To provide a current survey of the scholarship and an annotated bibliography on Fanny Burney from 1920-1970 for scholars and students is the purpose of this paper.

While the fantasy genre is one of the most widely read modes of writing, literary criticism and academic discussion of the genre takes place at a much lower level. This imbalance has developed in part because of a misconception that fantasy genre writings cannot accomplish significant, literary purposes. This thesis first offers an argument for why the fantasy genre should receive more attention in scholarly circles, then presents an excerpt of a fantasy novel. The argument draws from the limited amount of existing criticism to highlight the strengths of the fantasy genre, building a case that, in most respects, works of heroic fantasy deserve thoughtful critical attention, and concluding with a proposal that further attention will elevate the acknowledged weaknesses. The excerpt from the novel is not intended as an exemplary model of what fantasy can accomplish; it is merely a first step on the long journey to those goals.

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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?" / 2999-01-01

This essay focuses on the alienation experienced by Rusty-James in S.E. Hinton’s Rumble Fish (1975). It more specifically centers on the causes of his alienation and how the alienation is illustrated in the novel. The analysis shows that the alienation Rusty-James experiences is caused partly by socioeconomic factors; for example his lack of hope for the future is closely connected to the fact that he belongs to a low socioeconomic class. In addition, there are also psychological factors, for example a childhood trauma. The alienation and its causes are mainly illustrated through the symbolism of the featured Siamese fighting fish and how Rusty-James’ relationships are depicted.

Flora Süssekind constitui um exemplo ímpar na prática do nosso ensaísmo crítico, destacando-se como uma pesquisadora cujos vínculos com a Universidade, com a imprensa e com instituições de pesquisa resultaramem colaborações de natureza diversa, como artigos, resenhas e livros, entre outros. A sua reflexão -impulsionada por obras de diferentes gêneros e produzidas em épocas distintas -vem sendo constante nas últimas décadas, trazendo aos seus leitores uma visada crítica bastante particular sobre autores representativos do Romantismo, do Naturalismo, do Modernismo, da poesia concreta, da poesia marginal da década de 70 e de tantos outros fenômenos literários do país. Dentre um universo profícuo de ensaios muitos deles produzidos em um curto intervalo de tempo, sobretudo durante a década de 1980 abordaremos nesta tese aqueles que, sob nosso ponto de vista, permitirão apontar os elementos de destaque em seu percurso, sob uma perspectiva do estabelecimento de uma voz crítica singular que ainda está em plena atividade e, portanto, em constante processo de construção e mudança. O contato aprofundado com essa produção (englobando seus objetos, seus referenciais teóricos e suas reflexões) permitiu a elaboração da hipótese inicial de que Flora Süssekind não descarta a tradição que busca pensar as particularidades da literatura nacional, aproveitando-a, no entanto, de maneira cautelosa, rejeitando a ideia de origem de uma brasilidade unificadora das expressões culturais de um povo e, consequentemente, de uma literatura. Repercute insistentemente em sua obra, assim, uma questão de fundo: a maneira como uma determinada ideia de nacionalidade conforma a representação artística brasileira, dando destaque (por parte da crítica e dos próprios artistas) aos trabalhos que privilegiem um enfrentamento mais direto e menos transfigurador de fatoscorrentes no cotidiano problemático do país. Assim, com sua prática, defenderá caminhos teóricos que se contraponham a esse paradigma que identifica como sendo dominante em nossa literatura, de extração mimética (não no sentido de expressividade artística, mas de cópia). Acreditamos, portanto, que seu trabalho dê um sentido específico à concepção do intelectual atento à realidade local, privilegiando obras que não se circunscrevam a tal paradigma ou, ainda, que forneçam aportes para um recorte crítico quedeixe aparentes as engrenagens do aparelho reprodutor desse modelo. Para tanto, as suas referências teóricas são variadas, compreendendo a pesquisa de autores brasileiros do século XIX, da nossa tradição sociológica do século XX (em autores como Antonio Candido ou Roberto Schwarz), da teoria francesa que se projetou, sobretudo, a partir dos anos 1960 (com exemplos como Michel Foucault e Gilles Deleuze) e também intelectuais cuja relação com o marxismo se dê por vias mais reconhecidas (como Fredric Jameson e Theodor Adorno). Interpretamos esse gesto de constante pesquisa e inquietação teórica como uma disponiblidade de acompanhar o objeto, um desejo de persegui-lo para poder comentá-lo mais adequadamente e de forma mais aprofundada, recusando-se a observá-lo de maneira distante e inflexível. O percurso e a perseguição tornam-se, nesse viés, mais importantes do que a estabilidade do ensaísta, o que nos levou a denominar esse método praticado por Flora Süssekind de itinerância crítica. / Flora Süssekind is a unique example in Brazilian literary criticism, especially as a researcher whose bonds with the University, the press and the research institutions resulted in a vast array of collaborations, such as articles, reviews and books, among others. Her reflection on criticism in recent decades - improved by works produced in different genres and about distinct epochs - has been bringing her readers a very particular critical point of view about representative works from Romanticism, Naturalism, Modernism, concrete poetry, 1970\'s poesia marginal (marginal poetry) among many other Brazilian literary movements. Among a prolific universe of essays wrote by Süssekind - many of them produced in a short period of time, especially during the 1980\'s - this thesis will cover the texts that, in our opinion, point out the major elements of her career, considering the perspective of a singular critical voice that is still active and, therefore, has been under construction. The study of these essays (encompassing its objects, theoretical frames of references and reflections) support our initial hypothesis that Flora Süssekind does not put away the tradition of thinking about the particularities of a national literature, taking advantage of it. However, Süssekind cautiously rejects the idea of an original Brazilian cultural expression and does not support the concept of a unifying national literature. Therefore, it resonates strongly in her work a fundamental question: how can a certain frame of nationality shape the Brazilian artistic representation? This can be highlighted (by the critics and by the artists themselves) in works that emphasize a confrontation more direct and less transfiguring of Brazilian problematic daily events. Thereby, Süssekind will defend theoretical paths that defy the paradigm she identifies as dominant in Brazilian literature: the paradigm of mimetic extraction (not in the sense of 8 artistic expression, but mere copy). We believe, therefore, that her work gives a specific meaning to the concept of intellectual attention to local realities, favoring works that do not confine themselves to such a paradigm or even to provide critical inputs for a framework that leaves apparent the gears of the reproductive system of this model. We can also state that she applies theories of heterogeneous lines, comprising research by Brazilian authors of the nineteenth century, the sociological tradition of the twentieth century (in essayists such as Antonio Candido and Roberto Schwarz), the French theory from the 1960\'s (such as Michel Foucault and Gilles Deleuze) and Marxist intellectuals (as Fredric Jameson and Theodor Adorno). We interpret this gesture of restlessness as a theoretical availability to follow the object, a desire to pursue it in order to properly comment more and more thoroughly, refusing to observe it in an inflexible manner. The route and pursuit become more important than the stability of the essayist, which led us to call this method practiced by Flora Süssekind as critical roaming.

