Thesis (Ph. D.)--University of Chicago, Department of Education, December 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of California, Santa Cruz, 2000. / Typescript. Includes bibliographical references (leaves 246-259).

Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 167-176).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1938. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 433-484).

This thesis is concerned with a study of a particular genre, Jacobean city comedy, in relation to its socio-economic and religious context. It aims to show that the structural forms of city comedy share similarities with structures in Jacobean social consciousness. By arguing that the plays are productions of a material age this study suggests that these structures are manifestations of ideological changes brought about by two related systems of thought: capitalism and Protestantism.

Between 1788 and 1805 a subgenre of the novel, which has come to be called the Jacobin novel, provided a series of representations of imprisonment and trial. By reading these politically charged representations against the shared ideology of social and political reform articulated by the writers William Godwin, Thomas Holcroft, Elizabeth Inchbald and Mary Wollstonecraft, we can see how the project of reform is effected and put to the test in their fictional works. I evaluate these novels against the background of penal and legal reform in the latter half of the eighteenth century in England, and offer a reading of the use of imprisonment and trial in fiction in the 1790s as one that functions both as an attack upon the penal and judicial systems and as a subtly-functioning metaphor for the purpose of literature itself. In chapter one I set out the theoretical framework for the thesis in relation to the work of John Bender and other critics on eighteenth-century literature and culture, before moving onto an account of the eighteenth-century prison and influential theories of penal reform. Chapter two focuses upon changes in the legal sphere, the concept of fiction and the use of reading as a means to reform. Chapter three examines the work of William Godwin in relation to his writings on the 1794 London treason trials, and considers the representation of prison reform in his fiction. Chapter four analyses Elizabeth Inchbald’s attempts to destabilise imprisoning patriarchal authority in the domestic sphere as well as the court of law. Chapter five discusses Mary Wollstonecraft’s generic experimentation, and examines her attack upon the forces that make prisoners of women. Chapter six investigates the treason trial writings of Thomas Holcroft and his novels’ representation of penal and social reform through his engagement with conversation and debate.

The thesis was planned as an attempt to investigate the general increase in the number of literary prizes in the 1980s and particularly those sponsored by business. However it is also an investigation into the specific workings of the Booker Prize as the best known literary award of its kind in Britain, and into the effects that prizes such as the Booker may have had on fiction. Part 1 deals initially with the history and founding of the Booker Prize. Then in Chapter Two it covers some of the broader issues involving literary awards in general, such as the tendency among them to encourage a conflation of business and aesthetic ideals. Part 2 deals with the issue of patronage for the arts and with the predominance of particular social groups among the authors, judges and members of the Management Committee of the Booker Prize. I also examine how certain types of supposedly aesthetic evaluations arise and how they subsequently come to predominate. In the final part of the thesis I look at the issue of standardisation as it relates to the novels which won the Booker Prize during the 1980s.

This thesis investigates three major areas in the background of Edward Lear's literary nonsense: the parodic relationship with text and genre of early children's literature, the trends behind Lear's innovative illustration style, and the "nonsense" child construct manifest within the genre, which I claim is, in many ways, an expression of the Romantic conception of the child. The first chapter explores the parodic basis of nonsense. Most literary nonsense is referential; it often begins by inhabiting a genre or individual work, but what it does to the original is debatable. Some critics see nonsense as parody, while others claim that nonsense precludes parody in its intentional purposelessness. In this chapter I explore the critical debate surrounding parody in nonsense, and parody in general. I then examine the works of Lear, and some Carroll, looking first at their genuine, clear parodies. Next, I look at the many borderline cases of parody which use nonsense as a device but are not overshadowed by it. Finally, I discuss the more "pure" literary nonsense which, I argue, goes beyond parody to establish a new genre. The next chapter looks at the background of Lear's nonsense illustration. His style of illustration was a widely original combination of devices which are best seen in the context of the children's book illustrations of his day. With Bewick's innovations in woodcuts, the quality of children's illustrations had drastically improved. Diverging from this trend, Lear's illustrations hearken back to the rough chapbooks which he probably read as a child. His child-like style, coupled with an expert draughtsman's eye, began a rival tradition of children's book illustration. His illustrations are in way caricatures of chapbooks. His text and illustrations, like those of Blake and Hood, are integral, and their self-reflexiveness with the verses places them in an altogether different class of illustration.

