M.A. (English) / Victorian studies is a field much-studied and, during the century that has passed since the end of Queen Victoria‘s reign, literary criticism on the subject has been extensive. In the main, however, criticism has tended to focus on the protagonists of Victorian novels, whether to argue that their journeys are immoral, or represent a warning against immorality, or to examine their behaviour and so arrive at conclusions regarding identity. Through a close reading of Oscar Wilde‘s The Picture of Dorian Gray (1891), Robert Louis Stevenson‘s The Strange Case of Doctor Jekyll and Mr Hyde (1886), and Bram Stoker‘s Dracula (1897), and by focussing on the reactions and responses of Victorian society (as the texts represent it) to the novel‘s transgressive characters rather than on those characters themselves (as has been the trend) this dissertation moves away from readings of duality and moral judgment and towards a greater understanding of the intricacies of late-Victorian society itself. In addition, and through this process, this dissertation interrogates the bifurcated and contradictory nature of the Victorian moral structure and destabilizes the binary oppositions of character judgment that were so fundamental in its creation. Furthermore, through a discussion of the historical context of the text‘s chosen for this study, this dissertation challenges the formulation and authenticity of Victorian morality by considering the manner in which power informed the behaviour and decisions of middle-class Victorians at the turn of the century. To this end, I will consider how the philosophies of Friedrich Nietzsche, especially those pertaining to power and morality, are invaluable in problematizing the binary system of categorization that so dominated the late-Victorian cultural space. Finally, I argue that the texts I have elected to study represent a climate of unrest and dissatisfaction with the Victorian moral climate at the fin de siècle (or turn of the century) and that they are instrumental in our understanding of that moral climate and the subsequent changes to it.

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Ce mémoire étudie les épitomés de la figure doppelganger en trois romans britanniques gothiques du XIXe siècle: Frankenstein de Mary Shelley, Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson et Dracula de Bram Stoker. En utilisation avec les sources secondaires dont The Origin of Species et The Descent of Man de Charles Darwin, et The Uncanny de Sigmund Freud, je soutiens que le doppelganger symbolise les conventions sociales et les angoisses des hommes britanniques dans les années 1800. Grâce à un examen des représentations physiques et métaphoriques de la dualité et de la figure doppelganger dans la littérature primaire, je démontre que la duplicité était courante au XIXe siècle à Londres. En conclusion, les doppelgangers sont des manifestations physiques gothiques de terreur qui influencent les luttes avec bien séance, des répressions des désirs et des craintes de l'atavisme, de la descente et de l'inconnu dans le XIXe siècle. / This thesis investigates the representations of the doppelganger figure in three nineteenth-century British Gothic novels: Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. Using Charles Darwin’s The Origin of Species and The Descent of Man, and Sigmund Freud’s The Uncanny, I argue that the doppelganger symbolizes social conventions and anxieties of British men in the 1800s. By examining the physical and metaphorical representations of duality and the doppelganger figure in literature, I demonstrate that duplicity was commonplace in nineteenth-century London. I conclude that the doppelgangers are physical Gothic manifestations of terror that epitomize nineteenth-century struggles with propriety, repression of desires, and fears of atavism, descent, and the unknown.

The task of a reformed apologetics is the application of both theology and philosophy in the confrontation with unbelievers, bridging the gap between the natural man and the Gospel of Christ and trying to do justice to the multi-aspectual, existential and constitutive sides of created reality. In the Festschrift of Cornelius Van Til, two well-known reformational philosophers, Herman Dooyeweerd of the Netherlands and Hendrik Stoker of South Africa, among others, discussed with Van Til the methodology of Christian apologetics (Jerusalem and Athens 1971: viii). The investigation focus on the reflections of Dooyeweerd and Stoker on Van Til’s method, which attempted to break away from classical methods and to reform apologetics biblically. Thence, constructive criticisms, methodological integration of reformational insights and the opening up of new avenues of apologetic discourse follows after a structural evaluation of the dialogue between the three thinkers, leading to a Trinitarian, Modal-spherical method (TMSA) of apologetics, while still presupposing the biblical and triune essence of Van Til’s pressuppositional apologetics. After absorbing and integrating inter-related elements in its Trinitarian framework, the new method of apologetics will be introduced to broader Christianity via two integralist accounts of traditional Christian philosophy, both inspired by an interpretation Neo-Thomism, which in many respects correspond to the Neo-Calvinist vision. So that after non-dualistically expanding TMSA’s methodological foundation and scope of interaction non-, it can be briefly introduced to other nuances of apologetics at the final step of the thesis, in the hope of contributing for the ongoing reformation of the Church and its apologetic endevour. / MA (Missiology), North-West University, Potchefstroom Campus, 2014

The task of a reformed apologetics is the application of both theology and philosophy in the confrontation with unbelievers, bridging the gap between the natural man and the Gospel of Christ and trying to do justice to the multi-aspectual, existential and constitutive sides of created reality. In the Festschrift of Cornelius Van Til, two well-known reformational philosophers, Herman Dooyeweerd of the Netherlands and Hendrik Stoker of South Africa, among others, discussed with Van Til the methodology of Christian apologetics (Jerusalem and Athens 1971: viii). The investigation focus on the reflections of Dooyeweerd and Stoker on Van Til’s method, which attempted to break away from classical methods and to reform apologetics biblically. Thence, constructive criticisms, methodological integration of reformational insights and the opening up of new avenues of apologetic discourse follows after a structural evaluation of the dialogue between the three thinkers, leading to a Trinitarian, Modal-spherical method (TMSA) of apologetics, while still presupposing the biblical and triune essence of Van Til’s pressuppositional apologetics. After absorbing and integrating inter-related elements in its Trinitarian framework, the new method of apologetics will be introduced to broader Christianity via two integralist accounts of traditional Christian philosophy, both inspired by an interpretation Neo-Thomism, which in many respects correspond to the Neo-Calvinist vision. So that after non-dualistically expanding TMSA’s methodological foundation and scope of interaction non-, it can be briefly introduced to other nuances of apologetics at the final step of the thesis, in the hope of contributing for the ongoing reformation of the Church and its apologetic endevour. / MA (Missiology), North-West University, Potchefstroom Campus, 2014

From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.