ix, 267 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / In English literary studies, classical epic poetry is typically regarded as a masculinist genre that imparts and reinforces the values of dominant culture. The Iliad , Odyssey , and Aeneid , after all, were written by men, feature male heroes, and recount the violent events that gave rise to the misogynistic societies of ancient Greece and Rome. Yet, in the twentieth century, women poets have found inspiration for their feminist projects in these ostensibly masculinist poems. The four poets in this study, for example, have drawn from the work of Homer and Virgil to criticize the ways that conventional conceptions of gender identity have impaired both men and women. One might expect, and indeed, most critics argue, that women like H.D., Gwendolyn Brooks, Louise Glück, and Anne Carson invoke their classical predecessors only to reject them and the repressive values that they represent. Close readings of these poets' work, however, demonstrate that, far from dismissing the ancient poems, Helen in Egypt , Annie Allen , Meadowlands , and Autobiography of Red are deeply invested in them, finding in them models for their own social critiques. The work of these four poets emphasizes that the classical epics are not one-dimensional celebrations of violence and traditional masculinity. Indeed, the work of Homer and Virgil expresses anxiety about the misogynistic values of the heroic code to which its warriors adhere, and it urges that war and violence are antithetical to civilized society. In examining the ways that modern women poets have drawn from these facets of the ancient works to condemn the sexism, racism, and heterocentrism of contemporary culture, my dissertation seeks to challenge the characterization of classical epic that prevails in English literary studies and to assert the necessity of understanding the complexity of the ancient texts that inspire modern poets. Taking an intertextual approach, I hope to show that close readings of the classical epics facilitate our understanding of how and why modern women have engaged the work of their ancient predecessors and that this knowledge, in turn, emphasizes that the epic genre is more complex than we have recognized and that its tradition still flourishes. / Committee in charge: Karen Ford, Chairperson, English; Paul Peppis, Member, English; Steven Shankman, Member, English; P. Lowell Bowditch, Outside Member, Classics

Esta pesquisa pretende apontar a presença e a representação de elementos revolucionários nas estruturas formais das Four Black Revolutionary Plays: All Praises to the black man (Quatro Peças Revolucionárias Negras: Todos os louvores ao homem negro). Peças escritas pelo dramaturgo negro Amiri Baraka que, sobretudo nos anos sessenta, se colocou contra o establishment e produziu uma dramaturgia que pregava a valorização da cultura negra, o engajamento político e a rebeldia contra os valores do status quo branco e de parte da classe média negra norte-americana. Nossas hipóteses, aqui apresentadas, são de que a obra baraqueana é processual porque não se finda em um único período ou obra, mas guia-se por uma necessidade de mudança contínua em face dos acontecimentos históricos e sociais que o dramaturgo vivencia enquanto escreve suas peças e porque busca reescrever uma nova história e mitologia negra. Desta forma, ao procurar valorizar a negritude e os outros valores apregoados pelo movimento Black Power e pelo nacionalismo negro, Baraka desenvolve uma dramaturgia contundente que tenta abarcar as demandas da comunidade negra e que a instigue a agir coletivamente. / This paper intends to spot the presence and representation of the revolutionary elements within the formal structures of the Four Black Revolutionary Plays: All Praises to the black man. These are the plays by the black playwright Amiri Baraka who, especially in the sixties, fought against the establishment by means of plays that extolled the appreciation of the black culture, the political engagement and the defiance of the white mens status quo and also a portion of the American black middle class. Our theses provided herein say Barakas work has an ever-evolving nature as its not restricted to a single time or work; rather, it is driven by the need for the continuous change due to the social and historic events the playwright experienced at the time he wrote his plays, also seeking to rewrite a new black history and mythology. Accordingly Baraka creates groundbreaking plays intended to consider and review the black communitys condition and make it act collectively in response.

