Jane Austen’s Anglicanism shaped her works, especially her novels Northanger Abbey, Sense and Sensibility, and Mansfield Park. Austen is didactic regarding the future of the clergy of the Church of England through the clergymen in these novels (Henry Tilney, Edward Ferrars, and Edmund Bertram, respectively), but her didacticism is clearest through these characters’ wives, Catherine Morland, Elinor Dashwood, and Fanny Price. Mansfield Park and the marriage of Edmund and Fanny are the most explicit exploration of Austen’s view of what was necessary for the future of the Church as it continued changing in the nineteenth century.

Paul Bowles (1910-1999) was an American writer who restlessly travelled throughout the world until he finally chose Morocco as a country of permanent residence. He settled in Tangier from 1947 until his death in November 1999. Paul Bowles’s work as a whole includes writings set in the different countries he travelled to but the bulk of his literary production is essentially Moroccan in themes, characters and settings. This dissertation attempts to investigate Paul Bowles’s mystic quest in Morocco as a sheltering home and the reasons why this country retained him for a lifelong expatriation. It also demonstrates the impact Morocco exerted on the fulfilment of the writer’s quest in Morocco. In short, this study analyses the reasons why Morocco became the writer’s adopted and sheltering home and the extent to which it fulfilled his mystic quest. My study is a text based analysis involving Paul Bowles’s fiction, autobiographies, travel essays and interviews. This research has been conducted in the light of different methods, namely the comparative method of investigation, the psychoanalytical approaches of Jacques Lacan, Julia Kristeva and others when appropriate and of J.Olney’s and G.Gusdorf theories of autobiography. The comparative method of investigation analyses the different contextual influences that shape the expatriate’s image of Morocco and show the extent to which the writer was receptive to the different world cultural and movements, in addition to the author’s familial, American and Moroccan influential contexts. Bowles’s literary production as a whole includes writings set in the different countries where he resided for different periods of time. A significant element of my study is then the analysis of the autobiographical cohesion and centrality that subtend the writer’s work as a whole. This part is mostly conducted in the light of J.Olney’s and G. Gusdorf theories of Autobiography. The cohesion and centrality linking Paul Bowles’s life and work reveal the Moroccan specificities as well as the cultural and spiritual ethos that retained him for a definite expatriation and contributed to the fulfilment of his mystic quest. In the contexts of J. Lacan’s and J. Kristeva’s psychoanalytical theories, the image of Morocco is also revealed as the projection of Paul Bowles’s psyche, as the metaphor of his self-recovery and definition and finally of his aspirations at transcendence. Paul Bowles’s adoption of Morocco was to a significant extent due to his uncompromising and sheer fascination by Moroccan Nature, scenery and cosmic elements. This appeal induced and, to a great extent, contributed to the fulfilment of the writer’s mystic quest in the context of Pantheism. I have therefore analysed Paul Bowles’s quest in the light of Ibn-al-Arabi’s Pantheism and of other mystical philosophies as appropriate. Thus, the final chapter of this investigation has been devoted to Paul Bowles’s mystic Morocco as the sheltering realm of his mystic quest.

Michel Butor belongs to the group of writers who originated the New Novel in France in the early nineteen fifties. A decade later, Gerard Bessette, among others, inaugurated the Quebec New Novel. / An initial reading of the novels of Butor and Bessette enables one to discern arresting similarities between their surface structures. There is a strong tendency among their characters to bring order into the disorderly world in which they live. Their endeavor is thwarted by the authoritarian figures they confront. The failure of the heroes reveals to them that their speech is inadequate and their voices lack authority. This study attempts to investigate the functioning of authoritarian discourses and to establish the correspondences between the latent/unconscious structures in the novels of the two writers. / Applying contemporary critical theories of discourse, especially those of Mikhail Bakhtin and Michel Foucault, the study examines various types of authoritarian discourses. These discourses are defined and classified under each of the three principal orders identified in the novels. Maternal and paternal discourses are grouped in the familial order, religious, professorial and judicial discourses in the social order, and mythological, legendary and ancestral discourses in the historical order. / The introduction establishes the fundamental relationships between the works of Butor and Bessette, and lays out the theoretical aspects of the study. Each of the three chapters analyzes the interaction between discourses, and the negotiation of authority through discourse in a particular order. The first chapter focuses on the subversion of authoritarian voices in the familial order. The second chapter examines the characters' search for parental substitutes in the social order, and demonstrates the insufficiency of authority in the latter. The failure of the first two orders leads the characters to pursue their quest in the historical order. The assimilation of historical discourses enables the characters to regain their right to speak. The conclusion argues that the narrative authority exercised through writing/speaking is disseminated in the intertextual space. / Source: Dissertation Abstracts International, Volume: 56-04, Section: A, page: 1346. / Major Professor: Elaine D. Cancalon. / Thesis (Ph.D.)--The Florida State University, 1995.

