Canary is a novel.

More Abundantly explores the complexities of addiction, pregnancy, and the search for personal salvation against the backdrop of a small Central Pennsylvania town. The novel weaves together the lives of Ruby Jean, a college student and part-time stripper grappling with an unexpected pregnancy, and a cast of characters each searching for their own form of redemption. / Master of Fine Arts / More Abundantly is a novel.

Le romancier José de Alencar recourt en 1875 à la métaphore du "grand monument national" et de ses "artisans [...] rustres" pour qualifier l'oeuvre réalisée par ces hommes de lettres brésiliens qui, depuis l'indépendance en 1822, ont eu à coeur d'ériger une littérature nationale dont les principes fondateurs sont indissociables de la montée des nationalismes en Europe et des expériences "romantiques" qui les accompagnent. La constitution d'une histoire littéraire légitime l'oeuvre accomplie par les premières générations d'écrivains et fonde un modèle original de Letras Patrias, en vertu de leur engagement politique au service de l'Empire (1822-1889) et de l'idéal de "civilisation" qu'il inspire à incarner. cette définition des Letras Patrias est le préalable à une étude du profil et des trajectoires sociales de ces écrivains, à partir d'un échantillon de près de 200 auteurs que nous avons établi, afin de reconstituer par une analyse à la fois synchronique et diachronique la formation d'un milieu littéraire au Brésil (1ère partie). Soucieux de déterminer "les règles de l'art" littéraire qui sont alors élaborées, nous nous sommes intéressés à la question des processus identitaires et des sociabilités spécifiques au sein de cette communauté, et à celle de l'évolution des trajectoires socio-professionnelles à mesure que s'élaborent les prémices d'un champ littéraire, lorsque l'essor d'un public et la constitution d'un marché du livre, certes limité, laissent entrevoir la possibilité pour les écrivains de tirer profit de leurs créations (2ème partie). Toutefois, l'expression récurrente d'un malaise croissant chez ces derniers traduit les frustrations d'auteurs qui peinent à faire des Letras Patrias une littérature véritablement nationale. A travers l'exemple de la scène théâtrale, nous avons décrit ce "monument national" en état de siège dans les années 1870, avant la refondation de ses bases par une nouvelle génération d'écrivains (3ème partie). / In 1875, novelist José de Alencar referred to the "great national monument" and its boorish craftsmen" when speaking of the work of the Brazilian writers who had been intent on building a properly Brazilian literature. Its principles were narrowly linked to the emergence of nationalism in Europe and the romantic experiments which followed. The existence of a national literary history grants legitimacy to the work accomplished by the first generations of writers and constitutes a model of Letras Patrias, characterized by their political commitment in favour of the Empire (1822-1889) and its ideal of civilization. Defining the Letras Patrias is a prerequisite to the study of the profile and social trajectories of the 200 writers which constitute the chosen sample for this thesis. The first chapters present a tableau and a diachronic perspective on the creation of a literary milieu in Brazil (Part I).Examining the literary règles de l'art established by these writers, I have studied how this community forged a common identity and how specific sociabilities emerged from within. The second focal point of this study has been the evolution of their careers for, as a specific literay field and market emerged, it became possible for these writers to rely financially on their works (Part II). Nevertheless, a malaise soon took hold as the artists vented their frustration at the difficulty of creating a distinctly national literature. Finally, Brazilian theater is a perfect epitome of the hardship endured by the "national monument" in the 1870s, before a new generation of writers radically reformed its bases.

This essay argued the importance of literary theory in the classroom. As a teacher, it is possible to achieve the empathetic goals of the English curriculum and Judith A. Langer’s ambition of literate thinking by using poetry and literary theory in school. The essay demonstrated this with a Lacanian reading of Percy Bysshe Shelley’s poems “To a Skylark” and “Ode to the West Wind.” The analysis focused on readable and unreadable aspects of the poems. The readable aspects centred on the role of the Imaginary in “To a Skylark” and the representation of the fragmented body in “Ode to the West Wind.” Furthermore, the unreadable elements of the poetry demonstrated the discrepancy between the performative and declarative dimensions and the role of the pathetic fallacy in the signifying chain. Finally, this essay argued that, although all aspects of psychoanalytic literary theory should not be used in the classroom, elements of Lacanian thought can be used to combat the prevalence of individualism in Swedish upper secondary schools.

