Diss.--Hamburg. / Bibliography: p. 185-191.

Thesis (Ph. D.)--University of Washington. / Bibliography: l. 224-237.

Thesis--Marburg/Lahn. / Vita. Includes bibliographical references (p. 127-133).

Thesis--Marburg/Lahn. / Vita. Includes bibliographical references (p. 127-133).

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis (M.A.) - University of Texas, 1906. / Bibliography: p. [39]-41.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 195-200).

This thesis consists of a group of poems around a central concept: language as a physical dwelling place—a place much like what Raphael discovered in the grottoes of Rome and named "grotesque," or "grotto-esque." Using the word, "grotesque," as an example, the preface illustrates how poetry can play with the lost histories of words while still searching for new referents and associations.

The purpose of this paper is to show that the English dramatic grotesque is linked inextricably with the medieval stage upon which it originated and that the contemporary Theatre of the Absurd, as it has been called, has at its base a philosophy distinctly medieval which initially gave rise to that dramatic grotesque. This thesis presupposes three essential points of examination. First, the term "English dramatic grotesque" must be completely understood. This task shall be accomplished by a look at the etymology of the term through analysis of its historical background and by definition. Next, the origins of the English dramatic grotesque in medieval culture will be revealed. Finally, correlations between the medieval stage and the Theatre of the Absurd will be drawn, thereby completing the most important observation made in the thesis. While much has been written about the grotesque and the literature of the grotesque, surprisingly few authors have concerned themselves with the various manifestations of the grotesque when presented upon the stage. Because of this, chapter two, though perhaps not concerned directly with the paper's thesis, is, however, a valuable touchstone of meditation upon the subject of the grotesque in drama. May it, as well as the rest of the paper, serve to stimulate thought and further investigation into the topics raised. But most importantly, may it serve to stimulate imagination which after all is the precursor of all aesthetic endeavors.

Thesis (doctoral)--Université de Tours, 1996. / At head of title: Université François Rabelais, Tours. Groupe de recherche littérature et nation. Includes bibliographical references (p. 410-425).