Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [176]-186).

Thesis (M.A.)--Marshall University, 2004. / Title from document title page. Document formatted into pages; contains i, 81 p. Includes abstract. Includes bibliographical references (p. 76-81).

Thesis (M.A.)--State University of New York at Binghamton, Department of English, General Literature and Rhetoric, 2009. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 305-325). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Keith Cushman; submitted to the Dept. of English. Title from PDF t.p. (viewed May 13, 2010). Includes bibliographical references (p. 60-62).

Doktora tezi-İstanbul Üniversitesi. / Summary in English. Bibliography: p. 154-155.

En el presente artículo se busca discutir sobre los términos símbolo, simbólica y simbolismo en la prosa de José María Eguren, reunida en el título de Motivos. La crítica ha destacado el peculiar simbolismo de su universo poético, mas no se le ha cotejado en forma profunda con sus reflexiones en torno del mismo, así como del concepto de símbolo. En este artículo se plantean algunas ideas sobre esta problemática, y se busca sostener que el símbolo egureniano es una imagen sensorial que cumple la doble y antitética función de desentrañar el misterio de una Naturaleza, ya existente, así como de crear su propia Naturaleza.Palabras clave: prosa – símbolo – simbólica – simbolismo – J. M. Eguren AbstractIn this paper, we discuss some important concepts in Jose Maria Eguren's prose, gathered in the text Motivos, such as symbol, symbolic and symbolism. The criticism has emphasized the peculiar symbolism of his poetical universe but without comparing with depth the poetry and the reflections about this poetry, besides symbol’s concept. In this article, some ideas are proposed about this series of problems, and it tries to support that the egurenian symbol is a sensory image that fulfils the double and antithetic function of to discover a Nature’s mystery, already existing, as well as of to create his own Nature.Keywords: prose – symbol – symbolic – symbolism – J. M. Eguren

This thesis examines three South African memoirs using M. M. Bakhtin’s theories of the dialogical relationship in language and literature. By offering an alternative to a postmodern or multicultural interpretation of autobiographies, Bakhtin’s precepts, that define a dialogic, help to reframe a way of discussing memoirs and avoiding dead-ends previously arrived at by essayists in James Olney’s 1980 collection. Bakhtin’s ideas discussed here, which include the “once-occurrent moment”, “architectonic contraposition”, ”emotional-volitional tone”, “alibi”, “non-alibi”, and “centripetal” and “centrifugal” force, help to rebuild a discussion based on temporary and evolving self truth rather than fiction, the postmodern interpretation, or confession, the new-age secular spiritualism based on multicultural and politically correct standards. For this, each author’s memoir had to be examined separately and a conclusion was arrived at through inductive analysis. Rather than try to find similar characteristics, I focused on what made each memoir different and unique. Janet Varner Gunn’s Autobiography: Toward A Poetics of Experience (1982) refocused the debate over autobiography on process. The question, what steps did each author take toward writing about himself, led the discussion to an examination of the priorities each author exemplified. Beginning with Fugard who emphasized spatial, concrete, and sensory detail to help him contain his emotional life, the thesis moves on to an examination of Coetzee’s sense of justice. From the physical and intellectual world follows Breytenbach’s spiritual space-making. In each memoir, control of space is evident on different levels of experience. Articulating space inevitably leads to a discussion of boundaries. Here, Charles Taylor’s emphasis on the modern self’s need to articulate a horizon or a framework is helpful in generalizing the effect of the autobiographical process. The conclusion reached is that autobiography is inherently centrifugal: it moves away from the center of cultural thinking because its “truth” bolsters itself on dialogical process which does not depend on a fixed authority but rather on communicative exchange. As an example of exchange, autobiography’s central truth is that it returns to a “unique point of origin”, namely the self, only to reconnect to the other in a potentially eternal exchange of responsiveness moving away from the center.

The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.

The thesis is dealing with currency crisis phenomenon and its explanation within the wider framework of theoretical economics. It contains an analysis of present "mainstream" understanding of the currency crisis, an outline to the approaches to its modelling and also a brief historical overwiev. This thesis uses an analysis and also an application of relevant theories of L.Mises and J.M.Keynes to achieve its main objective. Finally it comes to the integration of currency crisis into the context of general economic course of events.