By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives. / After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems. / Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.

Thesis (Ph.D.)--Tufts University, 2001. / Adviser: Sheila Emerson. Submitted to the Dept. of English. Includes bibliographical references (leaves 226-235). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (M.A.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 5, 2008) Includes bibliographical references.

Dissertation (Ph.D.)--Auburn University, / Abstract. Vita. Includes bibliographic references (leaves 239-245).

Thesis--Utrecht. / "Stellingen" inserted at end.

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [356]-388).

Thesis (Ph. D.)--West Virginia University, 1998. / Title from document title page. "December 17, 1998." Document formatted into pages; contains v, 208 p. Vita. Includes abstract. Includes bibliographical references (p. 198-207).

<p> Good leadership is arguably important to the success of any organization, nation, or people. Research over the last 50 years indicates that transformational leaders are desirable and that such leaders can be developed. This research assessed whether and to what extent the protagonists in <i> Harry Potter and The Goblet of Fire</i> and <i>Mockingjay: The Final Book of the Hunger Games,</i> Harry Potter and Katniss Everdeen, respectively, demonstrate the four characteristics of transformational leadership: idealized influence, inspirational motivation, intellectual stimulation and individualized consideration.</p><p>

There is an inherent, unspoken trauma prevalent amongst the Irish men who dominate James Joyce's narratives. Often, these characters trace back to Joyce's own life and his drawing of them is thereby complicated by memory. Through literary trauma theory, the behavior of these men is better understood. Grounded in Freudian concepts, modern trauma theorists elucidate the problems of memory and response for those marked by traumatic experience. For the Irish, and thus for Joyce's characters, that response often comes through the binary of alcohol and the Church. The purpose of this essay is an attempt to verbalize the silence that surrounds those individuals marked by trauma and to shed greater light on the already vivid Irish men that Joyce creates.

This project considers the role of conversation in writing by women, specifically, the role of conversational spaces for women’s construction of self within the symbolic. It does this through a consideration of narrative structures, modeled by Emily Brontë’s Wuthering Heights and Virginia Woolf’s To the Lighthouse. It also points towards how these concerns are situated within the latest textual media, the Internet. It then presents a model of textual reproduction and representation for online texts informed by the preceding discussions. Women in patriarchy can never presume a listener. Consequently, women’s textual productions very often foreground issues of “am I being heard, can I speak?” The lack of consideration in Eurocentric male texts/theories of whether or not a speaker is heard is significant in its absence from any canonical literary theoretical or critical model. By foregrounding conversation both as an issue specific to women’s writing, and as a narrative structure particular to women’s writing, this work provides a new site for pedagogical and critical consideration of writing by women. The chapters in this dissertation based on Wuthering Heights and To the Lighthouse read these novels from that site. Based on the above conversational theory, this thesis provides an historical context and feminist perspective through which to read women’s relationship to the Net as another textual medium in which women are foregrounding issues around voice, who can be heard and how. Historically women have been erased from contributions to computing. This erasure continues in patterns of text based identity construction in online interaction, where, again, the silencing of women’s voices is of critical moment. To address this erasure, this dissertation presents the constructions of a new text form, ConTexts (conversational texts), which brings feminist perspectives to engineering practices. Conversational texts differ from standard writing practice and current web document delivery in two ways. First, ConTexts are polylithic rather than monolithic. That is, a document is constructed only as the product of an exchange with a user/reader which results in the combination of appropriate text chunks into a new document. Current document models simply present prefabricated, monolithic units written for a single audience. Second, ConTexts incorporate intensional and AI programming, allowing the text delivery system to become involved in the exchange with the user to process user input and to create dynamic content (different versions of the text) which results from that exchange. Revising the presentation of texts as interactive and polylithic rather than prefabricated and monolithic is an insight located in this dissertation, derived from feminist study of conversation as narrative strategy. The versioning of texts according to user requests is situated and described within intensional logic programming and demand driven dataflow models. Intensional logic provides a framework and semantics for describing versions in terms of a version space and possible worlds. In this dissertation, Intensional HTML is used to demonstrate a preliminary form of conversational texts because it allows versions of texts to be delivered through standard web browsers. That conversation is a formative issue in writing by women is a unique contribution of this thesis to feminist literary practice and is the organizing principle of this dissertation. That real conversation is only an issue in women's writing is the main insight of this work. This dissertation presents the blending of feminist theory with feminist engineering practice. Its observations and implementation designs point to new directions in both text reading and creating practices. / Graduate