This thesis explores the relationship between government and poetry in the verse, essays, and translations of Charles Hubert Sisson (1914-2003). Theories of sovereignty and government drawn from the work of Giorgio Agamben are used to interrogate these issues in Sisson’s critical and creative writing. Sisson’s work is contextualised within the politics of post-WWII Britain, taking in such issues as the altered relationship between the arts and the state, the decline of the British Empire and the subsequent influx of Commonwealth immigration, the changing status of the monarchy, and the importance of the environment. The thesis is divided into five chapters. The first comprises a preliminary theoretical excursus, focussing on poems by Sisson and C. Day Lewis. The second analyses Sisson’s portrayal of the country and the city, and his own position in relation to them. The third places Sisson’s work in the context of the changing nature of laureateship in the era 1945-1976, comparing his work with that of Philip Larkin and C. Day Lewis. The fourth investigates the politics of translating Virgil after the Second World War, and especially after Enoch Powell’s ‘Rivers of Blood’ speech of April 1968. The final chapter returns to Sisson’s wartime and immediately post-war writings, especially on the subject of India, before moving on to the poems collected in Exactions (1980).

<p> This dissertation grows out of a conversation between two fields&mdash;those of Victorian Literature and Science Fiction (SF). I began this project with a realization that there was a productive overlap between SF and Victorian Studies. In my initial engagement with SF, I was frustrated by the limitations of the field, and by the way that scholars were misreading the 19^th century, utilizing broad generalizations about the function of Empire, the subject, technology, and the social, where close readings would have been more productive. Victorian studies supplied a critical and theoretical basis for the interrogation of these topics, and SF gave my reading of the nineteenth century an appreciation for the dynamic nature of the mechanism, and a useful jumping-off point for conversations around futurity, utopia, and the Other. Together, these two fields created a symbiotic theoretical framework that informs the progression of the dissertation.</p><p> In this project, I am shifting the grounds of engagement with early SF between two main terms; my aim is to question the establishment of &ldquo;cognitive estrangement&rdquo; as the seat the power in SF studies and supplant it with an emphasis on the &ldquo;novum&rdquo;. While both terms are indebted to Darko Suvin, I argue that the fixation on cognitive estrangement has blurred the lines of the genre of SF in nonproductive ways, and has needlessly complicated an already complex field. This dissertation is a deep engagement with the SF novels of 1871-2 to establish how the genre was defining itself from the very beginning, and looks to examine how a close-reading of early SF can inform our engagement with the field. Chapter one treats the work of Edward Bulwer-Lytton&rsquo;s <i> The Coming Race</i> (1871), chapter two examines Sir George Chesney&rsquo;s <i> The Battle of Dorking</i> (1871), chapter three engages with Samuel Butler&rsquo;s <i> Erewhon,</i> and chapter four is an examination of the relationship between the first three novels and Robert Ellis Dudgeon&rsquo;s <i>Colymbia</i> (1873) and <i>A Voice from Another World</i> (1874) by Wladyslaw Somerville Lach-Szurma (W.S.L.S).</p><p> There are four fundamental concerns. The first is that the near simultaneous publication of Chesney, Lytton, and Butler signaled the emergence of SF as a genre, rather than as the isolated texts that had existed prior to this moment. The clustering of the novels of 1871-2 marks the transition of SF concerns from singular outlier events to a generic movement. The second claim is that the &ldquo;novum&rdquo;, one of the key aspects of a SF novel, is not just a material component in the text, but is a kind of logic that undergirds these novels. While the novum is often thought of as &ldquo;the strange thing in a strange world&rdquo;, I lock onto the early language of Suvin and critics such as Patricia Kerslake and John Rieder to suggest that it is, instead, a cognitive logic that is experimented on within the narrative of the novel. The third claim is fundamentally tied to the second: this foundation logic of the text is technological or mechanical. It is this connection of cognitive logic and technology and the mechanism that situates the novum as a technologic that is experimented on or evolved within the body of an SF novel, and is important because it helps us lock onto how SF is a product of the industrial age. In the break that occurs in 1871, this form of the novum plays a critical role in the development and identification of SF as a genre, and helps to distinguish texts with scientific themes (what I am calling <i>scientific fictions)</i> from those featuring a fundamental technologic that is intrinsic to the development and deployment of the narrative (what will come to be called <i>science fiction).</i></p><p> The fourth and final claim is a product of the function and nature of the novum: and is that SF as a genre not only helps to understand technology and culture, but actively works to define the relationship between the two. Technology is registered as an important influence on culture, and culture shapes the future of technology. This genre is ultimately growing out of the rise of the scientific method, and the logic of the texts reflects that experimental paradigm. The logic of SF is one that experiments with the future, testing the implications of the known world against the possibilities of time, and in doing so, defining the terms of engagement with what the future might bring. </p>