This thesis examines professionalism of English language teaching (ELT) in one particular setting, the state of Kerala in southern India. It reveals that there is an independent and unrecognised professionalism amongst ELT professionals in the setting. This includes a lack of recognition of the efficacy of methods and approaches traditionally used in the setting and a lack of recognition of the informal professional development that is happening in the setting. This professionalism is unrecognised by local ELT professionals because of their belief in ‘Western TESOL’. I am only able recognise it when I learn, through an autoethnography of my own professionalism, to put aside my own preoccupations with ‘Western TESOL’. The initial objective of this study was to attempt to gain insights into local perspectives surrounding ELT methodology and teacher education, set against a background of a perceived need for methodological change in the setting. However, once the study had begun, it became clear that my own professional background and experiences, my ‘Western TESOL’ ‘professional baggage’, combined with the fact that I was coming into the setting as an outsider, seeing it through distant eyes, was affecting the ways in which I was viewing the setting and interpreting the events happening within it. As I began to offload some of this ‘professional baggage’, realising that my ‘Western TESOL’ understanding of the setting did not necessarily match local participants’ understandings of it, I began to question and re-evaluate the data I had collected. For example, I realised that I was focusing on what I saw as the negative aspects of what I was observing and being told about ELT in the setting, and comparing these to approaches to ELT in ‘Western TESOL’ settings that I was more familiar with. Over time, I began to look at these same aspects in a more positive light, seeing different perspectives and valuing what I was seeing or being told in different ways. My re-evaluations of the data from the setting over time also thus became a focus of the study. The study as a whole is therefore ethnographic in terms of attempting to understand local perspectives, using open-ended questionnaire, classroom observation, interview and field note data, with an autoethnographic dimension to acknowledge the influence of my own distant eyes perspective in understanding these local perspectives. It brings into focus how I, as a researcher, through re-evaluating my own data and as a result gaining greater insight into my own positioning, was able to give credit to different perspectives on the data collected, particularly the data from classroom observations and teacher accounts of practice, and in the light of this to offer possible ways forward for ELT in the setting. It has implications for local ELT professionals in terms of understanding and appreciating their own professionalism. It also has implications for TESOL professionals in unfamiliar settings in terms of the need to understand the complexity of these settings, rather than make hasty judgments about local practices, particularly in the case of ‘Western TESOL’ professionals working in ‘non-Western TESOL’ settings. It may therefore be of interest both to ‘Western’ teachers, teacher trainers and academics working or researching, or intending to work or carry out research, in settings with which they are not familiar, particularly ‘non-Western TESOL’ settings, and to local TESOL professionals and academics in the setting for the study.

Describes a theory of gaming inspired primarily by Jean Baudrillard’s claim that gaming is characterized by a “passion for rules.” Key elements of the theory include that games are an attempt to create a new reality, that games create a space for individuality even in an otherwise homogenized world, and that pain and happiness are not diametrically opposed concepts to the gamer. The theory also emphasizes the importance of the player’s meeting with the “superplayer,” the player’s own constructed ideal that he tries to imitate within the game world. This theory of gaming is then applied to the 14th century British poem, Sir Gawain and the Green Knight both as a demonstration of the theory and to offer a new perspective on the poem. Gawain’s character in the poem is argued as being the archetype of the modern gamer, escaping from an oppressive hegemony by daring to follow the superplayer’s seduction into the passionate world of gaming.

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Ihomas Hardy believed that each man should make his own philosophy, and he formulated his own system of thought under the influence of the Bible, the classics, certain of the philosophers, and the Wessex environment. The elements of his thought include religious and philosophical convictions, man's relationship to nature, social institutions, and Victorian limitations. The male characters of his novels set forth his thought just as his female characters reveal his emotions. They show the transition from his early traditional beliefs to his conclusion that the Immanent Will is the governing; force in the universe and that man's ultimate hope is in his own increased awareness.

