Thesis (Ph. D.)--University of Chicago, 1913. / Also paged: 313-324, 503-520, 75-97. In 3 parts. "Reprinted from Modern philology, Vol. XII, Nos. 5, 8, and [vol. 13, no. 2] Chicago, 1914-1915." Includes bibliographical references.

Thesis (doctoral)--Philipps-Universität Marburg, 1932. / Vita. Includes bibliographical references (p. 53-54).

Thesis (Ph.D.)--New York University, 2002. / Source: Dissertation Abstracts International, Volume: 63-08, Section: A, page: 2748. Adviser: Mikhail Iampolski.

Una de las claves importantes para entender el exito de la obra narrativa de Sara Sefchovich y Luis Spota (1925--1985) es el uso de otros textos que ellos emplean en su narrativa, o sea, de la intertextualidad y en particular, La divina comedia de Dante. En esta disertacion realizamos un estudio de intertextualidad en la novelistica de los escritores mexicanos Sara Sefchovich y Luis Spota. Nos concentramos especificamente en dos obras de Sefchovich y tres de Spota. Las novelas analizadas de Sefchovich son: Demasiado amor (1990) y La senora de los suenos (1993). Los textos analizados de Spota son: Murieron a mitad del rio (1949), Casi el paraiso (1956) y Paraiso 25 (1983). En el presente estudio analizamos los textos ya mencionados bajo la optica de la intertextualidad. Identificando primeramente sus paratextos y posteriormente nos concentramos a estudiar los elementos intertextuales que aparecen implicita y explicitamente en las novelas de Sefchovich y Spota. Este estudio no se realizado aun, al menos no en lo que se refiere a las ya mencionadas novelas de Sefchovich y Spota y constituye justamente la empresa en que se inscribe el presente estudio, no con la pretension de identificar la presencia de textos diversos solamente ni comentar que estos son los unicos y definitivos elementos intertextuales, sino con el modesto proposito de ver la presencia y las intenciones de esos textos y contribuir en su exploracion.

This dissertation presents a critical edition of the Entremes de Melisendra. This entremes has been attributed to two talented writers of the Golden Age theater: Lope de Vega Carpio and Miguel de Cervantes Saavedra. The first part of this work is an introduction to the important role that the entremes , as a sub-genre, played during the period. The work then provides a structural analysis of the Entremes in detail, including versification and vocabulary. Bakhtin's fundamental work on carnaval, complemented by that of other critics, provides the framework for the analysis of the bawdy, at times grotesque, humor of the play. Chapter III explores the influence of the Romance de don Gaiferos , whose plot derives from the Emperor Charlemagne's era. Through a detailed comparison, it becomes clear that the Romance de don Gaiferos strongly influenced the creation of the Entremes de Melisendra. Moreover, examples of parody abound. Instead of calling the play Entremes de don Gaiferos, the author parodies the title and changes it to Entremes de Melisendra, indicative of the carnavalesque inversion found throughout the text. Chapter IV then analyses the complex intertextuality between the Entremes de Melisendra and Cervantes's "Retablo de maese Pedro." The theoretical background employed for the consideration of this extensive parody draws from Linda Hutcheon's work A Theory of Parody as well as that of others theorists. The edition that comprises the fifth chapter has been modernized using the rules suggested for editing comedias by Frank P. Casa and Michael D. McGaha in Editing the Comedia. It has been annotated to help readers understand some of the more complex passages. The brief conclusion then underscores the significance of this piece for understanding the artistic evolution of a Medieval romance. The transformations in plot and presentation from romance, to entremes and then to a prose recreation of a theatrical "retablo" reflect the ever-changing relationships between art and society. A series of appendices offers additional information that supports the analysis presented.

