Thesis (Ph. D.)--University of Wisconsin--Madison, 1963. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 309-314).

Thesis (Ph.D.)--Indiana University, Dept. of English, 2005. / Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."

Thesis (Ph.D.)--Indiana University, Dept. of English and the Dept. of Comparative Literature, 2005. / Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0177. Advisers: Andrew H. Miller; Oscar Kenshur. "Title from dissertation home page (viewed Dec. 11, 2006)."

Thesis (M.A.)--University of North Texas, May, 2007. / Title from title page display. Includes bibliographical references.

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Oct. 17, 2007. Includes bibliographical references (p. 81-84).

No description available.

Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 228-242). Also available for download via the World Wide Web; free to University of Oregon users.

This thesis is concerned with a study of a particular genre, Jacobean city comedy, in relation to its socio-economic and religious context. It aims to show that the structural forms of city comedy share similarities with structures in Jacobean social consciousness. By arguing that the plays are productions of a material age this study suggests that these structures are manifestations of ideological changes brought about by two related systems of thought: capitalism and Protestantism.

Taking as its starting point the ut pictura poesis tradition of artistic theory, this dissertation examines how the poets and dramatists of the English Renaissance transformed mimetic strategies originally developed in the fields of art and architecture into unprecedented literary topoi and figures in their own right. The project focuses primarily on the practice of linear perspective, which simulates visual experience by subordinating abstract space to the artificial logic of the “vanishing point.” It demonstrates how English writers developed the initial idea of linear perspective as an artificially arranged, delimited point of view into a body of descriptive practices that constitute what I term “perspectival metaphysics.” Experiments in perspectival metaphysics in the works of Edmund Spenser, William Shakespeare, Ben Jonson, and Andrew Marvell reveal the assumptions that underlie normative vision, and vision’s relationship to subjective experience and its interpretation. Vanishing Points concludes that the rhetorical strategies of spatial description developed by early modern English writers are an integral part of the broader epistemological shift from renaissance humanism to the increasingly complex modes of scientific and philosophical rationalism that characterized the European seventeenth century. / English

Even as the Church of England lost ground to political dissent and New England gradually disestablished its state churches early in the nineteenth century, writers on both sides of the debates about church establishments maintained their belief in religion’s role as a moral guide for individuals and the state. “Protestant Institutionalism” argues that writers—from Herman Melville and Harriet Beecher Stowe to George Eliot and Elizabeth Gaskell—imagined through literature the institutions that would produce a religiously sound society as established churches began to lose their authority. Drawing on novels and poems as well as sermons and tracts about how religion might exist apart from the state, I argue that these authors both understood society in terms of institutions and also used their literature to imagine the institutions—such as family, denomination, and nation—that would provide society with a stable foundation. This institutional thinking about society escapes any literary history that accepts Protestant individualism as a given. In fact, although the US and England maintained different relationships between church and state, British authors often looked to US authors for help imagining the society that new forms of religion might produce precisely in terms of these institutions. In the context of disestablishment we can see how the literature of the nineteenth century—and nineteenth-century novels in particular—was about more than the fate of the individual in society. In fact, to different degrees for each author, individual development actually relies on the proper understanding of the individual’s relationship to institutions and the role those institutions play in supporting society / English