A presente tese busca compreender o processo de Comunicação das características da cultura norte-americana a partir da leitura e interpretação de textos midiáticos fílmicos de diferentes épocas. O apoio teórico parte da noção de memória textual e código-texto segundo estudos de Iuri Lotman, um dos pesquisadores da Semiótica da Cultura. Nessa perspectiva, as produções do cinema são consideradas como um sistema de signos inseridos na semiosfera correspondente. A descrição do sistema da cultura norte-americana é feita pela identificação de suas narrativas míticas fundacionais, de origem judaico-cristã, latina e egípcia. Os mitos são estudados como elementos encadeadores dos textos da cultura considerados relevantes para esta pesquisa, desde o Descobrimento (século 16) até o período da independência norte-americana (século 18). Uma vez descrito o sistema da cultura norte-americana, por meio da memória textual, procede-se à leitura de dois textos cinematográficos nos quais se verificam configurações desses elementos mitológicos. A tese comprova seu objetivo de demonstrar como o mito da nova ordem repercute em textos do cinema norte-americano do final do século XX, e como esse mito é reiterado na atualidade reforçando o papel preponderante da América como nação renovadora do mundo. / This thesis seeks to understand the process of communication of north-American cultures features from the reading and interpretation of filmic media texts of different periods. The theoretical support starts from the notion of \"textual memory\" and \"code-text\" according to studies of Iuri Lotman, a researcher of Culture Semiotics. From this perspective, the productions of cinema are considered as a system of signs inserted in corresponding semiosphere. The description of the system of north-American culture is made by identification of its founding myths of Judeo-Christian, Latin, and Egyptian origin. The myths are studied as linker elements of culture texts considered relevant to this research, since the \"Discovery\" (16th century) until the period of American independence (18th century). Once described the system of American culture, through the textual memory, it proceeds to read two film texts in which there are settings of these mythological elements. The thesis proves his goal to showing how the new order myth reflects in texts of north-American cinema of the late twentieth century, and how this myth is repeated in the present strengthening the role of America as a nation renewing of world.

In der Dissertation werden Fragen zur Populationsbiologie des neozonalen Nordamerikanischen Waschbären (Procyon lotor) behandelt. Die knapp sechsjährigen Freilanduntersuchungen fanden im Rahmen eines umfangreichen Waschbärenforschungsprojektes (www.projekt-waschbaer.de) in einem naturnahen Tieflandbuchenwald im Müritz-Nationalpark (Mecklenburg-Vorpommern) statt. Das Nationalparkgebiet wird nachweislich seit Ende der 1970er Jahre vom Waschbären besiedelt und stellt aufgrund seines Gewässerreichtums und seiner alten Laubbaumbestände einen idealen Lebensraum für Waschbären dar. Die Dissertation schließt die populationsbiologischen Arbeiten des Gesamtprojektes ab und stellt die Ergebnisse in fünf separaten Themenschwerpunkten vor (I. Raumverhalten, II. Sozialverhalten, III. Reproduktionsbiologie, IV. Populationsstruktur, V. Populationsdynamik). Übergeordnetes Ziel der Arbeit war die Erhebung valider populationsbiologischer Daten, um eine grundlegende ökologische Charakterisierung des Waschbären unter dem Aspekt des Natur- und Artenschutzes vornehmen zu können. Dazu wurden zwischen 2006 und 2011 in einem 1.114 ha großen Fallennetz im Serrahner Teilgebiet des Nationalparks an 53 verschiedenen Fallenstandorten 145 verschiedene Waschbären (62 ♀♀, 83 ♂♂) insgesamt 489 Mal gefangen, genetisch beprobt, vermessen und individuell markiert. 51 adulte Waschbären (23 ♀♀, 28 ♂♂) und 18 Jungtiere (10 ♀♀, 8 ♂♂) wurden darüber hinaus mit einem UKW-Halsbandsender ausgestattet und im Rahmen der telemetrischen Arbeiten insgesamt 31.202 Mal geortet (≙ im Mittel 452 Lokalisationen pro Tier). Im Kernuntersuchungsgebiet wurde an 36 beköderten Standorten ein Fotofallenmonitoring durchgeführt. Bei einer Überwachungsdauer von 5.365 Fotofallennächten entstanden dabei 18.721 Aufnahmen von 183 verschiedenen Waschbären. 82 % aller Waschbärenbilder zeigten individuell markierte Individuen. Alle 145 gefangenen Waschbären wurden im Rahmen eines separaten Teilprojektes mit hochvariablen Mikrosatelliten erfolgreich genotypisiert, so dass die Verwandtschaftsverhältnisse sowie der individuelle Reproduktionserfolg der Untersuchungstiere bekannt sind. Für die Analysen zur Populationsstruktur wurden unter anderem von 120 verendet aufgefunden Waschbären (Totfunden) aus dem unmittelbaren Umfeld des Nationalparks klassische morphometrische und phänotypische Merkmale sowie die Mortalitätsursachen erfasst. / This study considers questions concerning the spatial and social behaviour, reproduction, population structure and dynamics of the alien North American raccoon (Procyon lotor) in Germany. The investigations took place within the framework of a comprehensive raccoon research project (www.projekt-waschbaer.de) over a period of nearly six years in a close-to-nature lowland beech forest in the Müritz National Park (Mecklenburg-West Pomerania). The National Park has been verifiably colonized by raccoons since the end of the 1970s, and due to its abundance of water and its old deciduous tree population it represents an ideal habitat for this mammal. Between 2006 and 2011, 145 individual raccoons (62 ♀♀ and 83 ♂♂) were captured, genetically sampled, measured and individually tagged. Sampling took place within a 1,114 hectare area of the National Park, at 53 trap sites and with 489 trappings. 51 adult raccoons (23 ♀♀, 28 ♂♂) and 18 juveniles (10 ♀♀, 8 ♂♂) were also fitted with radio collars and located a total of 31,202 times as part of the telemetric survey (=452 localisations per individual). Camera trap monitoring was carried out at 36 baited locations of the main investigation area (1,628 ha): 18,721 camera trap pictures were taken of 183 different raccoons over a monitorring period of 5,365 nights. 82 % of all the raccoon pictures showed individually tagged ani-mals. All 145 of the trapped raccoons were successfully genotyped as part of a subproject with highly polymorphic microsatellites. Both the familial relationships and the individual reproductive success of the subject animals could be determined with the genotyping results. For the analyses of the population structure, classic morphometric and phenotypical characteristics, as well as the cause of mortality of 120 raccoon carcasses in the immediate vicinity of the National Park, were recorded.

