Thesis (M.Ed.)--Murdoch University, 2006. / Thesis submitted to the Division of Arts. Bibliography: leaves 199-205.

published_or_final_version / abstract / Chinese / Master / Master of Philosophy

Thesis (M.A.)--Cleveland State University, 2008. / Abstract. Title from PDF t.p. (viewed on July 11, 2008). Includes bibliographical references (p. 43-44). Available online via the OhioLINK ETD Center. Also available in print.

Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Thesis (M.A.)--Florida State University, 2006. / Advisor: Andrew Epstein, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 8, 2006). Document formatted into pages; contains vii, 51 pages. Includes bibliographical references.

This thesis is intended to document and explain the peculiarly high incidence of monsters in English children's literature, where monsters are understood in the term's full etymological sense as things which demonstrate through disturbance. In this context, monsters are frequently young people themselves; the youthful protagonists of children's literature. Their demonstrative operation typically functions not only as an overt or covert tool by which to educate children's literature's implied child audience, but also as a wider indicator - demonstrator - of adult appreciations of and arguments over children and how children should be permitted to grow. In this latter role especially, children are rendered truly monstrous as alienated and problematic tokens in adult cultural arguments. They can fast become such efficient demonstrators of adult crises that their very presence engenders all the notions of unacceptability with which monsters are characteristically associated. The chronological range of this thesis' study is the eighteenth-century to the present. From this period, the following children's authors, children's books, and series of children's books have been examined in detail: • Thomas Day: Sandford and Merton • Anna Laetitia Barbauld: Lessons for Children and Hymns in Prose for Children • Sarah Trimmer: Fabulous Histories • Mary Martha Sherwood: The Fairchild Family • Charles Kingsley: The Water-Babies • Lewis Carroll: Alice's Adventures in Wonderland and Through the Looking-Glass • George MacDonald: At the Back of the North Wind • J.M. Barrie: Peter Pan in Kensington Gardens, Peter Pan, and Peter and Wendy • C.S. Lewis: The Chronicles of Narnia (The Lion, the Witch & the Wardrobe, Prince Caspian, The Voyage of the Dawn Treader, and The Last Battle) • J.K. Rowling: Harry Potter {The Philosopher's Stone, The Chamber of Secrets, The Prisoner of Azkaban, The Goblet of Fire, The Order of the Phoenix, and The Half-Blood Prince). The theoretical notions of monsters and monstrosity that are used to discuss these texts draw principally on the writings on the sublime by Edmund Burke and Immanuel Kant, the uncanny by Sigmund Freud, and the fantastic by Tzvetan Todorov.

Thesis (M.A.)--Ohio University, June, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ph. D.)--University of California, Santa Cruz, 1993. / Typescript. Includes bibliographical references.

The value of literature in the contemporary age is a controversial issue. The challenge posed by the interpretation of this era is expressed by the provocative remarks of critics such as Karatani Kōjin and Suzuki Sadami maintaining that after the 80s modern "pure" literature died (History and Repetition, 2012; The Concept of "Literature" in Japan, 2006). Reading Karatani and Suzuki's comments as merely provocative, signifying that a form of literature has died, this study enquires into how literature (and the arts) have changed and found new ways of expression after the historical break of 1989. The dissertation offers immediacy as a possible answer. Immediacy is a theme, a literary device stressing the present moment submerging clear notions of past and present. The precondition for immediacy is an ideological vacuum, experienced by characters across age groups and genders, where they do not share social ideologies or collective purposes. In this isolation, they concentrate only on their local realities, on what they perceive directly (physically and emotionally), acting quickly and repeatedly in the absence of critical thought. The constant action is often carried out in response to corporeal stimuli, specifically violence and sex, that grant immediate gratification in the vacuum. However, at the core characters indulging in immediacy long for inter-personal connections. Building a community based on critical thought and mutual understanding is the solution to escape from immediacy. The dissertation explores manifestations of immediacy in contemporary Japanese literature and popular culture (manga and anime) published or broadcast between 1995 and 2011. Through the analyses of cultural theories, literature by Takahashi Genichirō, Taguchi Randy and Hirano Keiichirō, and influential works in manga and anime (Neon Genesis Evangelion, Psycho-Pass and Shingeki no kyojin), it shows the theme's relevance and discusses how it contributes to the broader fields of contemporary Japanese literature and popular culture. By doing so, the dissertation also provides a study of the current artistic panorama in Japan, one that is often neglected critically, but that speaks of its culture with great force and imagination.

Univ., Diss.--Mainz, 2005. / Literaturverz. und Diskogr. S. [327] - 339. Mit engl. Zsfassung.