Thesis (M.A.). / Written for the Dept. of English. Title from title page of PDF (viewed 2008/01/14). Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [265]-280).

Thesis (Ph.D.)--McMaster University, 2004. / Advisor: Mary V. Silcox. Includes bibliographical references (leaves 299-310). Also available via World Wide Web.

This dissertation uncovers a strand in early twentieth century British literature that is currently missing from readings of modernism - a fascination with portraying meditative states of mind. Modernist authors were intrigued by the mind's capacity to be in constant movement between the present, past, and future - what they represented as a stream of consciousness. This study examines the potential of the "still," calm, and concentrated mind in modernist visions of consciousness by exploring how the meditative mind takes a different shape in theme and form in the writings of Virginia Woolf, D.H. Lawrence, and Aldous Huxley. Drawing from the works' preoccupation with physical practices such as spiritual and ritual dance, relaxation techniques, Yoga, the Alexander Technique, and meditative walking, this study highlights the role of the body in views on consciousness in modernist literature. This dissertation argues that looking at modernism through the lens of meditation allows us to see the period not only in terms of the split, wounded self in the fast-paced modern metropolis but reveals its yearning for what the authors in this study call "wholeness," "mind-body harmony," and "the spirit of peace" - a search for peace attainable within, if not without, an attempt to cure the self in the fracturing modern world through experiencing the mind at peace.

Using insights drawn from research in a variety of disciplines into theories of the body, this dissertation investigates Heinrich Boll's (1917-1985) early prose (1936-1955) as a discourse of war damaged bodies. The "new" texts discussed appeared in Germany between 1982 and 1995. The thesis represents the first attempt to analyse Boll's work from the perspective of the human body. Chapter I briefly outlines the influence sociology has had for a better understanding of the role of the human body in society. This chapter demonstrates that the body can be fruitfully used both as a critical tool and as an interpretative device in discussing literary texts. An elucidation of the methodology and theoretical approach used concludes the chapter. The thesis explores Boll's use of the body not only as aspects of the narrative and also for its ethical implication. According to him, an author's temporality ("Zeitlichkeit") is the first thing to be communicated before embarking on an analysis or interpretation of his work. Chapter II investigates the "Aryan/Nazi" body and refers to other contemporary body discourses. Chapter III, investigating the "Writer's" body, provides insights into Boll's biography. Both chapters shed considerable light on Germany's cultural, social, internal, and external political situation. Chapter IV describes the soldier's 'closed,' "disciplined" body as portrayed in texts such as Das Vermachtnis. Colonel Bressen, a key character in Wo warst du, Adam?, epitomises the "mirroring" body in Chapter V. More "Schein" than "Sein," it reflects an intentionally internalised and acquired "habitus." In Chapter VI, Boll's war story "Der blasse Hund," provides a striking example of a "dominating" body which seeks to preserve its power and to control its fears through committing violent acts against its helpless victims. In contrast, however, a "communicative" body such as Kate Bogner's in Und sagte kein einziges Wort, examined in Chapter VII, is 'open' and caring. Throughout his early prose, Boll's careful use of body language reveals the multi-layered nature of reality. Chapter VIII summarises the thesis and presents its major findings upon which further critical work on the significance of the human body in Boll's later writings might be based.

Thesis (M.A.)--Indiana University, 2008. / Title from screen (viewed on July 1, 2008). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Missy Dehn Kubitschek, Jennifer Thorington Springer, Tom Marvin. Includes vitae. Includes bibliographical references (leaves 109-114).

Thesis (M.A.)--The University of North Carolina at Greensboro, 2009. / Title from PDF t.p. (viewed May 6, 2010). Directed by Karen Kilcup; submitted to the Dept. of English. Includes bibliographical references (p. 27-29, 57-60).

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

Using insights drawn from research in a variety of disciplines into theories of the body, this dissertation investigates Heinrich Boll's (1917-1985) early prose (1936-1955) as a discourse of war damaged bodies. The "new" texts discussed appeared in Germany between 1982 and 1995. The thesis represents the first attempt to analyse Boll's work from the perspective of the human body. Chapter I briefly outlines the influence sociology has had for a better understanding of the role of the human body in society. This chapter demonstrates that the body can be fruitfully used both as a critical tool and as an interpretative device in discussing literary texts. An elucidation of the methodology and theoretical approach used concludes the chapter. The thesis explores Boll's use of the body not only as aspects of the narrative and also for its ethical implication. According to him, an author's temporality ("Zeitlichkeit") is the first thing to be communicated before embarking on an analysis or interpretation of his work. Chapter II investigates the "Aryan/Nazi" body and refers to other contemporary body discourses. Chapter III, investigating the "Writer's" body, provides insights into Boll's biography. Both chapters shed considerable light on Germany's cultural, social, internal, and external political situation. Chapter IV describes the soldier's 'closed,' "disciplined" body as portrayed in texts such as Das Vermachtnis. Colonel Bressen, a key character in Wo warst du, Adam?, epitomises the "mirroring" body in Chapter V. More "Schein" than "Sein," it reflects an intentionally internalised and acquired "habitus." In Chapter VI, Boll's war story "Der blasse Hund," provides a striking example of a "dominating" body which seeks to preserve its power and to control its fears through committing violent acts against its helpless victims. In contrast, however, a "communicative" body such as Kate Bogner's in Und sagte kein einziges Wort, examined in Chapter VII, is 'open' and caring. Throughout his early prose, Boll's careful use of body language reveals the multi-layered nature of reality. Chapter VIII summarises the thesis and presents its major findings upon which further critical work on the significance of the human body in Boll's later writings might be based. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This inquiry project explores connections between mind and body in academic writing. What scholars, educators and researchers have noted about the inclusion of the body in academic study illuminates the challenges of understanding the relationship between the two. Using a framework shaped by embodiment and feminist criticality illuminates how the body is elided through schooling and educational systems, reaching a peak in higher education. An interdisciplinary review of the literature supports a broad consideration of embodiment and typical writing practices in academic settings. To better understand the body as a source of knowledge, data construction is holistic, using an embodied methodology with women who reenter graduate school later in life. Mindful awareness of the body guides the relating of writing experiences, and methods are designed with an ethic of care for participants, a spirit of co-creation, and shared experience. A narrative approach to data is used to explore where and how embodiment appears in women’s stories about academic writing. The research process reflects a time of social separation within a pandemic. By better understanding women’s embodied experiences, this project seeks to enrich and enliven the way institutions of graduate study understand writing as an embodied practice and to honor what the body knows alongside the mind.