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Lummi and Eliza Islands form the northeast part of the San Juan Island group in northwest Washington. Lummi is a long, narrow island characterized by a rocky, mountainous southern half and a low, northern half. Eliza is a small T-shaped island southeast of Lummi Island. Lummi Island is underlain by igneous, metamorphic, and sedimentary rocks of Paleozoic to Lower Cenozoic age. The oldest rocks are believed to be those of the Lummi Island Metamorphic and Igneous Complex which form a small, isolated knob in the middle of the island. These are hornblendic rocks, intruded by quartz-albite rocks and cut by numerous aplite and lamprophyric dikes. The age and origin of these rocks is unknown but they may be older "basement" rocks brought to their present position through faulting. Shale, graywacke and granule conglomerate of the Carter Point formation (Paleozoic or Mesozoic) underly most of southern Lummi Island. These rocks show all the characteristics of the typical "graywacke suite" such as great thickness, clastic character, rhythmic bedding, and graded bedding. The only fossils found were a few carbonized plant stems imbedded in fine-grained graywacke. The rocks forming the bedrock of Eliza Island may be a more metamorphosed equivalent of these. Overlying the Carter Point formation on the southeast side of Lummi Island and directly underlying the sandstone at the northern end are the Reil Harbor volcanics. Although they occur in five isolated outcrops these rocks are grouped together on the basis of lithology and outcrop features. In contrast to an earlier intrusive interpretation these occur as submarine (pillow) lavas and interbedded breccia with tuffaceous - argillaceous rocks rather than as dikes or sills. The lavas of some of the outcrops are spilitic and in most cases are extremely altered. The breccias are dominantly volcanic - clastic types which show some reworking. The age of the volcanics and underlying Carter Point formation is unknown; however, interbedded sedimentary rocks contain radiolarian tests suggestive of Mesozoic age. Northern Lummi Island is underlain by plant-bearing lithic-feldspathic arenites and conglomerates of the Chuckanut formation (Paleocene). These are believed to have a continental fluviatile origin on the basis of: absence of marine fossils; conspicuous amounts of hematite imbedded in the sandstone; moderate sorting and rounding; apparent large-scale heterogeneity evidenced by internal structures such as prominant cross bedding and cut - fill structures, and the dominance of sandstone and conglomerate facies. The Carter Point formation and the overlying volcanics on the southeast side of Lummi Island strike N 40 W and dip 45 degrees NW. Drag folds suggest that southern Lummi Island represents the eastern limb of a northwest plunging anticline. The Chuckanut formation and the underlying Reil Harbor vol-canics at the north end of the island have been folded into three synclines which strike northwest-southeast and plunge gently northwest. During the Pleistocene, northern Lummi Island was blanketed with glacial drift while the higher knobs here and the rocks of southern Lummi were grooved, polished or eroded by the glaciers. / Science, Faculty of / Earth, Ocean and Atmospheric Sciences, Department of / Graduate

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This thesis considers three British novels of the 1880s that imagined a range of middle-class domestic configurations that deviated in new ways from the long-contested fiction of the British household as a patriarchal stronghold. Although mid-Victorian novels very often featured narratives of domestic upheaval, they did so in a way that sensationalized and emphasized the rarity of middle-class familial deviance. In contrast, the fin-de-siècle domestic novel brought a greater range of idiosyncratic families and households under a newly sociological lens and explored them as part of the reality of modern British family life. The persistent attention to alternative domesticities by novelists writing in the fin-de-siècle period suggests that the social problems of the day required new novelistic genres and formal strategies beyond those favoured by writers of sensation fiction and sentimental domestic novels in the earlier part of the century. Through readings of late-career novels by the popular Victorian sensationalist Wilkie Collins and a New Woman novel by the anti-feminist editorialist Eliza Lynn Linton, this thesis argues that the generic hybridity of such fin-de-siècle British novels resulted in a capacious domestic narrative that often looked beyond the fraught unit of the biological family to posit an unprecedented range of new family configurations.

