This thesis analyses the individual-nature relationship in Samuel Taylor Coleridge&#039 / s poems. It begins with an overview of Coleridge&#039 / s inconsistent views on the subject, as reflected in his prose writings, and explains the personal reasons behind such inconsistencies. The thesis then asserts that despite the inconsonant views expressed in his prose writings, Coleridge&#039 / s poems display a consistent view of the individual-nature relationship. According to this view, the relationship is constituted of three consecutive stages. In the first stage the individual passively perceives nature with his senses. When he ascends to the second stage, he forms spiritual unity with nature and becomes one with her. Finally, in the third stage, through the use of his imagination, he creates a new nature out of the one he has perceived. This view of the individual-nature relationship will be illustrated and exemplified through the analysis of the poems &quot / The Eolian Harp&quot / , The Rime of the Ancient Mariner, and &quot / Dejection: An Ode&quot / .

This thesis analyses the theme of anger in John Osborne&rsquo / s plays, namely Look Back in Anger, Inadmissible Evidence and Watch it Come Down, in terms of frustration-aggression hypothesis and psychoanalytic theory. It investigates the reasons for the protagonists&rsquo / rage and the ways the characters reflect their anger onto other people.

This thesis analyzes how Harold Pinter&rsquo / s characters use language with ulterior motives: making their existence felt and acknowledged, concealing the truth, avoiding conflict or confrontation, and exerting dominance. In the dissertation, stylistics, which is the analysis of texts by means of linguistic phenomena, has been used as the method of analysis. Characters&rsquo / use of language with ulterior motives has been illustrated with reference to a variety of Pinter&rsquo / s plays.

This thesis analyses the Jungian archetypes employed in Beckett&#039 / s trilogy. It begins with an overview of Jungian archetypes and the relation of these archetypes to the fundamental themes dealt with in Beckett&#039 / s work. The thesis then asserts that some archetypal features occur almost obsessively and are further clearly implicated in the main themes of the trilogy. The central archetypal patterns that frequently appear in the novel are the hero&#039 / s quest, return to paradise and rebirth. This dissertation is therefore primarily organised around these archetypes, and Beckett&#039 / s use of these archetypal motifs to reinforce his black philosophy will be illustrated and exemplified in the study.

The aim of this study is to demonstrate the destructive effects of infidelity in the old-aged husband-the young wife marriages which end up with tragedy. In John Ford&rsquo / s Love&rsquo / s Sacrifice (1633) and Lope de Vega&rsquo / s Punishment Without Revenge (1631), tragedy turns out to be the inevitable consequence of the plays since the motives of jealousy, honour, revenge and love converge and lead people to commit sinful crimes. Within this scope, the first chapter of the thesis is devoted to the historical information about the state of English and Spanish theatres together with the biographies of the playwrights. In the second chapter, the tripartite relationship between jealousy, revenge, and honour is dealt with based upon examples from the primary sources in a historical framework. The reasons and results of these themes are studied through the characters in the plays. The third chapter covers the theme of love, its history and its influence on characters. In this chapter, the nature of love between the characters and its consequences are examined. The conclusion asserts that the old-aged husband and the young wife create a mismatched union and accompanied with the motives of honour, jealousy and revenge, the institution of marriage breeds tragic consequences. The analysis of the above mentioned themes is based on a historical context and it is also concluded that although Love&rsquo / s Sacrifice (1633) and Punishment Without Revenge (1631) belong to the Renaissance age, both plays bear the influences of the Greco-Roman drama tradition. Thus, the similarities and differences between classical and Renaissance tragedy are demonstrated.

This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology / second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.

In this thesis the roles of the sexually preadtory male character in Jane Austen&#039 / s Sense and Sensibility, Charlotte Bronte&#039 / s Jane Eyre, Anne Bronte&#039 / s The Tenant of Wildfell Hall and Elisabeth Gaskell&#039 / s Ruth and Mary Barton are analyzed, based on the theory of psychiatrist Karen Horney and the reader-response theory of Wolfgang Iser. The hypothesis is that the male sexual predator represents a reflection of the pursued heroine&#039 / s idealized image, an unrealistically idealized and preferred self-image in Horney&#039 / s terms, and makes the education and vindication patterns of the novels possible.

This thesis analyzes how Afro-Caribbean poets writing in English appropriate language and use memory as a thematic tool to articulate postcolonial identities. The present study is organized in three parts: the first part provides the necessary theoretical background regarding postcolonial theory, the politics of hybridity and resistance / the second part examines poets&rsquo / struggles over language and social forms of poetry / the third part deals with the site of memory as a revisionary tool in rewriting history poetically, binding pre-colonial and colonial identities, and healing the fractured psyches of postcolonial societies. The struggle over language and the use of memory enable the Afro-Caribbean poet to reconfigure individual and collective identities. For these purposes, Grace Nichols&rsquo / i is a long memoried woman (1983), Edward Kamau Brathwaite&rsquo / s X/Self (1987) and Linton Kwesi Johnson&rsquo / s Tings&rsquo / an Times (1991) will be analyzed.

This study analyses The Passion of New Eve by Angela Carter, Orlando by Virginia Woolf, Woman on the Edge of Time by Marge Piercy and The Left Hand of Darkness by Ursula Le Guin from the perspective of &eacute / criture f&eacute / minine. After a thorough discussion of the roots of &eacute / criture f&eacute / minine, the theory of the French feminists is put into practice in the analysis of the novels. The study asserts that the concepts of bisexuality, the other and the voice are common elements in novels of &eacute / criture f&eacute / minine, thereby the novelists mentioned in the study follow the propositions of H&eacute / l&egrave / ne Cixous, Julia Kristeva and Luc&eacute / Irigaray. The argument of the study is that the use of &eacute / criture f&eacute / minine as portrayed with reference to the novels, can be an efficient way in deconstructing the patriarchal system of language. Literature has a significant influence on social life, however women cannot make themselves heard using the language of patriarchy. Therefore an alternative such as &eacute / criture f&eacute / minine is essential. This study shows how this alternative can be practiced in various ways and it also creates the opportunity to consider the possibilities of alternative lives if this kind of thinking is widespread.

ABSTRACT SHAKESPEARE&rsquo / S HAMLET AS A PRECURSOR OF THE THEATRE OF THE ABSURD Dogan, Buket M.A., in English Literature Supervisor: Assoc. Prof. Dr. &Uuml / nal Norman May 2008, 121 Pages Being regarded as a dramatist of all times, Shakespeare and his work is studied with a modern view point by many critics. Every historical period finds in him what it is looking for and what it wants to see. Shakespeare is part of a modern tradition trying to mirror human psychology and condition in all its absurdity. The innovations that the theatre of the Absurd has brought to the stage not only provide an influence for the works of the later generations but also, they make it possible to look back at the past works of the theatre with a contemporary critical eye. Shakespeare&rsquo / s vision of the world is similar to that of the absurdists, mainly due to their shared confidence in humanity&rsquo / s capacity to endure, and the precarious nature of human existence. This thesis analyzes Shakespeare&rsquo / s masterpiece Hamlet, mainly the drama of its protagonist, as a precursor of Absurd drama. In Hamlet, Shakespeare represents man&rsquo / s existential anxiety and precarious condition in a nonsensical world, which is stripped of all logical explanations and accounts. To examine the play in the context of the theatre of the Absurd, it will be discussed in relation to Samuel Beckett&rsquo / s Waiting for Godot and Endgame with regard to their common concerns for the themes of the theatre of the Absurd such as uncertainty and inertia.