Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on July 14, 2009). Includes bibliographical references (p. 64-66).

Thesis (M.A.)--Acadia University, 2000. / Includes bibliographical references (leaves 115-119). Also available on the Internet via the World Wide Web.

Thesis--Université de Paris IV: Paris-Sorbonne. / On spine: Le mariage et l'amour. Includes indexes. Includes bibliographical references (v. 3, p. 1673-1730).

Thesis (Ph. D. in English)--Vanderbilt University, Aug. 2006. / Title from title screen. Includes bibliographical references.

Greek tragedy portrayed the husband and wife relationship as fraught with hos¬tilities and ambivalences. The purpose of this mini-dissertation is to examine these dysfunctions, and to explain them. I have approached the problem from several important angles. I have begun with selected aspects of Athenian Mythol¬ogy and the foundation myths of Athenian culture to see whether there are recur¬rent themes that attest to inherent ambivalences and hostilities towards women within the mythological heritage of Athens. This approach is based on two as¬sumptions: first, that the dynamics of interpersonal relationships portrayed in mythology and literature tend to mirror the modal patterns of cultures and sec¬ond, the experiences of these modal patterns are the inspiration from which a culture draws its mythmaking. I then examine the context of the production of tragedy within the religious framework of the festival of the Greater Dionysia so as to establish a theory of the nature and function of Greek tragedy. The purpose of the second focus is to see whether there are connections between the workings of Greek tragedy and the thematic material it portrays. I have chosen four Greek tragedies within which to explore marital dysfunctions: Aeschylus’ Agamemnon, Sophocles’ Ajax and The Women of Trachis, and Euripides’ Medea. I have un¬der¬taken a close reading of the original texts and commentaries as well as a close reading of comparative translations of the texts for the purpose of this study. My explorations reveal that Athenian society was aware of the risks of the dire imbalance prevailing within their social order, which was created by such a fero¬cious suppression and derogation of half their members. In addition this imbal¬ance was redressed on a continual basis by the production of and through com¬munal participation in tragedy in its function as a ritualistic mechanism for ca¬thartic relief. Thus I conclude that the production of tragedy served to reaffirm the status quo. Tragedy provided a process for the de-structuring of familial and social order first and then sought and promoted a process of psychological restructuring and re-integration. This occurred through the empathetic workings of Catharsis or pur¬gation of negative emotions or feelings of guilt. The cathartic effects of tragedy were designed for men. As a collective therapeutic action it confirmed the male dominated order of society and reaffirmed the Athenian perception of a dualistic reality in the form of irreconcilable opposites: theatre versus life and female ver¬sus male. Tragedies were written by men and performed by men and thus we can expect all symptoms, signs and symbols of male and female conflict to be the products of the masculine psyche. / Prof. J.L.P. Wolmarans

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The marriages depicted in Willa Cather's fiction are a crucial element of her works. Although she does not describe in detail the marital relationships between her characters, Cather does depict these marriages realistically, and they are also interrelated with the major themes of her fiction. The marriages in Cather's works are divided into three general classifications: the successful, the borderline, and the failure. The successful marriage is characterized by affection and friendship. In the borderline marriages the partners are mutually dissatisfied with their relationship, but they do not separate or divorce. The marital failures are complete breakdowns that result in irreparable wounds healed only by the complete withdrawal or death of one of the partners. A study of marriage in Cather's works reveals there are more successful marriages than failures.

In my study on Barbara Pym's novels, the focus is first on the two basic ironies in love-marriage relations: irony of dilemma in which marriage is seen as the end of romantic love; and irony of situation in which excellent but plain-looking women are deprived of the chance to express their basic need for love. Chapter I of this study introduces the major themes and ironies in Pym's novels and the nature and functions of her irony. The following six chapters examine the two major ironies in six of Pym's twelve novels: Some Tame Gazelle, Excellent Women, Jane and Prudence, Less Than Angels, A Glass of Blessings, and A Few Green Leaves. While discussing the uniqueness of each of Pym's heroines, I also explore how Pym underwent changes in her views of love and marriage and how she attempted to keep a balance between her romanticism and her sense of irony. Pym's other six novels are discussed in Chapter VIII, the concluding chapter.

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