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This study is an assessment of the topics of religion and fantasy in several novels of Ram6n Sender which various critics have characterized as being particularly concerned with one or both of the topics. Both published and unpublished works of criticism and history have been, consulted. The "Introduction" provides biographical and critical information. Chapter II documents in the characterization and the observations and actions of characters significant reflections of the author's attitude toward religion. In Chapter III the primary emphasis is upon the illogical, the absurd, and the grotesque, The "Conclusion" states that in the opinion of critics, in the significance of characterization, and by his own admission, Sender is liberal, anticlerical, humanistic, and occasionally attracted to the fantastic.

Errata pasted onto front end paper. / Bibliography: leaves 345-370. / ix, 370 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Argues that Renaissance notions of identity, inferiority, and alterity are articulated through religious discourse invoked to make sense of death and apocalyptic and eschatological experience. Also argues that Renaissance ways of enunciating subjectivity are varied and often conflicting. / Thesis (Ph.D.)--Adelaide University, Dept. of English, 2000?

Errata pasted onto front end paper. / Bibliography: leaves 345-370. / ix, 370 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Argues that Renaissance notions of identity, inferiority, and alterity are articulated through religious discourse invoked to make sense of death and apocalyptic and eschatological experience. Also argues that Renaissance ways of enunciating subjectivity are varied and often conflicting. / Thesis (Ph.D.)--Adelaide University, Dept. of English, 2000?

My PhD thesis, The Flower of Suffering, offers a philosophical evaluation of Aeschylus' Oresteia in light of Presocratic ideas. By examining several aspects of the tragic trilogy in relation to some of Aeschylus' near-contemporary thinkers, it aims to unravel the overarching theological ideas and the metaphysical and epistemological assumptions underpinning the Oresteia's dramatic narrative. My aim is to bring to relief those aspects of the Oresteia which I believe will benefit from a comparison with some ideas, or modes of thought, which circulated among the Presocratic philosophers. I will explore how reading some of this tragedy's themes in relation to Presocratic debates about theology and cosmic justice may affect and enhance our understanding of the theological ‘tension' and metaphysical assumptions in Aeschylus' work. In particular, it is my contention that Aeschylus' explicit theology, which has been often misinterpreted as a form of theodicy where the justice of heaven is praised and a faith in the rule of the gods is encouraged, is presented in these terms only to create a stronger collision with the painful reality dramatized from a human perspective. By setting these premises, it is my intention to confer on Greek tragedy a prominent position in the history of early Greek philosophical thought. If the exclusion of Presocratic material from debates about tragedy runs the risk of obscuring a thorough understanding of the broader cultural backdrop against which tragedy was born, the opposite is also true. Greek tragedy represents, in its own dramatic language, a fundamental contribution to early philosophical speculation about the divine, human attitudes towards it, indeed, the human place in relation to the cosmic forces which govern the universe.

This study examines both the theological aesthetics of George Herbert (1593-1633), English priest and poet, and those of his friends, the Ferrar family of Little Gidding, who founded a quasi-monastic religious community near Cambridge from 1624-1646. In their writings, Herbert and the Ferrars negotiated two traditional but usually competing aesthetic stances: the "beauty of holiness"; on the one hand, and austere plainness, on the other. They skillfully navigated between conflicting theological positions during the years leading up to the English Civil War. Chapter 1 reviews the historical connection between Herbert and Nicholas Ferrar (1592/3-1637) in light of recent revisionist biographies. It describes and contextualizes the anomalous and controversial devotional life at Little Gidding within the complex religio-political landscape of the 1620s and 1630s; it also argues for a shared theological aesthetic between Herbert and the Ferrars as evident in their collaboration on various projects. (Herbert also designated the Ferrars his literary executors.) Chapter 2 revisits the question of Herbert's paradoxical "plain style," a topic that has engaged scholars for decades, by exploring his poetic use of clothing images in conjunction with the Renaissance commonplace of the "garment of style." Chapter 3 examines in detail liturgical practice at Little Gidding, both the family's public and private worship life, as well as their extensive renovation of two churches. Here I argue that the community did not fit easily within any single category in the "worship wars" of the early seventeenth century, but instead drew upon influences across the liturgical spectrum, from Laudianism to puritanism. Chapters 4 and 5 explore how Herbert (in his poetry) and the Ferrars (in their religious dialogues called the Story Books) use narrative of various kinds, but especially parable and exempla, for catechetical ends, and emphasize the centrality of "true stories" to Christian belief. The conclusion argues that these texts present a theological aesthetic that is deeply connected to a lived, practiced ethics. This project fills in a major gap in Herbert studies while recovering important primary sources for the understanding of religion, literature and culture in early modern England. / 2018-04-30T00:00:00Z