My dissertation tracks the development of literary advertising in the United States during the late-nineteenth century through the emergence and evolution of Walt Whitman as a recognizable brand name. Situating the strategies of Whitman and his publishers within the broader context of nineteenth-century literary advertising, I trace the roots of modern publishing practices back to the experiments of a generation of American authors and would-be promoters. At the intersection of the professional author's ascent in the United States and the growing centralization and sophistication of the advertising trade, a new anxiety surfaces in the world of nineteenth-century American publishing: how best to sell the literary text and, in turn, market its author. Whitman's attempts to promote himself and Leaves of Grass--efforts that were sometimes prescient, occasionally ludicrous--focus this study of a period in literary advertising when professional authorship was a relatively new reality, poetry was widely read, and the rise of the literary celebrity was in the making. The multiple publications of Leaves of Grass may not, in their time, have defined this moment of American literary history, but retrospectively they invite us to consider how poets and publishers distinguished their literary commodities and authorial personas in rapidly expanding and increasingly unpredictable literary markets. This dissertation develops an important new dimension to the study of Whitman and the culture of literary celebrity: an in-depth examination of the promotional artifacts circulating in and around Leaves of Grass--the newspaper advertisements, circulars, print ornaments, promotional schemes, posters, broadsides, engravings, book covers, and critical annexes that were as central to Whitman's brand as his poetry. This book-studies oriented methodology challenges us to consider the role "non-literary" elements have played in the reception and consumption of literary works, especially in establishing the iconic status of authors like Whitman. Each chapter is devoted to a marker of the Whitman brand--an image, symbol, or promotional strategy that served as a metaphoric trademark of the poet and his distinct textual product. Chapter 1, "`No other matter but poems': Promotion Paratexts and Whitman's Gymnastic Reader," examines the use of promotion paratext to advertise the first three editions of Leaves of Grass and the sophisticated reading practice these texts recruited. Chapter 2, "'I announce a man or woman coming': The Poet as Printer's Fist," looks at Whitman's use of the "manicule" (a small pointing hand) as a symbol of the poet's function reproduced in and on Leaves of Grass. Chapter 3, "`Anything honest to sell books': Autograph-hunting and the Whitmanian Imprimatur," considers Whitman's relationship to the culture of autograph collecting and his innovative use of his own signature as a promotional device. Chapter 4, "Am I Not a Man and a Poet?: Branding Walt Whitman," examines the two most famous faces of the Whitman brand--Whitman the Bowery boy rough and Whitman the Good Gray Poet--revealing how those seemingly conflicting personas became the target of racialized critiques during the 1860s.

The teaching of literature in New South Wales secondary schools has shifted significantly in the period 1990-2001, influenced both by the newer literary theories and by the belated application to the teaching of Shakespeare of active approaches designed to encourage students to think dramatically, think theatrically when approaching playscripts. This essay explores the way in which the author's research papers and the pedagogical materials that they have generated have supported and indeed to some extent been instrumental in bringing about these changes. Beginning with an overview of literature teaching in secondary schools 1990, the essay identifies the questions which have driven the research over the past decade: 1/. Can Reader-Response Theory be made explicit to junior and middle secondary students? Would such knowledge be of value to them? 2/. Are there other aspects of modern literary theory that are worth exploring with secondary students? 3/. Can young readers be encouraged to reflect on their processes of response? Is such an endeavour worthwhile? 4/. How can the teaching of Shakespeare be improved? The last question led the author, during the period of candidature, to explore the puzzling question of why the pedagogy of teaching Shakespeare had lagged so far behind the methods employed in the teaching of other literature, and thus to an historical enquiry covering the teaching of Shakespeare over the past hundred years. At the same time, the author has been concerned to refine some of his teaching methods in order to encourage senior students to explore the plays from, for example, feminist, new historicist and post-colonial perspectives. / Doctor of Education (Ed.D.)

Creative nonfiction is abundant and popular. There are many names and definitions for this fluid, multimodal genre, which has played a role in its marginality in academia. This dissertation examines creative nonfiction in composition, creative writing, and journalism. I argue that distinct beliefs and values of each discipline have led to compartmentalized, disciplinary-specific definitions and uses of creative nonfiction. To understand why this is, and to develop and a cross-disciplinary understanding, I use Amy Devitt's rhetorical genre theory to illuminate cultural beliefs and values that influence the names, definitions, subgenres, and views of the genre in each field. A rhetorical understanding of genre reveals the purpose of creative nonfiction, the themes it conveys, and perhaps why it is so persuasive and powerful. In examining composition I analyze the historical development of creative nonfiction, its definitions, and current beliefs and values about teaching composition. I argue composition limits its view of creative nonfiction by too often equating it with the personal essay. A personal-expressive pedagogy would help teach creative nonfiction. In creative writing I analyze the definitions of creative nonfiction and the AWP's statements about creative writing education. I argue creative writing has inclusive definitions, if not rhetorical, but the culture of literature limits the genre for students. A strength of creative writing is the teaching of craft that I argue is beneficial for teaching creative nonfiction. In journalism I analyze the culture of objectivism from which literary journalism emerged. I argue literary journalists have developed definitions that identify the purpose of literary journalism and narrative form. I express concerns about the separation of journalism from composition and creative writing that has limited discussions about creative nonfiction and literary journalism. Finally, I argue each discipline should value one another's views and agree on dissensus instead of focusing on denying one another or trying to find a single name and definition. I suggest narrative nonfiction as a subset of creative nonfiction that would benefit students in composition. Creative nonfiction engages students in writing and examining the sociopolitical world from a personal perspective, which aids them in becoming writers for life.

Diss.--München, 1956. / Bibliography: p. 11-16.

Diss.--München, 1956. / Bibliography: p. 11-16.

This thesis looks at the role of Peter and Judas in the four canonical gospels, seeking to answer the question of why two such dramatic examples of failure in discipleship became, from so early on, an established and central part of the gospel narrative. The first chapter discusses the literary context of the gospels, considering issues such as the oral medium, the gospel communities, and the genre of the gospels. The second chapter examines the historical Peter and Judas, discussing the evidence in the rest of the New Testament and elsewhere in Christian tradition, followed by a range of parallel disciple figures in ancient literature, from the followers and debate partners of Plato’s Socrates to the students of the neo-Platonic philosopher Plotinus, making the case that a literary archetype for a disciple exists and is made use of in all of these texts. The third, fourth, fifth and sixth chapters look at each of the gospels in turn, discussing the way in which Peter and Judas correspond to the literary archetype and the ways that this archetype interacts both with the actual events of Jesus’ career and arrest, and potentially ongoing or recent events in each evangelist’s own community.