Categorized by the few critics who know her work as a "minor" Appalachian writer, Anne Wetzell Armstrong has never enjoyed the recognition she deserves. But she produced an important body of work, including fiction, non-fiction and drama. In the 1970‘s, critic Elaine Showalter led the gynocritical effort to recover women writers and inspired the reintroduction of a number of overlooked authors. This national impulse and the positive reception of its results has driven, in turn, an interest in similar regional efforts—hence my own interest in recovering the work of Armstrong, whose work has value in both national and regional contexts. This study applies a regionalist lens to Armstrong‘s fiction, including an early short story entitled "Half-Wit Mary‘s Lover" (1912), and her two novels: The Seas of God (1915) and This Day and Time (1930). The project begins with Armstrong‘s biography, outlining the elements of her long and unusual life that influenced her writing. The three regionalist close readings point out the ways in which her fiction resisted hegemonic culture and offered a new perspective to early twentieth-century American readers. This project explores the ways in which Armstrong used her fiction to resist dominant culture‘s view of marginal populations, with a particular emphasis on the stereotyping of women and Southern mountaineers. Because Armstrong‘s considerable body of work focuses frequently on marginal women, the temptation exists to adhere strictly to a feminist lens in reading her work. Such an approach proves valid; however, the lens of literary regionalism—especially as defined by critics like Judith Fetterley and Marjorie Pryse and differentiated from local color by its counterhegemonic agenda—offers a broader consideration of Armstrong‘s work. As a site for feminist readings, Armstrong‘s work proves interesting but stands as one among many; as regionalism, her fiction offers important new opportunities both to support and to problematize current thinking about the definition of the term as it applies to literature and also to explore certain controversial topics arising in the theoretical discourse, the role of feminism being one of those topics.

This study examines the influence of William Morris (1834-1896) upon J. R. R. Tolkien (1892-1973). It concentrates specifically upon the impact of Morris’s romance, The Roots of the Mountains, upon Tolkien’s The Lord of the Rings. After surveying the scholarly literature pertaining to this topic, it proceeds to discuss their work within the context of the nineteenth-century revival of interest in the medieval period and in folkloric and mythological narratives. It then analyzes numerous parallels between the two works in characterization; plot motifs; archaic diction, syntax, and semantics; and topographical description and reanimation are then analyzed. These parallels demonstrate that Morris’s work had a profound influence upon The Lord of the Rings. Significant differences that do occur between the two texts are evaluated within the context of the Romantic tradition and the divergent ways the two authors interpret the paradigm of the Fall. The study concludes that, while Tolkien’s work surpasses Morris’s in many respects, its achievements would not have been possible without the example of The Roots of the Mountains to build upon. It closes with possibilities for future directions of research pertaining to this topic.

This study examines the short fiction of Mark Twain in relation to major theories concerning the short story genre. Despite his popularity as a novelist and historical figure, Twain has not been recognized as a major figure in the development of the short story genre. This study attempts to show that the short fiction produced by Twain deserves greater regard within studies specific to the short story, and calls for a reconsideration of Twain as a dynamic figure in the development of the genre. The introductory chapter lays the groundwork for understanding how the short story genre has developed since its inception as an actual literary genre, and outlines the existing Twain scholarship concerning his short fiction. Differences between the traditional and modern forms of the short story are defined, and Twain's chronological position in the evolution of the genre is briefly explained. Chapter one examines two of Twain's short stories—"The $30,000 Bequest" and "The Man That Corrupted Hadleyburg"—in relation to the compositional theories of the first major short story theorist: Edgar Allan Poe. This chapter shows how these two Twain stories abide by Poe's rules concerning unity of effect. Chapter two explores Twain's "Journalism in Tennessee" and "The Notorious Jumping Frog of Calaveras County" in relation to the modern short story, and examines these two stories through the lens of Mikhail Bakhtin's theories of genre. This chapter closely examines Twain's use of various dialects to show that these two stories contain an unrealized complexity and are very closely related to the ostensibly "plotless" short fiction that developed in the twentieth century. The final chapter takes Twain's "The Mysterious Stranger" and examines it with respect to both old and new theories of the short story genre. This chapter shows how "The Mysterious Stranger" fuses both traditional and modern forms of the short story genre. The conclusion to this chapter reiterates the argument for a greater appreciation of Twain as a short story artist.