The purpose of this thesis has been the re-creation of the social background of Dorothy Osborne, an evaluation of her letters, and an examination of the scholarship done on the letters. The series of letters, which has been called one of the best of the Restoration correspondences, was written by Dorothy Osborne, during the years 1652-1654, to her lover, William Temple. Three collected editions of the letters were used, by E.A. Parry, Israel Gollancz and G.C. Moore Smith, respectively. Moore Smith compiled his edition using the original spelling and punctuation of the letters, but a detailed examination of the text showed that it was substantially the same as the first edition, which was made by Parry. The Gollancz edition is not as complete as either of the other two. Moore Smith's edition of Lady Giffard’s MSS. was used extensively, as this contained much information on both Dorothy Osborne and William Temple. In studying the bibliography of the letters, it was found that there was much careless scholarship, even on the part of Professor Moore Smith. The major error, however, belongs to Edward Gibbon, the historian, who had harsh things to say about Temple's scholarship, and whose criticism was perpetuated in both Parry's and Moore Smith's editions. With regard to essays and literary criticisms carelessness was still more evident. Both Virginia Woolf and Lord David Cecil were guilty in this respect, the latter having half a dozen grave errors in his latest book on the subject. To amplify the background of the social scene several volumes relating to the period were examined, and a collection of Lady Giffard's letters, which included half a dozen letters from Lady Temple to her husband, were carefully considered. In the evaluation of the letters essayists and editors of the literature of the period were consulted. It was found that not enough importance was attached to Henry Osborne, the strange figure who haunts the letters; therefore this aspect of the letters was examined in detail, probably for the first time. To sum up: the thesis contains some new material, it clears up several vexed points, and it assembles pertinent material taken from ninety letters in such a way as to give a picture of the life and times of Dorothy Osborne. / Arts, Faculty of / English, Department of / Graduate

M.A. / While linguistic theorists have been grappling with the intricacies of language for many years and a myriad of theories on the production of speech has graced the intellectual world, most theorists over this time have come to agree on one thing, and that is that language is inextricably linked to culture (esp. Sapir Whorf; Halliday). One of the implications herein is that if language and culture are linked, then as society changes, so too does language change with it. The changes can be as severe as a complete language system or changes to vocabulary, so that what is true for a language at one point in time may differ with changes to that society over time. The relationship between language and culture is a two-way one: language is affected by the culture of a society (in such a way that it is possible to see how changes in that society have affected language), and it is also possible to make deductions about the culture of the society by looking at the changes in the language it speaks. . Inferences about the readership can be made from clues that the writer unwittingly provides in the form of cultural conventions. These conventions (which are evident in the text) are used by the writer knowingly or unknowingly because the writer writes in a specific sociocultural context and therefore shares the cultural conventions with the readers. Different reading types- i.e. point-driven or information driven- are also indicative of the readership, and the features common to each are exclusive and are exploited by the writer for relating to his/her specific readership.

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The work of Shakespeare has been popular to make film adaptations of from the birth of cinema. Macbeth, one of his most often played tragedies, is no exception. But how did Shakespeare portray Lady Macbeth in his play, and how do directors in the 21th century choose to portray her for a modern audience? I will try to find the answer to these questions by analyzing Shakespeare´s play as well as three modern adaptations. I will begin the thesis by looking at scholars´ view in questions regarding gender, free will, adaptations and genre before analyzing the play and the three movies. I will do this so in order to make comparisons between the play and the three adaptations. My conclusion is that Shakespeare wrote Lady Macbeth as a strong woman, an “unwomanly” woman of her time. The three adaptations also portray her as a strong woman, but in three different ways. I cannot draw any overall conclusions as this thesis is a subjective interpretation of text as well as picture, but further analysis of more adaptations of Macbeth can perhaps verify what has been stated in this thesis.

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The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.