This dissertation compares Native American and Sardinian literatures, focussing on literary renditions of detective stories, a recent development which has occurred in both literatures. The study is based on Procedura (1988), and Il terzo suono (1995), by Sardinian author Salvatore Mannuzzu; The Sharpest Sight (1992), Bone Game (1994), and Nightland (1996) by Choctaw-Cherokee-Irish writer Louis Owens. In both literatures the use of detective fiction embodies the authors' commentary regarding the discourse on colonization. Recurrent thematic features are the concern with history, notably the history of domination and the processes that have led to the present post-colonial condition. The drive towards solving the crime symbolizes and comments upon the necessity of addressing the history of colonization, past and present, both of the land and its people. All the novels included in this study elaborate the basic features of the genre in innovative ways that offer significant commentaries on the condition of these two colonized peoples. The truth at the end of the narration is broken down to a multiplicity of competing narratives. The dispossession and exploitation of ancestral land are textually structured as crimes which further parallel and comment upon the murder of human beings. Also, the characters of the detectives are pivotal for the embodiment of a critique of the classic anthropological model. The gathering of data in order to offer a 'scientific' version of the truth is an endeavor shared by criminal investigators as well as anthropologists, ethnologists and archaeologists. Since classic detective fiction and modern science developed simultaneously around the middle of nineteenth century, it is not coincidental that post-colonial authors of detective fiction feel the necessity to address the self-appointed superiority of so-called scientific discourse. As both cultures have been commodified as objects to be studied by external social scientists, Mannuzzu's and Owens's refusal to depict a univocal solution is also indicative of the clash between definitions elaborated by outsiders versus forms of traditional knowledge within the cultural group.

One of the primary objectives of the realist novel has been to imitate the linguistic processes that assert and maintain the idea of a coherent identity. In Working Mother: The Birth of the Subject in the Novel, I present a developmental view of the birth of the subject as articulated by some of the architects of the novel. In an examination of James and Henry Austen's Loiterer, Jane Austen's Pride and Prejudice, Harriet Beecher Stowe's Uncle Tom's Cabin, and Henry James' Washington Square, I locate and analyze narrative sites that mirror, presage, and/or encourage the production of readerly subjectivity across the body of a female or feminized figure, usually a mother. I employ a psychoanalytic and semiotic point of view to demonstrate the mother's role in narrative subject formation via the process of "suture." Margaret Homans, Christine Boheemen, and others have argued that the novel--and indeed all of Western culture--depends upon the repression of the mother. In Homan's useful formulation "the mother's absence is what makes possible and makes necessary the central projects of our culture." Active subjugation, incorporation, and disavowal of the maternal--ejecting the mother from the story, separating her from the protagonist, and from the reader--enable subjects to be produced in the novel form. Aggressivity as well as narcissism, disavowal as well as incorporation, help to jettison the originary feminine from the novel, leaving an absent space in which the subject can enunciate.

This study seeks to accomplish two goals. First, it will reestablish Margaret Fuller (1810-1850) as America's first important interpreter of Johann Wolfgang Goethe (1749-1832), Germany's best-known lyric poet. The study includes full transcription and complete annotation of Fuller's Reading Journal O manuscript detailing the experimental series of Conversations on Goethe that Fuller conducted in the spring or summer of 1839. The manuscript suggests that Fuller was an expert on all of Goethe's works, not just on his literary oeuvre. The experimental series of Conversations on Goethe was a prototype for the Boston Conversations for Women, those watershed events in the history of the American women's movement that Fuller envisioned and then carried out between the fall of 1839, and the winter of 1844. Second, this study will examine Fuller's debt to German sensibility as she found it in Goethe and other German writers of the eighteenth and early nineteenth centuries. Fuller learned Innerlichkeit, inwardness, and Gelassenheit, or serenity, from her long study of German letters. Her incorporation of German sensibility was useful to her in two ways. First, German sensibility was important to Fuller's unique pedagogical philosophy. By encouraging her students to practice German sensibility, Fuller taught them how to educate themselves through their own initiatives. Second, German sensibility facilitated Fuller's critical stance, thereby aiding in the development of her feminism. Fuller's discussion of Iphigenia, the heroine of Goethe's classical play called Iphigenia at Tauris, displays the extent of her reliance on German sensibility in creating her most insightful feminist writings. Fuller wrote about Goethe's Iphigenia in the July 1841 issue of the transcendentalist journal called the Dial. Her remarks a there prove that her feminism was fully developed two years before she wrote "The Great Lawsuit: Man vs. Men, Woman vs. Women," the essay she expanded and later published as Woman in the Nineteenth Century.