This thesis is a feminist interpretation of Virginia Woolf’s treatment of Shakespeare in Orlando and A Room of One’s Own. Although Woolf’s admiration of Shakespeare is evident in both texts, Woolf’s identification of Shakespeare as a gender-neutral or feminist-friendly writer must be qualified. Woolf presents Shakespeare as a worthy but incomplete artistic model, for his work does not explore women with adequate complexity. In these texts, Woolf partially “writes with” Shakespeare, but she also uses his literary works and his status as a cultural icon both to critique the conventional treatment of women as limited by the male perspective and to highlight the gender privilege male writers have historically had. In these two texts, Woolf presses beyond what she perceives to be Shakespeare’s limited exploration of women, ultimately calling for a feminist re-evaluation of gender roles in literature and emphasizing the need for women writers to record women’s experiences.

Flora Süssekind constitui um exemplo ímpar na prática do nosso ensaísmo crítico, destacando-se como uma pesquisadora cujos vínculos com a Universidade, com a imprensa e com instituições de pesquisa resultaramem colaborações de natureza diversa, como artigos, resenhas e livros, entre outros. A sua reflexão -impulsionada por obras de diferentes gêneros e produzidas em épocas distintas -vem sendo constante nas últimas décadas, trazendo aos seus leitores uma visada crítica bastante particular sobre autores representativos do Romantismo, do Naturalismo, do Modernismo, da poesia concreta, da poesia marginal da década de 70 e de tantos outros fenômenos literários do país. Dentre um universo profícuo de ensaios muitos deles produzidos em um curto intervalo de tempo, sobretudo durante a década de 1980 abordaremos nesta tese aqueles que, sob nosso ponto de vista, permitirão apontar os elementos de destaque em seu percurso, sob uma perspectiva do estabelecimento de uma voz crítica singular que ainda está em plena atividade e, portanto, em constante processo de construção e mudança. O contato aprofundado com essa produção (englobando seus objetos, seus referenciais teóricos e suas reflexões) permitiu a elaboração da hipótese inicial de que Flora Süssekind não descarta a tradição que busca pensar as particularidades da literatura nacional, aproveitando-a, no entanto, de maneira cautelosa, rejeitando a ideia de origem de uma brasilidade unificadora das expressões culturais de um povo e, consequentemente, de uma literatura. Repercute insistentemente em sua obra, assim, uma questão de fundo: a maneira como uma determinada ideia de nacionalidade conforma a representação artística brasileira, dando destaque (por parte da crítica e dos próprios artistas) aos trabalhos que privilegiem um enfrentamento mais direto e menos transfigurador de fatoscorrentes no cotidiano problemático do país. Assim, com sua prática, defenderá caminhos teóricos que se contraponham a esse paradigma que identifica como sendo dominante em nossa literatura, de extração mimética (não no sentido de expressividade artística, mas de cópia). Acreditamos, portanto, que seu trabalho dê um sentido específico à concepção do intelectual atento à realidade local, privilegiando obras que não se circunscrevam a tal paradigma ou, ainda, que forneçam aportes para um recorte crítico quedeixe aparentes as engrenagens do aparelho reprodutor desse modelo. Para tanto, as suas referências teóricas são variadas, compreendendo a pesquisa de autores brasileiros do século XIX, da nossa tradição sociológica do século XX (em autores como Antonio Candido ou Roberto Schwarz), da teoria francesa que se projetou, sobretudo, a partir dos anos 1960 (com exemplos como Michel Foucault e Gilles Deleuze) e também intelectuais cuja relação com o marxismo se dê por vias mais reconhecidas (como Fredric Jameson e Theodor Adorno). Interpretamos esse gesto de constante pesquisa e inquietação teórica como uma disponiblidade de acompanhar o objeto, um desejo de persegui-lo para poder comentá-lo mais adequadamente e de forma mais aprofundada, recusando-se a observá-lo de maneira distante e inflexível. O percurso e a perseguição tornam-se, nesse viés, mais importantes do que a estabilidade do ensaísta, o que nos levou a denominar esse método praticado por Flora Süssekind de itinerância crítica. / Flora Süssekind is a unique example in Brazilian literary criticism, especially as a researcher whose bonds with the University, the press and the research institutions resulted in a vast array of collaborations, such as articles, reviews and books, among others. Her reflection on criticism in recent decades - improved by works produced in different genres and about distinct epochs - has