Dashiell Hammett's The Maltese Falcon and Red Harvest are examples of iconic hard-boiled detective literature that reflect on the anxieties and tensions of the 1930s-1940s. With the Great Depression looming over these decades, the genre uses the hard-boiled detective as a way to communicate with and understand this time period. In our analysis of game theory, we look at how Dashiell Hammett's characters make decisions based on the actions of other players in the game, illustrating the influences of bargaining power and manipulation. With characters that oftentimes find themselves in situations where they must collude to reach maximum utility, the novels explore the various ways in which one player takes advantage of another, almost always leading towards the detective's best payoff. Game theory provides us with a unique method to looking at literature, hard-boiled fiction particularly, as a reflection of the historical period of its conception and prime.

I focus on the changing and now contemporary feminist conceptualization of romance fiction. Through the genre’s mass-market success and complicated history, a definition of ro·mance (genre) is conjured. By depicting a fantasy world for the female reader to escape to, feminist critics and romance academics have found the genre’s influence to be an effective one. In an analysis if popular romance fiction author, Emily Giffin, and her most recent novel The One & Only, I demonstrate what has now resulted in the modern romance and further, how the modern heroine is understood today.

The argument of this dissertation is that a critical reading of the concept of "covenant" in early American writings is instrumental to understanding the paradoxes in the American political concepts of freedom and equality. Following Slavoj Zizek's theoretical approach to theology, I trace the covenant concept in early American literature from the theological expressions and disputes in Puritan Massachusetts through Jonathan Edwards's Freedom of Will and the essays of Ralph Waldo Emerson, showing how the covenant theology of colonial New England dispersed into more "secular" forms of what may be called an American political theology. The first chapter provides an overview of recent attempts to integrate theology and theory, specifically comparing Jacques Derrida and Zizek to better understand the latter's theology of materialism which relies on as well as informs the Reformed Protestant covenantal dichotomy of grace and works. The second chapter establishes the complicated architecture of the covenant concept within seventeenth-century New England Reformed Protestantism, and uses church membership transcripts along with Ann Hutchinson court trial documents to demonstrate how this inherently unstable theology created unintended slippage between God's grace and mankind's works, resulting in a theological formulation remarkably open to Zizek's analysis of political ideology. The third chapter demonstrates how Jonathan Edwards, through his ingenious counter-argument in Freedom of Will, provides a theoretical foundation for an uneasy but necessary alignment of the covenants of works and grace, releasing the subjunctive potential of grace to operate through history as a predeterminer of meaning and, potentially, freedom. In the last chapter, I argue that Emerson finally converts the covenant from a politically conceptualized theological framework for radical grace into a personal institutionalization of grace itself. Stanley Cavell's exploration of Emerson's "constitution" in light of the covenant motif demonstrates the political (im)possibilities inherent in America's self-conceptions of personal liberty and civic equality. In the end, complexities inherent in the concept of the covenant, especially its creative failure to control the radical nature of "grace," are determinative factors in our contradictory American egalitarian ideals.

Edgar Allen Poe and Nathaniel Hawthorne are arguably two of the most highly read and heavily debated nineteenth-century antebellum authors in America. Their writings fascinate readers, while their character depictions, particularly their characterizations of fictional women, prompt intense academic debate. This thesis examines the previously less-studied historical developments surrounding Poe and Hawthorne in the antebellum era that shaped their approach to writing fiction. In particular, this study scrutinizes the effects of the development of a newly popular art form, ballet, the ascendency of female authorship, and the impact of American theatrical reform upon antebellum authors’ authorial faculties, especially Hawthorne and Poe.

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This thesis analyzes the role of performativity within the domestic novel during antebellum America; specifically, the ways in which E.D.E.N. Southworth’s The Hidden Hand and Louisa May Alcott’s Behind a Mask subverted cultural and societal norms by exploring the performative nature of class and gender. Through their respective protagonists, the two authors sought to question the power dynamics of an overwhelmingly patriarchal society. By granting their protagonists agency through performance, Southworth and Alcott explored the ways in which women might alter existing power structures to reject the restrictions gender essentialism placed upon antebellum women, and to advocate for women’s rights, such as economic stability and class mobility.

