Thesis (M.U.P.)--State University of New York at Buffalo, 2006. / Includes bibliographical references (p. 103-116). Also available online.

Thesis - College of Physicians and Surgeons, New York. / Film 633 reel 13 is part of Research Publications Early American Medical Imprints collection (RP reel 13, no. 211). DNLM Includes bibliographical references.

Thesis (Dr. of Physic)--Columbia College, 1805. / Dedicated to Valentine Seaman. Signatures: [A]⁴ B-D⁴ E1. Film 633 reel 26 is part of Research Publications Early American Medical Imprints collection (RP reel 26, no. 484). DNLM Includes bibliographical references.

Thesis (M.D.)--Columbia College, New York, 1794. / Signatures: [A]⁴ B-D⁴. Tail-piece. Not in Blake. Film 633 reel 1 is part of Research Publications Early American Medical Imprints collection (RP reel 1, no. 1). DNLM Microform version available in the Readex Early American Imprints series.

Proefschrift Rijksuniversiteit Limburg, Maastricht. / Lit. opg.: p. 345-361. - Register. - Met een samenvatting in het Engels.

Diss.--Institut für Kunstgeschichte, Fakultät für Geistes-und Sozialwissenschaften--Karlsruhe--Universität, 1995. / Bibliogr. p. 365-395.

Thesis (Ph. D.)--Columbia college. / Vita. List of books quoted.

In his 2008 book, American Hungers: The Problem of Poverty in U.S. Literature, 1840-1945, Gavin Jones calls for academic studies of literature that examine poverty as its own actuality, worthy of discussion and definition despite its inherently polemical nature. As presented by Jones and tested here, American literature reveals how poverty is established, defined and understood; the anxieties of class; imperative connections with issues of gender and race; and the fictions of American democracy and the American Dream. This proves to be especially interesting when examining the 1890s. From a sociological standpoint, the eighteenth century's approach to poverty was largely moralistic, while the early parts of the nineteenth century moved toward acknowledging the impact of environmental and social factors. Literature itself was changing as a result of the realism and naturalism movements; the resulting popularity of local color and dialect writing and the exploding market for magazine fiction created access to and an audience for literature that discussed poverty in multifarious ways. Furthermore, New York proved to be an ideal setting - the influx of immigrants, the obvious problem of the slums, and the public's infatuation with those slums - and served as a catalyst for a diverse body of writing. Middle-class anxieties, especially, surfaced in this modern Babel. This study begins with a historical and sociological overview of the time period as well as an analysis of the problematic photography of the effective reformer Jacob Riis. Like Riis's photography, the cartoons of R.F. Outcault both challenge and subtly support stereotypes of poverty and serve as a reminder of the presence of poverty in day-to-day life and entertainment of turn-of-the-century New Yorkers. Stephen Crane's Maggie is discussed in depth, and his Tommie sketches are contrasted with the middle-class Whilomville Tales. These pieces have in common several unifying qualities: the centrality of the human body to the discussion of poverty, the failure of language for those in poverty, vision as a tool writers and artists lean heavily upon, and the awareness of multiple audiences within and without the text. Ultimately, the pieces return to the burdened bodies of small children - "the site that bears the marks, the damage, of being poor" (Jones American Hungers 3).

In FAMOUS MEN WHO NEVER LIVED, unwilling refugees from an alternate universe find their place in our New York City, making peace with what they have lost.

With my dissertation entitled “Between the Flash and Fall of Turning”: “New York” School Poets, American Pragmatism and the Construction of Identity, I seek to account for the depiction of the anti-foundational self which emerges time and again in the poetry of John Ashbery, Frank O’Hara, Barbara Guest, James Schuyler and Kenneth Koch. While theorizing the self as a contingent, provisional, and shifting construct is hardly new to a theoretically oriented academy transiting into the present century, scholars and critics have tended to ground such interpretations in “structural linguistics” and so-called “French philosophy.” One of the goals of this project, therefore, is to propose that the philosophical skepticism toward the self as a site of stable and enduring meaning has always been felt and articulated by American Pragmatism, specifically in the writings of Ralph Waldo Emerson, William James and John Dewey. While a handful of critics have looked to Pragmatism to account for the protean self in the work of “New York” School Poets, these commentators have tended to focus their attention largely on O’Hara’s and Ashbery’s poetry. This project seeks, on the one hand, to round out this work with close readings of all the major “New York” School Poets, and extend it, on the other, by looking beyond poetry to visual art and classroom pedagogy to examine evidence of a Pragmatist orientation across the disciplines, despite the apparent interpretive consensus that American Pragmatism “goes silent” at mid-century.