<p>The Man of Property is unique among the Forsyte novels in that it is both the only pre-war book and the only book in which the Forsytes are seen in a completely negative light. Forsytes symbolize the forces of Property, which are always striving to suppress all forms of Art. By the end of The Man of Property Property stands triumphant. Bosinney, the Architect-Artist, is dead, and Irene, that embodiment of Beauty, has been enslaved by Soames. In Chancery and To Let trace the gradual changes in both Soames and Irene, and the new relationship of Property and Art. The villainous Soames looks better and better, whilee Irene's goodness begins to dim. When the crisis of Jon's and Fleur's love comes to a head, it is Soames who is noble and self-sacrificing and Irene who is manipulative. When the focus of the novels is not on these two old antagonists, it is increasingly taken up with the problem of Fleur and Jon. It turns out that the possessive Fleur is not as bad as she appears, while Jon is unable to live up to one's natural expectations of him. In the end it seems that Fleur's possessiveness may even be:an asset, as Property and Art arrive at a partnership by the end of To Let. The White Monkey and The Silver Spoon have been criticized as rambling books full of trivial incidents. They actually chronicle Fleur's quest for a still satisfying life which does not include Beauty--that is, Jon. These novels also succeed in illustrating the aimlessness of the post-war generation and the moral rot which seems to be invading all levels of society. In Swan Song the once villainous Soames must become the hero who saves the day for Fleur. She was sure that Jon was the answer to the problems of herself and her age, and he turns out to be a ghastly disappointment. If there is to be an answer, it must come through Soames's discovery of a classically simple peace among the traces of his forbears. In the end it is Soames who is the saviour of the modern age, and Fleur who is its Artist.</p> / Master of Arts (MA)

<p>p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times} span.s1 {font: 6.0px Times} span.s2 {font: 7.5px Helvetica}</p> <p>This study presents an examination, in chronological order, of the martyr dramas of Andreas Gryphius, the German poet and dramatist. The dominant themes of 'Eitelkeit' and the 'Bestandigkeit ' of the martyr figures are traced through the dramas, and an attempt is made to evaluate Gryphius' contribution to this genre.</p> / Master of Arts (MA)

<p>In this thesis nine dramatic works (eight radio plays and one drama) of Heinrich Bő;; are discussed in detail. An attempt has been made to show, with Menschlichkeit as a criterion, that many of the characters are heroic figures. In addition Bőll is presented as one of his own heroes.</p> / Master of Arts (MA)

<p>p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Times} span.s1 {font: 9.0px Helvetica} span.s2 {font: 13.0px Times}</p> <p>This thesis analyses the role of magic and superstition in one of Grimmelshausen's least studied novels, Das wunderbarliche Vogel-Nest, Teil II. Their effects upon the main character are examined, illustrating the author's moral stand against the use of magic and superstition; the same attitude which is shown to be reflected in his other novels. The various functions of these beliefs and practices within the novel itself are also determined, and it is suggested that Grimmelshausen's employment of magic and superstition advances the didactic purpose of the novel in several important ways.</p> / Master of Arts (MA)

<p>The thesis is an independent and personal examination of Keller's collection 'Die Leute von Seldwyla'.The collection is considered as a complete work in itself, but the procedure adopted takes account of the individtuality of each component work. Two chapters deal respectively with the structure of the individual works and with the image presented throughout the collection of the Seldwyla people, and two further chapters present interpretations of each work in turn. The conclusion emphasises the variety which is to be found in the collection, as well as a certain degree of unity.</p> / Master of Arts (MA)

<p>This project examines the ways in which the global mobility of players has unsettled the traditional nationalistic structure of football and the anxious responses by specific football institutions as they struggle to protect their respective political and economic hegemonies over the game. My intention is to expose the recent institutional exploitation of football's "cultural power" (Stoddart, Cultural Imperialism 650) and ability to impassion and mobilize the masses in order to maintain traditional concepts of authority and identity. The first chapter of this project will interrogate the exclusionary selection practices of both the Mexican and the English Football Associations. Both institutions promote ethnoracially singular understandings of national identity as a means of escaping disparaging accusations of "artificiality," thereby protecting the purity and prestige of the nation, as well as the profitability of the national brand. The next chapter will then turn its attention to FIFA's proposed 6+5 policy, arguing that the rule is an institutional effort by FIF A to constrain and control the traditional structure of football in order to preserve the profitability of its highly "mediated and commodified spectacle" (Sugden and Tomlinson, Contest 231) as well as assert its authority and autonomy in the global realm. The third chapter will assess the English Premier League's home-grown policy - an apparent legislative imitation of the FIF A 6+5 initiative. I will argue that the home-grown policy is a strategic measure intent on reproducing a "white, male English" identity (King 170) as a means of strengthening the "English" presence within both the league and the national squad.</p> / Master of Arts (MA)

