Thesis (Ph.D.) -- University of Texas at Arlington, 2008.

Thesis (Ph. D.)--Kent State University, 2009. / Title from PDF t.p. (viewed Mar. 11, 2010). Advisor: Vera J. Camden. Keywords: Charlotte Bronte; fictional autobiography; trauma theory; testimony; witness; Jane Eyre; Villette; The Professor; repetition compulsion. Includes bibliographical references (p. 140-146).

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 276-285).

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Peter Hess. Vita. Includes bibliographical references.

Thesis (M.A.)--York University, 2005. Graduate Programme in Interdisciplinary Studies. / Typescript. Includes bibliographical references (leaves 141-150). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11917

Thesis (Ph. D.)--Lehigh University, 2006. / Includes vita. Includes bibliographical references (leaves 198-203).

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2008. / Directed by Scott Romine; submitted to the Dept. of English. Title from PDF t.p. (viewed Jul. 31, 2009). Includes bibliographical references (p. 175-178).

Thesis (M.A.)--University of Alberta, 2009. / A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Drama. Title from pdf file main screen (viewed on October 14, 2009). At head of title screen: University of Alberta. Includes bibliographical references.

Charles Baxter, in his essay “Dysfunctional Narratives: or: ‘Mistakes Were Made,’” implies that all trauma narrative is synonymous with “dysfunctional narrative,” or narrative that leaves all characters unaccountable. He writes: “In such fiction, people and events are often accused of turning the protagonist into the kind of person the protagonist is, usually an unhappy person. That’s the whole story. When blame has been assigned, the story is over.” For Baxter, trauma narrative lets everyone “off the hook,” so to speak. He would say that we write about our bitter lemonade to make excuses for our poor choices, and “audiences of fellow victims” read our tales, because their lemonade and their choices carry equal bitterness, and they require equal excuses. While trauma narrative can soothe us, as can other narrative genres, we should not dismiss trauma fiction because of a sweeping generalization. Trauma fiction also allows us to explore the missing parts of our autobiographical narratives and to explore the effects of trauma—two endeavors not fully possible without fiction. As explained in more detail later, the human mind requires narrative to formulate an identity. Trauma disrupts this process, because “trauma does not lie in the possession of the individual, to be recounted at will, but rather acts as a haunting or possessive influence which not only insistently and intrusively returns but is, moreover, experienced for the first time only in its belated repetition.” Because literature can speak what “theory cannot say,” we need fiction to speak in otherwise silent spaces. Fiction allows us to express, analyze, and comprehend what we could not otherwise.