Digitized by Kansas Correctional Industries

This thesis aims essentially at a re-evaluation of the marginalisation that conventional critical assessment makes of Jane Austen's epistolary novella 'Lady Susan' (1794-1795). The consensus within Austen studies, one that has largely been unchanged and unchallenged since the time of the first professional academic accounts of Austen's work (and in turn influenced by the C19 view of the writer) is that 'Lady Susan' is an artistic failure, a regressive step in Austen's stylistic development and, most fundamentally, that its epistolarity is a constraint on the technical progress that Austen appeared to be making in work prior to this, most notably, the unfinished third-person novella "Catharine, or The Bower". The thesis provides a close reading of 'Lady Susan' and of 'Catharine' and in marked opposition to the consensus, concludes that 'Lady Susan' is an emphatic step forward in Austen's stylistic progress, most particularly through the manner in which it establishes a moral framework from within which to develop character and plot, its attainment of incipient narrative voice through a complex use and exploitation of epistolary polyphony (thereby foreshadowing the omniscient third-person narrators of Austen's mature fiction, in addition to its experimentation with a form of free indirect speech) and the markedly plausible realism that is present throughout the novella. Austen's termination of the epistolary section (the novella being concluded in third-person narrative - an ending that was added some time later and which is generally viewed as her own recognition of epistolary limitation), in the view of this thesis, therefore cannot be attributed to stylistic inadequacy or constraint, and obliges other motives to be posited. The thesis then proceeds to move from text into context and assesses the extra-literary factors that may have prompted Austen's abandonment of the epistolary section, according a co-centrality to the character of Catherine that has never before been emphasised in Austen studies and the consequences of which suggest the writer’s political engagement with “the French Question”, and with political concerns in general, at an age that is far earlier than most critics usually accept (‘Lady Susan’ was written when Austen was 19). Beyond the text itself, our close assessment of a broad range of critical views (both on ‘Catharine’ and ‘Lady Susan’) lead us to posit that the critical insistence on the novella’s inferiority and regressiveness, both of which claims we strongly refute through our close reading of the text, in fact corresponds to a determinedly evolutionary manner of understanding novelistic development, on that in turn derives from Ian Watt’s account of the rise of this literary form. In accordance with standard academic procedure, the thesis begins with a critical review—in this case, of epistolary studies— including studies that monographically consider Austen’s work. It also considers the role of Austen’s private correspondence in the broader question of literary epistolarity. The thesis terminates by adding to its conclusion the obligatory outlines of what we deem to be valid and necessary further research into this subject and related issues.

Uppsatsen behandlar det postmoderna popfenomenet Lady Gaga och framställningen av henne i dagspress världen över. Lady Gagas spektakulära och inflytelserika kändisskap reproduceras dagligen i media och hon påverkar således vår samtid vilket gör henne till ett intressant forskningsobjekt. Med hjälp av Norman Faircloughs kritiska diskursanalys som metod har vi kunnat göra djupgående kvalitativa analyser och undersökt Lady Gagas framställning i dagspress. Vi har tittat på den bild som ges av Lady Gaga genom att göra grundliga språkliga analyser. Materialet som ligger till grund för undersökningen behandlar Lady Gaga i sin köttklänning som hon bar på MTV Video Music Awards i september 2010. Materialet utgörs av tio nyhetsartiklar tagna från tidningars onlinesidor och kommer främst från USA och Englands största dagstidningar. Den teoretiska ramen för uppsatsen utgörs främst av postmoderna teorier av Mikhail Bakhtin och Dominic Strinati då vi ser Lady Gaga som ett postmodernt fenomen. Bakhtins teorier om karnevalens upplösande av gränser och social tillhörighet sammanfattar han i begreppet qarnevalesque som vi applicerar på framställningen av Lady Gaga. Vidare använder vi Bakhtins teori om pajasens roll i det sociala. Faircloughs kritiska diskursanalys är förutom en metod även ett teoretiskt förhållningssätt. Vi har använt oss av hans teorier om diskurs och ideologi och hur makt upprätthålls och reproduceras genom dem. Den postmoderna teoretiska ramen i kombination med den valda metoden har på en mikronivå gett oss konkreta resultat och vi har trots vårt begränsade material kunnat utläsa mönster och strukturer som går igen i artiklarna. De diskurser och förhållningssätt som framträder i texterna har vi sammanfattat i en LadyGaga-köttklänningsdiskurs. Diskursen ser vi som en deldiskurs ur en större LadyGaga-diskurs. LadyGagaköttklänningsdiskursen innehåller inslag av ironi, skandal- och sensationsjournalistik och en vi-mothenne- atmosfär. Bilden som ges av Lady Gaga framställer henne som en förvirrad och löjlig pajas. Vidare kan vi se på en makronivå hur den här diskursen konstituerar och konstitueras av den sociala praktiken och den rådande kapitalistiska ideologin.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / Abstract and vita. Includes bibliographical references (leaves 138-143).