<p>p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times}</p> <p>Das Hauptgewicht dieser Arbeit liegt auf der problematischen Charakterbeschaffenheit des Schriftstellers Gustav von Aschenbach und dem inneren Konflikt, der sich für ihn daraus ergibt. Zu diesem Zweck wurde der gesamte Werdegang dieses Künstlers bis zu seinem Tode verfolgt. Dabei wurde festgestellt, daβ die verschiedenen Entwicklungsstufen, die Aschenbachs Charakter sowohl als auch seine Kunst durchlaufen, im Grunde Stationen auf dem vJeg vom Extrem der Geistigkeit zum Extrem der Sinnlichkeit sind. Es wurde gezeigt, daβ Aschenbach für kurze Zeit den vollkommenen Ausgleich der Gegensätze von "Geist und</p> <p>Sinnlichkeit", eine Art künstlerischen Idealzustand, erreicht; eine wichtige Tatsache, die bisher in der Kritik nur wenig Beachtung fand. Auch wurde der Versuch gemacht, die Funktion des Knaben Tadzio und vor allem die Bedeutung seines Verhältnisses zu Aschenbach, ein allzuoft auf nur-sinnlicher Ebene interpretiertes Verhältnis, zu berichtigen.</p> <p>Bei diesem Versuch einer Konsequent durchgeführten Interpretation der Künstlerproblematik Aschenbachs wurden, neben der Flut von Sekundärliteratur, vor allem Thomas Manns Äuβerungen über den Beruf des Schriftstellers schlechthin mit herangezogen, was sich als äuβerst erhellend und aufschluβreich erwies.</p> / Master of Arts (MA)

<p>This thesis examines a selection of Anglo-Saxon texts featuring food, medicine and magic circa 975-1100 C.E and explores the ways in which food preparation, spiritual practices and magic were related to eating, spiritual and bodily health. I argue that during this period a context-specific attitude of continuity between magic and prayer, food and medicine was present. The supernatural was not differentiated from, but bound up with speech, the body and eating. A study of these texts grants us access to Anglo-Saxon perceptions ofhealth, spirituality, human relationships and death. In order to discuss this special literary space in history we need to develop a critical language that can convey the spiritual force ofwords without putting them into binary categories of "Christian" or "Pagan." Medieval texts resist modem and postmodern literary and historical categorization, making it more important to analyze the significance of overlap than to study the history of these works in isolated disciplines.<br />This project consists offour sections, each a different framework with which to approach and analyze these texts. These sections are as follows: Part 1) Food and Consumption, Part 2) Magic and Prayer, Part 3) Medicine and Death. A single Anglo-Saxon charm, for example, will receive three separate treatments and analyses. The categories that I have set up will thus work to demonstrate their very non-existence; the same passages can be studied three different ways and simultaneously have three different usages and meanings. My fmal conclusion functions as a connecting space where I will explain the ways in which this thesis both demonstrates and participates in the fluidity and permeability ofthese texts. As the separate discourses offood, magic and medicine synthesize in the conclusion, so too will the reader's categorical understanding of the Anglo-Saxon world.</p> / Master of Arts (MA)

<p>Historically, the Gothic, both in its plastic and literary manifestations, may be broadly defined as a reactive aesthetic movement--reactive against classicism, Reason and, most importantly, social convention. Typically, the Gothic imagination, as exhibited in eighteenth-century Romantic fiction, seeks out sensations which are morally and psychologically aberrant, and experiences which are sometimes flagrantly anti-social, these predilections expressing a grave mistrust of the status quo and, at the same time, an angst at having lost a coherent ethical framework. This thesis attempts to gauge the artistic, intellectual and emotional impact of the Gothic tradition on Dickens the social critic. My intent essentially is to set Dickens within the general context of dark Romanticism, to demonstrate how he exploits the "horrid" imagery (ghosts, corpses, corruption) and melodramatic narrative technique of Gothic romance quite as competently as any sensation novelist, yet turns them to the account of a dedicated<br />Victorian social conscience. I focus primarily on Bleak House, probably Dickens's most emphatically "Romantic" novel, but also take some note of his earlier and later career.</p> / Master of Arts (MA)

<p>In Darkness at Noon the third person narrative and the structure of the story itself are dictated solely by the polemical intent. Koestler wants to force the reader to relive Rubashov's struggle to maintain his individual identity despite overwhelming pressure to adopt that of the Communist Party. His intellect is already so molded to this group that only in his emotions, most of which he has repressed, can he find the seeds of his authentic self. The narrative technique encourages the reader to view the story through the aperture of this inner self but when Rubashov shifts his centre of consciousness to his reasoning persona the reader's perspective is destroyed, along with much of the moral and aesthetic force of the novel.</p> <p>The unconscious as a subject invites the use of symbols. Those of Koestler grow naturally out of, the facts of his story; they even reinforce one another, and spawn related images until some passages approach allegory. They are also useful litmus papers for detecting the emotional attachment to Marxist ideology Koestler retains.</p> <p>In this novel Koestler dramatizes his arguments by embodying all those he wants us to approve in Rubashov and all those he wants us to doubt in the Party; thus he controls our responses very precisely. But the split in Rubashov designed to clarify Koestler's ideas also destroys his human quality and so undermines the tragedy of Darkness<br />at Noon.</p> <p>It is not the didacticism but the subject matter of this novel that undercuts its aesthetic quality. The narrative technique pulls the reader inside Rubashov's emotions but when Rubashov loses contact with this self, the reader loses his window on events and his<br />concern about them. And, in a novel about individual freedom, the process of making explicit the normally implicit motives of an individual celebrates the philosophy of determinism rather than freedom. However, the loss of the reader's connection with the centre of consciousness and the difficulty of communicating the nature of freedom are overcome by the fascination of the contradictory emotions aroused by the ideas in Darkness at Noon.</p> / Master of Arts (MA)