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Thesis (Ph. D.)--School of Physics, Faculty of Science, University of Sydney, 2004. / Bibliography: p. 123-129.

Thesis (Ph. D.)--University of Sydney, 2004. / Title from title screen (viewed 14 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Physics, Faculty of Science. Degree awarded 2004; thesis submitted 2003. Includes bibliographical references. Also available in print form.

Thesis (Ph. D.)--University of Adelaide, 2003. / Title from title screen. Description based on contents viewed Apr. 21, 2005. Includes bibliographical references.

Thesis (Ph. D.)--University of Pittsburgh, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 798-842).

Thesis--Hamburg. / Includes bibliographical references (p. 217-228).

Thesis (Ph. D.)--University of Pittsburgh, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 798-842).

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.

Pris dans les rouages de la révolution industrielle, l'objet dickensien est synonyme d'abondance. Cette profusion d'objets – qu'ils soient concrets ou diégétiques – permet au texte ses plus beaux excès et se prête à merveille au jeu de la collection et des listes, chères à Dickens. Les objets brillent de possibilités inouïes, bousculent l'ordre préétabli et en viennent à supplanter les personnages, souvent relégués au second plan. Le récit, réaliste, est incrusté de surnaturel et fait aussi bien allégeance à l'excès qu'à l'ordre qui en découlera. Les deux extrêmes oeuvrent donc à la réconciliation quand sonne le glas de la suprématie de l'objet et que s'opère la transition de l'euphorie du conte au fantastique dysphorique. Le texte normalise donc son rapport à l'objet et se déleste d'un trop-plein subversif. Pris dans la vague diluvienne balayant sur son passage cette surabondance trop peu conventionnelle, l'objet se délite. Ce travail se propose donc, au travers de trois romans de l’oeuvre dickensienne, d’étudier le passage subtil de l’abondance d’objets à la sublimation du vide / Caught in the machinery of the Industrial Revolution, the Dickensian object is synonymous of abundance. This profusion of objects – be they tangible or diegetic – allows the text to give way to all excess, and lends itself to the play of collection and lists, both dearly appreciated by Dickens. The objects blaze with unthought-of possibilities, disrupt the pre-established order, and come to supersede the characters, themselves often relegated in the background. The narration, albeit realist, isinlaid with supernatural interpolations, thus making an oath of allegiance either to excess and order, the second deriving from the first. Both these extremes work towards reconciliation as tolls the bell of the object's pre-eminence, and as a transition takes place from the fairy-tale euphoria to the fantastic dysphoria. Therefore, the text brings its relation to the object back to normal and relieves itself from the weight of a subversive overflow. Enmeshed in the diluvian wave which sweeps aside this unconventional overabundance, the object disintegrates. This work on three Dickensian novels thus offers to study the subtle transition from the abundance of objects to the sublimation of the void

Trying to remember is a form of forgetting. Memory fades, changes meaning, and disappears over time. While trying to find other ways to preserve stories about my family, it occurred to me that I could recreate what I remember in clay. I am creating collections of physical mementos of the memories that fill my head, focusing mainly on my childhood. Remembering is in itself an act of forgetting, and thus this is my memory preservation kit. I am recording memories of my family for posterity in clay before I have a chance to forget.