Thesis (M.A.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Amy Thomas. Includes bibliographical references.

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Denna uppsats behandlar Paulus syn på lagen vilket är ett mycket omdebatterat område inom paulusforskningen. Frågan om Paulus lagsyn är så central för den övergripande paulustolkingen att alla som vill förstå Paulus och hans texter måste bilda sig en uppfattning om detta. Det har skrivits många hyllmeter och diskussionen verkar långt ifrån avslutad. Frågan kräver dock tydliga avgränsningar för att kunna behandlas i denna relativt korta uppsats. Därför kommer jag fokusera på en perikop i ett av Paulus brev som behandlar denna fråga. Min frågeställning blir då: Vad menar Paulus med ”lagen” i Rom 3:21-31?

Thesis (Ph. D.)--University of California, Santa Cruz, 1991. / Typescript. Includes bibliographical references (leaves 205-216).

Thesis (Ph. D.)--Emory University, 2008. / Title from PDF title page (viewed on May 25, 2010) Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 236-269). Also issued in print.

In Dunnet Landing, Jewett creates a feminine world that is characterized by its depth and its moral and emotional significance. There is a foundation in the real world of human feeling, and while there is much grief and sorrow in this community, there are also possibilities for happiness. The connection to death and loss is what gives much in this feminine world meaning. Grief is only a part of the journey. Out of death and sorrow come strength and a restoration to wholeness. Mrs. Todd has learned this and she passes her knowledge down to the narrator. The narrator’s journey is a return to a simpler, older way of life. It is a return to the mother, but it is also a return to self, an inversion of a trip to the frontier. The narrator’s connection to Mrs. Todd and Mrs. Blackett helps her to reconnect with and restore herself.

Although Willa Cather's My Antonia and Sarah Orne Jewett's The Country of the Pointed Firs have been highly regarded by numerous literary critics, neither text conforms to conventional expectations for narrative content or structure. Episodic in construction, the novels lack such traditional narrative ingredients as conflict, action, drama, and romance. Furthermore, explicit connections between episodes and stories related within the narratives are not drawn for the reader. Formalist and structuralist critics have approached the problem of structure in Cather and Jewett's works by employing conventional literary tools of analysis, by "unearthing" the narrative elements that we as readers and critics have come to expect: identifiable structure, a plot complete with conflict and resolution, and characters that develop. Likewise, many feminist critics have sought to uncover in Cather and Jewett's work the ideal elements for a woman's text such as the employment of a feminine method of writing. Unfortunately, both approaches utilize interpretive templates that would pin down meaning and thus "solve" the texts' seeming peculiarities. Instead of prescribing structure according to accepted conventions or ideals, this study attempts to describe the narrative construction of My Antonia and The Country of the Pointed Firs. I argue that these texts are not structures in a traditional linear fashion, but rather are "conversations" among a variety of "readers" -the narrator, other characters, and the actual readers of the text - who attempt to construct an understanding of the world around them, or the meaning of the overall story. The chapters in this thesis explore this dialogue present in Cather and Jewett's work; the various participating, as well as their proposed constructions. Both Cather and Jewett, through their innovative narrative techniques, dramatize the human need to make sense of life, our capacity to create meaning, and at the same time the fallibility of such constructions. By employing a form which resists conventional strategies of explanation, Cather and Jewett encourage an interpretative approach that favors cumulative readings, a certain responsiveness, and an allowance for indeterminacy.

Though her early writing owes much to nineteenth-century American Realism, Willa Cather experiments with male and female literary traditions while finding her own modern literary voice. In the process Cather gives nature an ambivalent role in My Ántonia, O Pioneers!, and Death Comes to the Archbishop. She produces a tension between rivers and gardens, places where nature and culture converge. Like Mary Austin and Sarah Orne Jewett, Willa Cather confronts the boundaries between humans and nature.

Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.

Call number: LD2668 .T4 1938 H63