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Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / Hawthorne was a moralist-fictionist, a literary artist who made effective use of a variety of moralistic techniques. The method or this study is to give careful examination both to a number of Hawthorne's tales and sketches and to the moralistic tone of his fiction as a whole. The Introduction briefly considers adverse criticism of nineteenth-century American didacticism and suggests that criticism has not given sufficient attention to moralistic analysis. In Chapter I the moralistic mise en scene in which Hawthorne produced his works is presented through the eyes of Ralph Waldo Emerson, critic of contemporary moralists and moralistic postures. Chapter II then discusses Hawthorne's fictional response to his preaching and his view of himself as moralist-fictionist. As moralist-fictionist, he may have made concessions to hie times, but it is clear that he believed that the moral sense must serve the artistic sense, and he was careful to assume a moralistic posture that would not disqualify him as a literary artist. As fictionist, he found it advisable to use techniques that could serve to defend him against the charge of ethical omniscience and personae that would dissociate him from the one-truth certainties of contemporary moralists. Chapter III then classifies those tales and sketches in whicn the moralist--the maker of the statement that is true or good or right--is not confronted by an opposing point of view. In these works the moralist makes his appearance in several forms: narrator alone, narrator aided by symbols, narrator aided by allegorical figures, fictional figure alone, fictional figure aided by narrator, narrator aided by fictional figure, and narrator and fictional figures in a moral chorus or a moral riddle. Representative tales of each moralistic point of view are analyzed and evaluated. Chapter IV then classifies those tales and sketches in which moral confrontation is operative, analyzes Hawthorne's antimoralists (the satanic pseudo-moralist, the pseudo-idealist, the comic materialist, the materialist antagonist, and the idealist immoralist), and closely examines representative tales and sketches. Much of the psychological interest in these works derives from the response of the fictional figures to the influence of the anti-moralists, and Hawthorne's technical device of ambiguity is often not a moralistic stance but a means of establishing a moralistic diste.nce between the author and his statement. The Epilogue then discusses the four major novels in terms of their moralistic structure and suggests rea.sons for Hawthorne's success in The Scarlet Letter and The House of the Seven Gables and his at least moralistic failure in The Blithedale Romance and The Marble Faun. The chapter also includes a general evaluation of Hawthorne as a writer who accepted the literary value of both psychological and moralistic exploration, a writer for whom the question "How should a man act?" was no less important than the question "How does a man act?" / 2031-01-01

The purpose of this thesis is to explore the ways in which Nicholas Hasluck's novels have been read in the past, and to develop an alternative interpretation which takes into account all Hasluck's narratives, reading them through the framework of current trends in literary and cultural theory. Hasluck is a Western Australian writer whose work takes seriously, while at the same time parodies, the institutions of both Western Australia and Western society.The initial section comprises three chapters, in which Hasluck's novels are read through the commonly used frameworks of the mystery-thriller genre and satire. The second part of the thesis, which covers four chapters, is a reading of Hasluck's narratives through the shift from modernism to postmodernism, drawing particularly on the work of theorists such as Linda Hutcheon, Michel Foucault and Brian McHale. This interpretation reveals how Hasluck's work increasingly uses the marginal, regional narratives of Western Australia to contest the mega-narratives of the West.The significance of this thesis is twofold. Firstly, this is currently the most in-depth examination of the work of a neglected Western Australian writer, and, secondly, the combining of Hasluck's literary themes and this thesis's critical framework provides a productive format for exploring issues of Western Australian history and literature.

Thesis (Ph.D.) -- University of Texas at Arlington, 2008.

Thesis (Ph. D.)--Miami University, Dept. of Educational Leadership, 2003. / Title from first page of PDF document. Document formatted into pages; contains vii, 147 p. Includes bibliographical references (p. 125-141).

The aim of this thesis is to trace a 'language of looking' in some of Virginia Woolfs texts. I have taken Woolfs short story entitled 'The Lady in the Looking-Glass: A Reflection' as a point of departure and principle theme. This story provides models for a serious questioning of the ways we look at women and how that looking deten»ines their representation. In turn that representation is shown to structure and inform our ways of looking. Each paragraph of the story is taken as a starting point for a chapter of the thesis. Thus, each of the ten paragraphs of the story becomes, as it were, the epigraph of the chapter that follows. Each chapter moves out from the specific problematics offered by 'The Lady in the Looking-Glass: A Reflection' to other works by Woolf, and beyond. My readings of 'The Lady in the Looking-Glass: A Reflection' show Woolf to be exploring different ways of getting to 'know' the Lady, to ascertain her 'truth'. The aptness and inadequacy of description, the giving of facts and the detail of imaginings, the insights of perception and the blindness of rhetoric, are all revealed as the story and the thesis unfold. The ways in which a woman can be regarded, spoken of, but never 'truly' represented, is examined. Each chapter focuses upon how, in consecutive paragraphs, Woolf attempts to create a convincing character that can be caught and turned to words. The very difficulties of representation are seen to be written into Woolfs text as the narrative moves from one speculative moment to another. In order to explore the issues raised in the short story I engage with other of Woolfs writings. Using close readings of her work, psychoanalytic concepts, critical writings, Surrealist thought and photographic model, I work to show just how vital are the 'signs' of looking in Woolf's texts.Finally the failures of language are realised as I look at how Woolfs awareness of the complexities and nuances of the visual demonstrates a negative, self-destructive impulse as well as a positive, life-enhancing moment of becoming. Woolfs search for the best words with which to portray the Lady of her story is echoed by my own struggle to find the right words with which to reveal the intricate network of 'looks' that adds yet another dimension to the enigmatic and challenging works of the Lady we know as Virginia Woolf.