Place, as it transcends the immediate setting of a work, is an essential element of Caroline Gordon’s early novels. She looks to the past and to the region of her birth to focus on the traditional South. She shows her characters’ changing attitudes toward the Cavalier Myth, a view that promotes the value of the land, the patriarchal family, and an anachronistic code of honor. To them, the South is unique, and they resist all efforts to change this “given social order.” However, Gordon begins to recognize that change is inevitable. Thus, she reveals her characters’ succumbing to the rising merchant class which provides a more practical way of life for the New South. In her seminal novel, Penhally, Gordon describes three generations of traditional Southerners struggling to protect the family homeplace and the South itself. They, however, are unable to resist the ravages of the Civil War or the allure of the merchant class. The consequences are a splintering of the family and the demise of the traditional Southern way of life. Gordon also gives attention to place in her novel None Shall Look Back. She continues to describe her characters in their futile efforts to preserve the family homeplace and the Old South. The male characters fight heroically the invading “Yankee” army and the females try to maintain a semblance of unity on the domestic front; the results of war, however, take their toll on the area. After the war, the characters are unable to withstand the insidious rise of the merchant class with its promise of riches. The consequences are again tragic for the individual and the family. In The Garden of Adonis, set in the modern period, Gordon reiterates her theme: the unsuccessful struggle of her characters to sustain a satisfying life in the agricultural milieu. Drought, depression, inadequate financial resources and a changing labor force follow the ravages of war and reconstruction. In addition, the allure of the industrialists draws the traditional family apart, and many of the members desert the rural area for the city. In this work, Gordon begins to question the agrarian tradition as a viable way of life in the New South. The decline of the family and the traditional South is complete in Gordon’s work The Women on the Porch. The land no longer holds the relevance it does for the characters in the earlier novels. In this place of decay, Gordon’s heroine finds it difficult to restore human relationships and establish new ones. Gordon demonstrates that in such an environment, the men are ineffectual and the women live unproductive, frustrated or shallow, pretentious lives. Although Gordon emphasizes her characters’ quest for a new truth to replace the loss of the agrarian tradition, she continues to utilize the South as a setting for her later novels The Strange Children and The Malefactors. Place, therefore, remains central to Gordon’s art, as she reveals her deep knowledge of the agrarian South yielding to the modern industrial South.

This thesis explores the use of language in J.D. Salinger’s “For Esmé—With Love and Squalor,” “A Perfect Day for Bananafish,” and Raise High the Roofbeam, Carpenters. It establishes a narrative pattern in which sensitive individuals such as Seymour Glass and Sergeant X are isolated by the insensitivity of the superficial modern world, attempt to communicate their concerns to others through an exchange of language in material forms, and ultimately find relief in silence. By analyzing various examples of linguistic artifacts and the impact they have on both sender and receiver, this thesis identifies criteria for successful communication as well as reasons for the failure of language which may be useful for the study of these and other works by Salinger. This thesis also considers the intersection of binaries such as silence and noise, and the ways Salinger presents them both thematically and formally.

American literature and verse advanced in dialectal writing during the late-nineteenth century. Charles Chesnutt’s “The Goophered Grapevine” (1887), “Po’ Sandy” (1888), and “Hot-Foot Hannibal” (1899); Joel Chandler Harris’ Uncle Remus: His Songs and His Sayings (1881); Thomas Nelson Page’s “Marse Chan” (1884); and Mark Twain’s “Sociable Jimmy” (1874) and “A True Story, Repeated Word for Word as I Heard It” (1874) provided diverse dialect representations. Dialect expanded into poetry with James Whitcomb Riley’s “She ‘Displains’ It” (1888), “When the Frost is on the Punkin” (1882), and “My Philosofy” (1882) and Paul Laurence Dunbar’s “The Spellin’ Bee” (1895), “An Ante-Bellum Sermon” (1895), and “To the Eastern Shore” (1903). Dialect styles and how they conveyed political or social perspectives are assessed. Correspondence between late-nineteenth century literary figures as well as periodical reviews reveal attitudes toward the use of dialect. Reader responses to dialect based on their political or social interpretations are explored.

Carson McCullers's neglected short stories "Sucker", "Like That", and "The Haunted Boy" depict stark adolescent crises. Her character analyses dramatize important elements of many theories of adolescent psychology. Each of these stories depicts what happens when something goes horribly wrong in the course of an already difficult stage of life. In "Sucker" two different stages of adolescent development collide. Pete and Sucker go through different psychological adjustments. The two boys discover the difficulties of adolescent romance, hero-worship, peer group formation and exclusion, and power reversal. The narrator in "Like That" struggles with her Peter-Pan complex as she witnesses her sister go through an adolescent romance. She despises - and fears - the changes that adolescence and adulthood bring to her life and her family. "The Haunted Boy" explores the struggles of Hugh as he deals with issues of adult imitation, lack of a strong male role model, peer loyalty, and emotional repression.