Thesis (Ph. D.)--Vanderbilt University, 1938. / "Private edition, distributed by the Joint university libraries, Nashville, Tennessee." Bibliography: p. 135-137.

Thesis (Ph. D.)--Brown University, 1978. / Typescript. Includes bibliographical references (leaves 416-429).

Thesis (Ph. D.)--Rutgers University, 2007. / "Graduate Program in English, Literatures in." Includes bibliographical references (p. 243-259).

Undergraduate honors paper--Mount Holyoke College, 2005. Program in Medieval Studies. / Includes bibliographical references (leaves 98-101).

D.H. Lawrence's "leadership" novels, namely Aaron's Rod, Kangaroo and The Plumed Serpent, dealt with the ramifications of industrial civilization. This thesis uses a "Tofflerian" approach, drawing on the works of the futurist Alvin Toffler's "trilogy" of noted books on the rate, direction and consequences of "civilizational" change, Future Shock, The Third Wave and Powershift. This thesis argues that Lawrence recognizes the demise of the "love-urge" that had sustained civilization in Aaron's Rod; seeks and fails to find a solution in the political movements of his time in Kangaroo, demonstrating the impossibility of a modem solution to inherently modern problems; and in The Plumed Serpent, seeks an answer in a way of life apart from industrial civilization entirely.

The purpose of this thesis paper is to uncover how the major writers of the Beat Generation-Kerouac, Ginsberg, and Snyder-reflect the coming of postmodern literary theory and aesthetic principles and values. The Beats, far from being the sole territory of modernist discourse, are indications of the dismantling of cultural barriers and the introduction of postmodern commercial and visual culture into literary reality. The paper considers and establishes the writing of the Beats within eight ideals that are found in postmodern literature, visual arts, and theory: the concept of culture as a commodity, the deterritorialization of culture, historicizing the past into the present, decentering American hegemony, deconstructing the “bourgeois ego”, deconstructing “otherness”, muti-imagistic qualities, and “schizophrenia”.

Abstract not available.

Abstract not available.

This thesis considers the religious identity that Lucy Maud Montgomery constructed in The Selected Journals of L.M. Montgomery. As an adequate theoretical model to study religion in modern autobiography is not available, this thesis approaches the Selected Journals with a "social construction" model (adapted from autobiography theory on gender) in a consideration of her religious identity. Montgomery's religious self-constructions---as unorthodox, Presbyterian, and a seeker of truth---are considered in successive chapters through close readings of passages from her journals. Though her separate self-constructions are apparently paradoxical, I argue that Montgomery's overall religious identity is nonetheless fairly consistent with her most crucial religious self-construction---that of being a seeker of truth---and that she ultimately presents herself in her journals as having faith centred on hope. In conclusion, I offer reflections on the need for the development of an autobiography theory in which religion is regarded as an important aspect of identity.

In The Rez Sisters (1986), Dry Lips Oughta Move to Kapuskasing (1989), and Rose (1999) renowned Cree dramatist Tomson Highway mounts a dramaturgical critique of colonialism, focusing most prominently upon the disenfranchisement of Native women and the introduction of Western gender roles into First Nations cultures. Within each of the three "Rez Plays," he employs the metaphor of rape to depict cultural, territorial and spiritual dispossession brought about by colonization. However, in hegemonic narratives of colonization, Indigenous women are similarly represented in connection with the land and the metaphor of rape is used to portray colonial takeover; as colonial domination heightened, literary portrayals of Indigenous peoples, particularly women, became increasingly demeaning. This thesis investigates the extent to which Highway's works can serve as truly subversive, liberating texts given that the recurring portrayals of sexual violence in the "Rez Plays" reinvigorate dangerous, misogynistic stereotypes. Situating Highway's plays within a framework of contemporary feminist postcolonial theory, this thesis problematizes the repeated use of gender specific representations of victimization in the "Rez Plays."