July temperature (TJUL) and total annual precipitation (ANNP) are reconstructed to better understand the spatial and temporal patterns of change in North America over the last 2,000 years using pollen databases. Using a customized application in R, the reconstructions use a composite averaging of multiple site reconstructions that show a distinct warmer Medieval Warm Period (MWP) compared to the colder Little Ice Age (LIA). Results show that, both multi-centennial scale periods are re- constructed as cooler than the last 50 years. Regional time series from several forested ecoregions show positive anomalies up to 0.6ºC during the MWP and anomalies up to -0.3ºC during the LIA. In order to test whether the TJUL reconstructions are biased to the modern calibration climate data, we show a distinct difference between the reconstructions when using station versus reanalysis-based modern TJUL fields. Reconstructions using station-based modern calibration data sets better reflect the centennial to multi-centennial scale climate variability as compared to the reanalysis-based modern calibration data sets that reveal a warm-bias. We justify the choice of the Whitmore et al. (2005) modern data set for large-scale pollen-based paleoclimate reconstructions. Finally we use Local Indicators of Spatial Association (LISA) to spatially filter the ANNP reconstructions in order to distinguish regional hydroclimate patterns from local site-specific conditions. Results show that a La Nina, positive North Atlantic Oscillation (+NAO) and positive Atlantic Multidecadal Oscillation (+AMO) state-like dominated both the MWP and Roman Warm Period (RWP), although the MWP was generally drier. In contrast, the Dark Ages Cold (DAC) period was likely dominated by El Nino, negative NAO and negative AMO state-like circulation. Minimum solar and high volcanic activity is likely to have contributed to more complex hydroclimate regional patterns during the LIA. The results presented in this dissertation can be used as benchmark data sets for future climate data-model comparisons in order to improve our understanding of natural climate variability during the past 2,000 years in the context of modern human-induced climate change.

This thesis is focused on the accomplishments of the North American Free Trade Agreement after fifteen years since coming into force. The objective is to evaluate the existing trends in the three countries and review if the member states succeeded in fulfilling the goals of the Agreement. First part is dedicated to the development in the area of general goals, defined in the first articles of the Agreement. Second and third chapter examine the progress made in strategic goals of each country.

