of this work and the revised phenomena contributes to the emergence in all its elements. Therefore, all through this thesis, we will show the events which reveals the presence of the "double" such as a story within a story (mise en abyme) and flashbacks that are present in the narration, the theme of remembrance, the different microcosms contained in the macrocosms, but also the opposing split personalities present in most of the protagonists. In addition, we can discover that these characters are united in creation and in all elements of the cosmos. Also, we have the production of opposing forces between creation and man. In Yourcenar's work, especially in Nouvelles orientales, we notice that in the "double" an absolute quest is presented in its different play of mirrors. It is as if this fusion of the human with the universe brings each character to be part of the Universality, beyond time, space and the world of the material.

The first part of this Master's thesis is a story presented as an inner monologue where three periods of the narrator's life (the winter when she was nine years old, a recent trip to Ireland and her return to Montreal) interlace as three parallel miscarried lives. At times through entire episodes, at times through the echo of sentences once spoken or heard, Pamela's past lives contaminate the story of her forced return to Montreal to attend her father's funeral. They intermingle in a duplicate narrative, a fabled dialogue between times. / In the second part, we intend to analyse the theme of the double in two of Romain Gary's novels: Au-dela de cette limite votre ticket n'est plus valable and Gros-Calin. The study demonstrates that the subject uses doubling to engender his self so that he can avoid the determinism that condemns him to a non-existence. Gary's hero refuses any god other than the one within himself: an infinite and immortal double from whom he has become seperated against his will at birth. He reinstates his unlimited potential as a creator by returning to a time before this world, a time not determined by external forces. He then undertakes to give life to his divine double by projecting him on others. The hero hopes that he will thus be endlessly reborn. The embodied ideal double, however, soon turns into the original which the hero imitates, becoming a double himself.

Thesis (Ph.D.)--Tufts University, 1993. / Submitted to the Dept. of Drama. Adviser: Downing Cless. Includes bibliographical references (leaves 204-212). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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Typescript (photocopy). / Digitized by Kansas Correctional Industries

This dissertation is organized around main axes: the literary and critical concept of the Double and the analysis of Antonio Fogazzaro’s 1881 novel, Malombra, in which the Double plays a complex thematic role. In the first chapter, I address the concept of the Double as a critical category, assessing its meaning across three different levels of reality: in terms of the cultural specificity of the representation (the 19th century and Romantic literature), in terms of the theoretical approach (whether it is construed as a transcendental figure, as in Freudian theory, or a transgressive figure, as in Jungian theory, etc.) and in terms of its placement relative to the other themes in the text. In the second chapter, I take up the analysis of three Italian texts from the second half of the 19th century which privilege the theme of the Double and invest it with idiosyncratic meaning: Uno spirito in un lampone by Iginio Ugo Tarchetti (1867), Due anime in un corpo by Emilio de Marchi (1877) and Le storie del castello di Trezza by Giovanni Verga (1875). My reading of these texts draw on diverse psychoanalytic perspectives, namely those of Jung, Lacan and Abraham and Torok. In the third chapter, I carry out an extensive analysis of Fogazzaro’s Malombra. The first part of the analysis, which focuses on the novel’s two primary characters, Marina and Silla, shows how these characters’ unconscious conflicts animate the narrative, shape its itinerary and anchor it in a phantasmatic past; the second part examines the ways in which the primary aspects of the plot work in tension with, and are offset by, the novel’s two subplots; the third part looks at points of comparison between Malombra and the three texts discussed in the second chapter, both in relation to the theme of the Double and to more general literary signifiers.