Within the pages of Eliza Haywood's novels, masquerade is often used by female characters as a means by which to gain control or power. More specifically, Haywood's female characters often misrepresent themselves as a means by which to achieve sexual power and even to obtain sexual gratification. Haywood also explores the theme of women's uses of deception and even disguise as methods by which to skirt the confines of a male dominated society and as modes devoted to escaping the boundaries they inflict upon themselves in trying to maintain their virtue.

Eliza R. Snow's contributions as an educator have gone largely unexamined yet are an important element of her lifework. An analysis of her writing, both poetic and instructional, as well as minutes and notes from her instructional meetings, supports the view that as an educator Eliza R. Snow had a definite philosophy that informed her educational practice and shaped teaching and learning in the Church of Jesus Christ of Latter-day Saints. Two articles, one on the educational philosophy of Eliza R. Snow and the other on her pedagogical practices, illuminate her contributions as an educational leader. Snow believed that God's children were eternal and divinely endowed with the capacity to learn; that they were agents, free to choose; that to achieve eternal life their minds must be expanded and refined, transformed and perfected; and that capacity, greatness and usefulness were developed through improving oneself and through serving others. Snow's pedagogical practices derived from her philosophy and bridged nineteenth-century didacticism with an advocacy for learners as agents. In a time when most learning consisted of rote memorization and drill, Snow granted her students ownership in their own learning processes and used techniques that inspired children with eternal perspective. Snow's pedagogical patterns included moralizing to underscore important points, encouraging application or present-day connection, describing events or concepts unfamiliar to her audience, and editorializing with personal insights or experiences.

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[pt] A interferência da mídia no animus dos jurados em decisões proferidas pelo Tribunal do Júri é nítida, principalmente por ter como juízes o próprio povo. Um dos casos mais emblemáticos é o caso Eliza Samúdio, em que uma jovem teria sido assassinada brutalmente a mando do pai do próprio filho, um jogador de futebol famoso. Atuando em tempos e com discursos diferentes, mídia e judiciário seguiram seus caminhos. Caso complexo, repleto de enigmas e o envolvimento de uma pessoa famosa no meio popular apresentou-se perfeito à imprensa por concentrar em si os três assuntos que mais prendem a atenção popular: o crime, esporte e sexo. Além do enigma: onde estariam os restos mortais da jovem? Dia a dia, momento a momento, a imprensa seguia os passos do inquérito policial e do processo penal com o intuito de passar a notícia e com isso perceber os seus lucros, sendo notório que essa cobertura privilegiou a fase de inquérito e do julgamento, sempre enfatizando a personalidade de Bruno Fernandes como fora dos padrões normais. A mídia assim, autoafirmava como autoridade moralizadora, utilizando da narrativa para tanto. Ao fim, viu-se a ratificação de um veredicto já proferido pela mídia muito tempo antes do julgamento, tendo em vista o populismo penal midiático em que Bruno Fernandes fora condenado à reprimenda maior do que no direito se admitiria, principalmente porque o julgamento pelo Tribunal do Júri é feito através do povo, que confirmou o que escutou durante quase três anos. / [en] The interference in the media animus of jurors in decisions made by court s jury is clear, mainly because the judges were their people. One of the most emblematic cases is the Eliza Samúdio, where a young woman had been brutally murdered at the behest of the father of his own son, a famous soccer player. Acting upon different times and speeches, media and judicial branches went their ways. Complex case replete with enigma and the involvement of a famous person in the popular medium presented the perfect press to focus itself on three issues that mostly catches the popular attention, being crime, sport, sex. Besides the enigma: where were the remains of the young woman? Day by day, moment by moment the press followed the steps of the police investigation and criminal procedure in order to pass the news and thus realize their profits, being clear that this coverage favored the stage press inquiries and judgment, always emphasizing the personality of Bruno Fernandes and outside the normal range. The media so, self claimed authority as moralizing, using the narrative to do so. At the end, found itself ratification of a verdict already delivered by the media long before the trial, in view of the penal populism media where Bruno Fernandes was sentenced to reprimand larger than the right would admit, mainly because the trial by jury is made through the people, which confirmed that heard for almost three years.

This thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.