<p>This dissertation examines Charles Darwin’s major texts together with literary works by turn-of the-century American women writers—Nella Larsen, Charlotte Perkins Gilman, and Kate Chopin—in order to trace how evolutionary theory shaped transatlantic cultural ideas of race, particularly black identity, and gender. I focus on the concept of “descent” as the overarching theme organizing categories of the human in evolutionary terms. My perspective and methods—examining race and gender from a black feminist perspective that draws on biopolitics theory, as well as using close reading, affect theory, and attention to narrative in my textual analysis—comprise my argument’s framework. By bringing these perspectives and methods together in my attention to the interplay between Darwinian discourse and American literature, I shed new light on the turn-of-the-century transatlantic exchange between science and culture. Throughout this dissertation, I argue that descent constitutes a central concept and point of tension in evolutionary theory’s inscription of life’s development. I also show how themes of human-animal kinship, the Western binary of rationality and materiality, and reproduction and maternity circulated within this discourse. I contribute to scholarly work relating evolutionist discourse to literature by focusing on American literature: in the context of turn-of-the-century American anxieties about racial and gender hierarchies, the evolutionist paradigm’s configurations of human difference were especially consequential. Moreover, Larsen, Gilman, and Chopin offer responses that reveal this hierarchy’s varied effects on racialized and gendered bodies. I thus demonstrate the significance of examining Darwinian discourse alongside American literature by women writers, an association in need of deeper scholarly attention, especially from a feminist, theoretical perspective. </p><p>This dissertation begins with my application of literary analysis and close reading to Darwin’s major texts in order to uncover how they formed a suggestive foundation for late nineteenth- to early twentieth-century ideologies of race and gender. I use this analysis as the background for my investigation of Larsen’s, Gilman’s, and Chopin’s literary texts. In Chapter 1, I conduct a close reading of Darwin’s articulation of natural selection in <i>The Origin of Species</i>and focus on how Darwin’s syntactical and narrative structure imply evolution as an agential force aimed at linear progress. In Chapter 2, I analyze Darwin’s articulation of the development of race and gender differences in <i>The Descent of Man</i>, as well as Thomas Henry Huxley’s <i>Evidence as to Man’s Place in Nature</i>, and argue that Darwin’s and Huxley’s accounts suggest how anxiety over animal-human kinship was alleviated through structuring nonwhite races and women as less developed and hence inferior. In Chapter 3, I argue that Larsen’s novel <i>Quicksand </i>interrogates and complicates aesthetic primitivism and biopolitical racism and sexism, both rooted in evolutionist discourses. Finally, in Chapter 4, I focus on Gilman’s utopian novel <i>Herland</i>and select short stories by Chopin. While Gilman unambiguously advocates for a desexualized white matriarchy, Chopin’s stories waver between support for, and critique of, racial hierarchy. Reading these authors together against the backdrop of white masculine evolutionist theory reveals how this theory roots women as materially bound reproducers of racial hierarchy.</p>

<p><i>She Will Be: Literary Authorship and the Coming Woman in the Postbellum United States </i>argues that postbellum women writers deployed the figure of the Coming Woman, an archetype for the nation’s improved female future, to articulate expanded sociopolitical opportunities for women, interrogate prevailing standards of literary art, and validate their own literary pursuits. During the final decades of the nineteenth century, the American reading public became increasingly fascinated with identifying who the Coming Woman would be, what qualities she would possess, and how her arrival would alter the nation’s future. Such questions flooded US print culture in the decades between 1865 and 1900, demonstrating that the Coming Woman not only occupied a space between the antebellum True Woman and fin de siècle New Woman but also that she was a major feminine archetype in her own right.</p><p><br></p><p>Even so, existing scholarship on the Coming Woman tends either to identify the Coming Woman anachronistically as an early iteration of the New Woman or, when naming her directly, to overlook her complex function as both a harbinger and manifestation of manifold sociopolitical changes. These limited examinations elide the Coming Woman’s ubiquitous influence on postbellum literary culture, particularly in terms of the complex links Susan Coultrap-McQuin and Lawrence W. Levine have traced between middlebrow culture and postbellum national identity. <i>She Will Be</i> builds on recent scholarship by demonstrating how the American Coming Woman helped reshape notions of women’s literary authorship, modernity, and national identity in the late nineteenth century. By examining her literary life through four key middlebrow genres (<i>Bildungsroman</i>, sentimentality, utopianism, and regionalism), <i>She Will Be</i> reveals how female authors used the Coming Woman figure to imagine—and, indeed, write into being—an expanded vision for the US’s female future.</p>

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