<p>The theme of maturation is a central one in the early work of both F. Scott Fitzgerald and Ernest Hemingway. This thesis examines this theme in Hemingway's first two novels, The Sun Also Rises and A Farewell to Arms as well as selected early stories, particularly those concerning Nick Adams. Similarly, Fitzgerald's first two novels are examined, This Side of Paradise and The Beautiful and Damned with some attention given to some selected short stories.</p> <p>The thesis attempts to offer some reasons for the recurrence of this theme in the works; to compare Hemingway's and Fitzgerald's distinctive treatment of the theme, and finally to propose some conclusions concerning the nature of the early fiction of both authors with respect to the theme of the hero's maturation.</p> / Master of Arts (MA)

<p>This thesis is directed towards arriving at a greater understanding of the 'subject' of The Golden Bowl, in the light of a representative selection of criticism on the novel. As will be shown in Chapter II, much of this criticism has failed to recognise the supreme fusion between form and content in this novel, as is witnessed by the multitudinous analyses which examine either form or content whilst ignoring this complete fusion. The result of this 'error' has been talk of saints and witehes. By analysing this discrepancy, a valid framework will be provided that will give a greater scope to an understanding of this fusion than would otherwise be possible. From such a starting-point, the thesis will argue that this last novel of the so-called 'trilogy' is James's supreme achievement, his most perfect production in the particular medium with which he was so familiar and so capable.</p> / Master of Arts (MA)

<p>This thesis maintains that ambiguity is an important element in Fielding's Tom Jones and deals with certain ambiguities in the novel. Specifically, it deals with the ambiguous treatment of the following characters: Squire Allworthy, Sophia Western, Mrs. Waters, Black George and Squire Western. An examination of this ambiguity is important to an understanding of Tom Jones.</p> <p>The thesis maintains that neither Alhlorthy nor Sophia should be regarded as the moral pillars of Tom Jones; nor should they be regarded as unambiguously good. When we perceive them in more realistic terms, it is also necessary to re-examine our judgments of certain other characters in the novel, specifically, Mrs. Waters and Black George. Is the condemnation these two characters receive justified? This thesis maintains that it is not; therefore, we must re-examine the basis of judgment in Tom Jones. The character of Squire Western provides us with an insight into Fielding's psychology because he shows most clearly the problem of reconciling the rational and the animal in man.</p> <p>The ambiguity in Tom Jones goes beyond language. We must examine the truth and consistency of those principles which seem to be advocated in the novel.</p> / Master of Arts (MA)

<p>The first chapter of this thesis is directed toward Grove's and Hardy's view of man in their novels. After reading the major works of both writers the conclusion put forward here is that neither Grove nor Hardy is willing to write a novel that ignores the possibility of suffering. They do not, however, look upon suffering as the focal point of life. Essentially they direct their attention to man's unique capacity to adapt continually to new, and often difficult, situations. The misfortunes that confront both writers' characters are aimed at showing the reader a variety of consequences for particular patterns of action. There are no guarantees of happiness, but for both writers man is not meant to suffer either irrationally or passively. The freedom to act is an essential part of his character and, as such, he must continually exercise his freedom of choice. For both Grove and Hardy it is this individual freedom to choose, to redefine one's self and one's situation, that enables man to discover and maintain some degree of happiness in life. Similarly, it is this individual freedom, to act that allows all men the chance to discover the profound and the tragic proportions that lie within the human spirit.</p> <p>Both writers locate their characters in settings that are never too removed from the demands of a force that may generally be called Nature. Often the demands of this external force are beyond the intellectual scope and physical strength of men. The suffering that results from the confrontation between Nature and man would seem to indicate that man is destined to suffer irrationally. The conclusion that is made in the second chapter of this thesis, however, is that both Grove and Hardy appear to believe that man must use Nature's laws as co-ordinates that place him in Nature and, at the same time, above it. Both Grove and Hardy repeatedly illustrate that man is more than just a receptor of Nature's fury. He is also a recorder or focal point of Nature's order. Both Grove and Hardy show that man can use his unique relationship with Nature to discover toleration and understanding.</p> <p>Both writers also use the simplicity of rural order and the demands of more complex urban social beliefs as guidelines against which the actual needs of individual men may be measured. Grove and Hardy appear to support a belief in the individual's right to test the validity of any social structure. Similarly, both writers illustrate that the demands of society, like the demands of Nature, are external requirements that test individual men. The conflict that arises as a result of the confrontation of man and society is an integral part of both writers' approach to an appraisal of the freedom of individual men. The final chapter of this thesis, then, concludes with the belief that neither writer sides for or against a particular view of society, but both writers do side with man's right to discover from society a more accurate understanding of individual needs and characteristics.</p> / Master of Arts (MA)

Master of Arts (MA)

