Texte remanié de: Th. doct.--Études médiévales--Paris 4, 2001. Titre de soutenance : Héritage, relations fraternelles et imaginaire familial dans la littérature narrative du XIIe siècle. / Bibliogr. p. 291-299. Index.

Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaves 301-317).

Thesis--Auburn University, 2009. / Abstract. Vita. Includes bibliographical references (p. 55-56).

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains vii, 103 p. : col. ill. Includes bibliographical references.

Families in much of William Faulkner's Yoknapatawpha fiction are built upon traditional patriarchal structure with the father as head and provider and the mother or mother figure in charge of keeping the home and raising the children. Even though the roles appear to be clearly defined and observed, the families decline and disintegrate.

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In this dissertation I examine Vladimir Nabokov’s and Gary Shteyngart’s use of family metaphors to manage intersecting Russian and American literary and cultural continuities. Both authors fashion their relationships to literary predecessors and common cultural narratives in terms of disrupted filial relationships, describing both an attachment to the conservative narratives of the nation and a desire to move beyond their rigid structure. I articulate this ambivalence as a productive state of transnational subjecthood that allows these authors to navigate apparently oppositional national identities. Central to this reorientation is a critique of the hierarchical schema of the national canon, which frames literary culture as a determinative series of authoritative relationships. By reimagining these relations as part of a branching network of co-constituting associations, we open the space for transnational subjects to move within and overlap these networks.

The purpose of this study has been to determine what extraliterary forces--cultural, historical, political, social--shaped the critical reception of Alice Walker's first novel, The Third Life of Grange Copeland (1970). The philosophies of Hans Robert Jauss, as espoused in Toward an Aesthetic of Reception (1971), guided this study. Particular interest was placed on Jauss's claim that every work has its own specific, historically, and sociological determinable audience, that every writer is dependent on the milieu, view, and ideology of that audience and that literary success presupposes a book which presents what the audience expects, a book which presents the audience with its own image. (26)The Third Life of Grange Copeland appeared at the end of the Civil Rights Movement, in the midst of a Black Arts Movement (a movement that presented black artist with a criteria for representing their people), and on the cusp of a black feminist movement which moved black women from the object to the subject position in black literary discourse.The politically charged context in which Walker's first novel appeared determined her first audience's reception to her work. The reception from black civic leaders, literary critics, scholars and the black community was largely negative. This initial negative response has followed Walker throughout her literary career despite the fact that she has won both the American Book Award and the Pulitzer Prize for fiction. / Department of English

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 215-237).

This study examines the forces which shaped the main character--Tess Durbeyfield--in Hardy's novel in terms of the effects which her alcoholic family had upon her mental and emotional potential and which ultimately become the determining factors in her self-destruction. Using the elements and patterns set forth in the literature regarding the dynamics of the alcoholic family, I attempt to show that Hardy's novel may best be understood as the story of a woman whose life and destiny are controlled by the consequences of her father's alcoholism. This interpretation seems to account best for many elements of the novel, such as Tess's destruction, and provides a rich appreciation of Hardy's technique and vision.