I examine particular characterizations of consciousness in the Western tradition of rhetoric that inform contemporary academic and professional discourse, characterizations built upon clearly gendered dichotomies. I begin by analyzing the metadiscourse of Enheduanna, (ca. 2350 B.C.E.), Marcus Tullius Cicero (d. 43 B.C.E.), and Carl Gustav Jung (d. 1961). Specifically, I examine the commentary concerning their composing processes as reflective of cultural conceptions of cognition. In all three cases they engender their creative process as sacred, other, and feminine. Focusing on Enheduanna, I analyze her works in terms of contemporary feminist theory. The contemporary rhetoric of feminist spirituality, particularly the discourse surrounding the concept of the goddess as an aspect of the feminine divine, I see as a growing phenomenon of popular culture and psychology. One way to investigate the rhetoric of this expanding popular interest is to examine it through the literary work of Enheduanna as the oldest known author. I compare her rhetoric and the modern discourse of the field of Assyriology which surrounds and interprets it. Within particular academic disciplines and their discourses, current perceptions of history effect theory and influence ideology with far reaching consequences. In rhetoric and composition, I analyze the work of three contemporary feminist rhetorical historiographers: Susan Jarratt, C. Jan Swearingen, and Kathleen Welch. I contend that their influence, as rhetorical Other, on the current perception of rhetorical historiography, influences composition theory. Their individual reinterpretations of classical rhetorical theory and history not only alter perceptions of the foundational past of rhetoric, but they exert an influence on current theories of the understanding and teaching of composition. Turning to popular culture, I then analyze how two modern psychoanalytic interpretations of the Other as feminine divine in contemporary Western society might also function to alter the teaching and understanding of rhetorical theory and composition. I look at two Jungian feminist psychoanalytic theorists (Sylvia Perera, and Marion Woodman) examining their theories in relation to the composing process. I conclude by proposing an expanded rhetoric, one that includes the Other as an aspect of the unconscious, a rhetoric also inclusive of a deepened, recursive, and reflective consciousness. This rhetoric, I postulate, might work itself out as a more comprehensive way to view composition: ethos expanded to a bicameral mind paradigm, pathos as body wisdom, and a logos of the sacred Other. I finish with a proposal titled, "Toward a Rhetoric of the Sacred Other."

<p> <i>Black Notes on Asia: Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013</i> sheds new light on the hitherto neglected engagements of African American writers and thinkers with various literary, cultural, and artistic traditions of Asia. Starting with a reevaluation of Lewis G. Alexander's transcultural remaking of haiku in 1923, this dissertation interrogates and revises the familiar interracial (read as "black-white") terms of the African American struggle for freedom and equality. While critics have long taken for granted these terms as the sine qua non of the African American literary imagination and practice, this dissertation demonstrates how authors like Alexander defied not only the implicit dichotomy of black-and-white but also the critical bias that represents African American literature as a nationally segregated tradition distinctly cut off from cultural sources beyond the border of the United States and made legible only within its narrowly racialized and racializing contexts. More specifically, <i> Black Notes on Asia</i> argues that the ruling conceptions of the so-called "Harlem Renaissance in black and white" and the reductive understanding of the Black Arts Movement as an uncomplicated, propagandistic expression of black nationalism, fail to pay due attention to their underlying multiracial/multicultural/transnational aesthetics and perspectives. In order to understand the full complexity and heterogeneity of the African American imagination from the beginning of the twentieth century to the present, it is necessary to account for cultural ebbs and flows, echoes and reverberations, beyond the United States, Europe and Africa, to include Asia. Rediscovering the hitherto overlooked traces and reflections of Asia within the African American imagination, this dissertation argues that Asia has provided numerous African American authors and intellectuals, canonized as well as forgotten, with additional or alternative cultural resources that liberated them from, or at least helped them destabilize, what they considered as the constraining racial and nationalist discourse of the United States. </p>