<p>The major emphasis of this thesis will be to demonstrate that there is a development of thought in Lawrence's short fiction. Through an examination of six tales spanning the years 1915 to 1928 this study will attempt to prove that Lawrence's frustration with the civilization he was part of manifested itself in his short fiction in a gradual movement from realism to myth.</p> <p>In "The Thimble" Lawrence used the realistic mode to express his belief that individuals would awaken to the problems of the world, meet on a new plane of consciousness and work together toward a new relationship. However, in the years following 1915 Lawrence's faith in the individual lessened. He now believed a new element had to be introduced into the problematic world to change it in a positive manner. However, as we see in "The ladybird" and "The Last Laugh", Lawrence became disillusioned. The old world would not be changed. Consequently, Lawrence believed it had to be annihilated in order that a new world could supersede it. This idea is established in "The Border Line" and carried to its logical conclusion in "The woman Who Rode Away" in the sacrifice of a woman who is ostensibly a symbol of ego-conscious western civilization. However, we see that the woman is not a valid representative of ego-consciousness but is instead a victim of that consciousness. Although Lawrence used the fable mode in an attempt to present a new and mysterious blood-conscious world we see he has actually moved nowhere at all but has only 'dressed Up' the problematic ego-consciousness in his own idealistic garments.</p> <p>In "The Man Who Died" we see that Lawrence has encompassed the experience of "The Woman Who Rode Away". The theme of rebirth into a new consciousness, which in turn creates a new world, has returned. The insistence is absent. The mythic mode allows Lawrence to present his vision in a generalized fashion; he does not have to adhere to a particular set of circumstances. In this way he can 'touch' a wider group of readers.</p> / Master of Arts (MA)

<p>This unit is designed for approximately six weeks of English classes at the grade eleven level of secondary school. It incorporates both skills of critical analysis and of creative writing that are part of the grade eleven syllabus in Ontario. <br /> <br /> Part A of the unit provides for the reading and study of several picturebooks written for children. It offers an analytical and critical approach to reading as well as the appreciation of a literary genre designed for another age group. Picturebooks provide variety in curriculum focus and are a relatively uncomplicated yet mature form for investigation and criticism. They allow students to consider several concepts as well: picturebooks are a specific and distinct genre; they provide a source for critical examination; they reflect customs, attitudes, biases and values; they require the reader's personal appraisal; and finally, children's books both teach and entertain. <br /> <br /> In Part B, the designing and writing of a picturebook provide opportunities for students to: develop creativity and ingenuity through a personal writing activity; demonstrate their degree of mastery of basic composition skills; exercise the imagination; practise the mechanics of the writing process; participate in peer assessment and self-assessment; study the rudiments of good writing through a productive and purposeful activity; and receive instant and continuous feedback from their classmates and the teacher as writing progresses. Most importantly, however, in Part B, students learn that personal satisfaction can be gained through producing something, not only for oneself, but also for others.</p> / Master of Arts (MA)

<p>As the title of this thesis indicates, I believe that the Canterbury Tales is receptive to both aesthetic and historical approaches. This conviction stems from repeated exposure to Chaucer at different times during the last five years, and from a more recently acquired familiarity with other Middle English and Continental authors Contemporary with him. Although he is no where mentioned in the thesis, I count my reading of Dante as a major force in showing how the medieval imagination operated. When I first encountered Chaucer, however, my knowledge of the medieval period was nil: I was forced then to rely on "aesthetic" avenues into his works. Now, with a small inkling of what "historical" criticism involves, I can still appreciate how valid is the search for image patterns, double meanings, and the ways in which Chaucer creates character and atmosphere. Yet now too, I can see how relevant is the fourteenth century's cultural situation to Chaucer's artistry, for chaucer, no matter how much he transcends them, is nonetheless heir to the ideas and modes of expression of his time.<br /><br />I have referred solely to F. N. Robinson's edition of Chaucer's work during the preparation of this Thesis, and following him, I have adopted the Manly-Rickert sequence tales, without speculation on the implications of the "Bradshaw shift" for the gist of what follows. Similarly, when quoting Piers the Plowman, Skeat's B-text, as the one with which most readers are familiar, is used. Quotations from the bible follows the Vulgate's rendering, but the revised Standard's version of the pertinent extract is provided in the footnotes. These notes come at the end of the text so as not to distract the reader who wishes to pursue the argument without documentation and peripheral observations. In order to facilitate reference when quotations from Chaucer are introduced, the appropriate page number in Robinsons's text is given.<br /><br /></p> / Master of Arts (MA)

<p>Cibber as a subject is a rather limited one, and all studies so far have tended to be general and hence repetitious. This study is limited to an analysis of the first of his plays. An attempt has also been made to give a picture of Cibber himself, with a brief resume of his more than forty successful years in the theatre. <br /><br />Any discussion of Love's Last Shift necessarily entails the fitting of the play into its literary and social contexts: this has been essayed in Part Two, with a survey of comic theory and practice from the Restoration to the early years of the eighteenth century. With this is given the reaction of society away from Restoration libertine comedy to a more consciously exemplary type of play.</p> / Master of Arts (MA)

<p>This study of the writings of Edwin Muir during the period ofthe Second World War examines recurring themes in the prose and poetry, in an attempt to demonstrate that these years form a watershed in the literary development of the poet.</p> / Master of Arts (MA)