been bringing her readers a very particular critical point of view about representative works from Romanticism, Naturalism, Modernism, concrete poetry, 1970\'s poesia marginal (marginal poetry) among many other Brazilian literary movements. Among a prolific universe of essays wrote by Süssekind - many of them produced in a short period of time, especially during the 1980\'s - this thesis will cover the texts that, in our opinion, point out the major elements of her career, considering the perspective of a singular critical voice that is still active and, therefore, has been under construction. The study of these essays (encompassing its objects, theoretical frames of references and reflections) support our initial hypothesis that Flora Süssekind does not put away the tradition of thinking about the particularities of a national literature, taking advantage of it. However, Süssekind cautiously rejects the idea of an original Brazilian cultural expression and does not support the concept of a unifying national literature. Therefore, it resonates strongly in her work a fundamental question: how can a certain frame of nationality shape the Brazilian artistic representation? This can be highlighted (by the critics and by the artists themselves) in works that emphasize a confrontation more direct and less transfiguring of Brazilian problematic daily events. Thereby, Süssekind will defend theoretical paths that defy the paradigm she identifies as dominant in Brazilian literature: the paradigm of mimetic extraction (not in the sense of 8 artistic expression, but mere copy). We believe, therefore, that her work gives a specific meaning to the concept of intellectual attention to local realities, favoring works that do not confine themselves to such a paradigm or even to provide critical inputs for a framework that leaves apparent the gears of the reproductive system of this model. We can also state that she applies theories of heterogeneous lines, comprising research by Brazilian authors of the nineteenth century, the sociological tradition of the twentieth century (in essayists such as Antonio Candido and Roberto Schwarz), the French theory from the 1960\'s (such as Michel Foucault and Gilles Deleuze) and Marxist intellectuals (as Fredric Jameson and Theodor Adorno). We interpret this gesture of restlessness as a theoretical availability to follow the object, a desire to pursue it in order to properly comment more and more thoroughly, refusing to observe it in an inflexible manner. The route and pursuit become more important than the stability of the essayist, which led us to call this method practiced by Flora Süssekind as critical roaming.

The present thesis considers the allusive and narrative function of fate and its associated concepts of providence, free will, necessity, and natural law in Paradise Lost. It argues that the narrative function of these concepts is shaped by Milton's allusions to classical epic, and assesses their impact on the Christian theology of the poem. It identifies unnoted allusions to well-known epic models (Homer, Vergil, Lucan), and examines how Lucretius' account of natural laws and post-Vergilian representations of epic aftermath influence Milton's own depiction of transgression and its aftermath in Paradise Lost. Chapter 1 considers Satan and other fallen angels' definition of fate as a materialist alternative for the personal rule of the Father. It traces several allusions to fate in cosmological and ethical settings, in Lucretius, Vergil, Lucan, and Statius, and analyses how these allusions interact with the Hesiodic mythical material in the opening books of Milton's epic. Chapter 2 focuses on a pattern of previously unnoted allusions to Lucretius' De Rerum Natura in the narrative of the Fall, culminating in Book 9. It argues that in his temptation of Eve, Milton's Satan subverts Lucretian teachings about the boundaries governing the physical universe as he persuades Eve to transgress her natural state in Eden. Chapter 3 discusses the appearance of the Father in an allusive epic council scene in Book 3. In the dialogue between Father and Son, I suggest, Milton evokes negotiations between the Homeric and Vergilian deities, depicting his God as surpassing his pagan epic counterparts who can only delay the fate of mortals, but not change them. Chapter 4 suggests that Milton's depiction of the aftermath of the Fall is indebted to post-Vergilian epic narratives of 'aftermath'. The final Books of Paradise Lost and the portrayal of Adam and Eve's moral freedom as they leave paradise, with providence their guide, should be read, I posit, against the backdrop of scenes and imagery from Lucan's Bellum Civile and Statius' Thebaid.