Honors Thesis (English)--Oberlin College, 2002. / Title from home page. "The evolution of a disembodied body of work"--Title frame animation. Description of resource as of: July 29, 2003. Includes bibliographical references.

Thesis (M.F.A.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains viii, 134 p. Includes abstract. Includes bibliographical references (p. 12).

In the “Introduction,” I discuss how the works presented in this “creative” thesis draw upon traditions of both experimental fiction and realism. The novella makes up Volume I of a longer work. The episodes in the life of the protagonist are depicted in chronological order, but not as chapters in a seamless narrative. In constructing the novella in this way, I attempted to convey how an individual might, for reasons peculiar to himself, choose to view certain moments of his life as turning points. But I do not rely upon the first-person point of view. By using a third-person limited, a third-person omniscient and “second-person” narrative voice in several of the chapters, I hoped, in part, to give to the representation of the “the life of Donovan Jewell” the quality of the “case study.” Each of the “two stories” following the novella is meant to stand alone. Written in the present tense, they both offer intimations of a coming family crisis—or perhaps of a crisis that will be forever postponed.

In the “Introduction,” I discuss how the works presented in this “creative” thesis draw upon traditions of both experimental fiction and realism. The novella makes up Volume I of a longer work. The episodes in the life of the protagonist are depicted in chronological order, but not as chapters in a seamless narrative. In constructing the novella in this way, I attempted to convey how an individual might, for reasons peculiar to himself, choose to view certain moments of his life as turning points. But I do not rely upon the first-person point of view. By using a third-person limited, a third-person omniscient and “second-person” narrative voice in several of the chapters, I hoped, in part, to give to the representation of the “the life of Donovan Jewell” the quality of the “case study.” Each of the “two stories” following the novella is meant to stand alone. Written in the present tense, they both offer intimations of a coming family crisis—or perhaps of a crisis that will be forever postponed.

Thesis (Ph. D.)--York University, 1998. Graduate Programme in English. / Typescript. Includes bibliographical references (leaves 389-402). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ27324.

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Thesis (MA (Humanities))-University of Pretoria, 2007. / Breytenbach, Petrus Albertus? Includes bibliographical references. Mode of access: World Wide Web.

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This thesis develops and refines a term used initially by Bill Buford to refer to works of contemporary realism. Dirty realism characterises a strain of realism first appearing in American and Canadian writing during the 1960s and increasing in prominence through the 1970s, 1980s, and early 1990s. The study focuses on the scholarship surrounding both the term and the works of particular authors, and applies the theories of Fredric Jameson and Michel de Certeau to develop a basic critical vocabulary for engaging the fiction and poetry of Charles Bukowski, Raymond Carver, Richard Ford, and Mark Anthony Jarman, as well as other writers treated with less intensity, such as David Adams Richards, Helen Potrebenko, Al Purdy, and Bobbie Anne Mason. In particular, the dissertation attempts to develop a critical terminology through which to discuss dirty realist texts. The most prominent of such terms, the "hypocrisy aesthetic," refers to dirty realism's aesthetic of contradiction, discursive variance, and offsetting of theory against practice. The chapters of the dissertation deal with the emergence of the hypocrisy aesthetic through a study of literary genealogy, history, and theory. The second chapter, "Dirty Realism: Genealogy," traces the development of major currents in twentieth-century American realism, particularly naturalism. Arguing for dirty realism as a variant of naturalism, the chapter traces the transmission of ideas concerning dialectics, determinism, and commodity production from Theodore Dreiser and Frank Norris, through James T. Farrell and John Steinbeck and ending with an extensive discussion of Charles Bukowski's Factotum. The third chapter, "Dirty Realism: History," addresses the impact of the Cold War on the development of dirty realism. Referring to major critics on the period, this section of the dissertation follows the development of hypocrisy as a form of discourse eventuated by Cold War contradictions, particularly between that of democratic freedoms proclaimed abroad and the atmosphere of suspicion and paranoia on the domestic scene (as—in the USA—in the HUAC hearings chaired by Senator Joseph McCarthy).