Thesis (M.A.)--Kutztown University of Pennsylvania, 1997. / Typescript. Abstract precedes thesis as 1 preliminary leaf. Source: Masters Abstracts International, Volume: 45-06, page: 2832. Includes bibliographical references (leaves 73-77).

This thesis consists of two feature-length screenplays, the drama Texas Bright, and the comedic drama The Summer of Breaking Into Public Pools, as well as "Funny Face," a spec script for the ABC medical drama, Grey's Anatomy. / text

This thesis comprises a collection of short stories entitled Everything Beautiful is Far Away, supported by a commentary which explores ideas of self within the short story and locates my creative writing practice within the field of contemporary short fiction and theories of autobiography. The collection Everything Beautiful is Far Away is made up of eleven stories that experiment with a variety of forms, from rhyming flash fiction to the novella, and fairy tale to psychotherapy, and as a substantial example of original creative practice stands as the main body of my thesis. The accompanying critical element is divided into three chapters, the first offering a survey of the aesthetic intentions underpinning the collection, as well as an introduction to the concepts of embedded autobiography and estrangement and establishment of the context in which my enquiry uses such terms. Chapter Two deals primarily with the notion of embedded autobiography and its manifestation within my own short stories, taking in the theories of Karen Horney, Celia Hunt, Ronald Sukenick and elements of psychoanalysis, (Freudian, Lacanian) whilst also considering the writings of Raymond Carver, Ian McEwan and Jean-Paul Sartre. The third and final chapter raises further questions about the concept of the Self in short fiction with specific reference to my own creative practice, the notion of transferring a story from the imagination to the page and the evolution of the project from novel to collection of short fictions.

Thesis (Ph. D.)--University of Illinois, 1917. / Introduction signed 1918. Vita. Includes bibliographical references (p. [118]-122).

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 301-305). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaf 179). Also available on the Internet.

Thesis (PH. D.)--University of Illinois, 1917. / Introduction signed 1918. Vita. Includes bibliographical references (p. [118]-122).

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaf 179). Also available on the Internet.

Orientador: Maria Clara Benotti Paro / Banca: Carlos Daghlian / Banca: Maria Lúcia Milléo Martins / Banca: Sylvia Helena Telarolli de Almeida Leite / Banca: Luiz Gonzaga Marchezan / Resumo: Esta tese tem por objetivo o estudo de seis contos - A esfinge, Uma estória de Jerusalém, O diabo no campanário, Mistificação, Os óculos e Pequena conversa com uma múmia - do ficcionista, poeta e crítico norte-americano Edgar Allan Poe (1809-1849), mundialmente conhecido como o pai do conto moderno, a fim de analisar o modo como o autor constrói o humor e a sátira e em que medida eles constituem uma sátira ambivalente ao seu meio social. As análises revelam a existência de um compromisso do autor com a sociedade do seu tempo, que se manifesta na criação ficcional pelo viés satírico e crítico aos exageros da ideologia norte-americana do século XIX. / Abstract: This dissertation aims to study six short stories - The Sphynx, A Tale of Jerusalem, The Devil in the Belfry, Mistification, The Spectacles, and Some Words with a Mummy - by the American fictionist, poet, and critic Edgar Allan Poe (1809-1849), world wide known as the father of the modern short story, in order to analyze how the author builds humor and satire and to what extent they constitute an ambivalent satire to his social millieu. The analyses reveal the existence of the author's compromise with the society of his time, which is manifested in his fictional creation by means of the satire and criticism of the exaggerations of XIXth century American ideology. / Doutor

The short stories of Virginia Woolf have never received serious scrutiny, critics determinedly maintaining that the novels contain the heart of the matter and that the stories are merely preparatory exercises. Mrs. Woolf, however, provides sufficient evidence that she was "on the track of real discoveries" in the stories, an opinion supported by her Bloomsbury mentors Roger Fry and Lytton Strachey. A careful analysis of her twenty-one known stories suggests that they are indeed important (not merely peripheral to the novels and criticism) and are successful in developing specific techniques and themes germane to her total canon. One of the reasons why the stories have never been taken seriously, of course, is that they simply are not stories by any conventional definition— but are nonetheless "short fiction" of interest and significance. The stories derive from three distinctly separate chronological periods. The earliest group (1917-1921) was published in Monday or Tuesday and included two stories available only in that volume, now out of print. (To enable a complete assessment, I have made these stories available as appendices II and III of this thesis, and included Virginia Woolf's lone children's story as appendix IV since it too is of the early period). This phase of creation utilized one primary technique—that of evolving an apparently random stream of impressions from a usually inanimate and tiny focussing object, and was generally optimistic about the "adorable world." The second phase of her short fiction (those stories appearing in magazines between 1927 and 1938) illustrates a progression in both technical virtuosity and in personal discipline: the fictional universe is now peopled, and the randomness of the early sketches has given way to a more selective exploitation of the thoughts inspired by motivating situations. But vacillation is here evident in the author's mood, and while optimism at times burns as brightly as before, these stories as often presage Mrs. Woolfs abnegation of life. The third group, posthumously published by Leonard Woolf in 1944 without his wife's imprimatur (and recognizably "only in the stage beyond that of her first sketch"), still reveals a desire in the author to pursue her original objective suggested in "A Haunted House"--the unlayering of facts to bare the "buried treasure" truth, using imagination as her only tool. In one respect, and one/Only, the critics who have neglected these stories are correct: the pieces are often too loosely knit, too undisciplined, and too often leave the Impression of a magpie's nest rather than one "with twigs and straws placed neatly together." In this the stories are obviously inferior to the novels. But by neglecting the stories the critics have missed a mine of information: herein lies an "artist's sketchbook,” which, like A Writer's Diary, provides a major avenue into the mind of one of the most remarkable writers of our age. / Arts, Faculty of / English, Department of / Graduate