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<p>The aim of this thesis is to present the results of an investigation of some of the typical theological and Biblical sources to which Marlowe had access at the time of writing Doctor Faustus. These selected materials are classed under three principal headings in order to illustrate clearly the varieties of dramatic use to which Marlowe put them. The evidence of deep familiarity with these materials presented here leads to a consideration of the ways in which Marlowe used Christian doctrine as a central element in his play. A final chapter synthesizes the influence of the religious background on the play's meaning and significance.</p> / Master of Arts (MA)

<p>Canadian multicultural policy today serves to define Canadian national identity to both its citizens and the international community at large. In 1971, the federal government officially began to implement an ideology of cultural pluralism, which today serves to guide all Canadian policies, program initiatives, and laws. But while Canada enjoys a reputation as a country free from the racism plaguing the United States and other competing Western nations, numerous activists, academics, historians and politicians have questioned official multiculturalism's ability to truly eradicate racism. In fact, they<br />argue, the policy has quite the opposite effect, entrenching racist ideology under a veneer of liberal inclusion, and masking the asymmetrical relations of power governing<br />interaction between whites and non-whites in this country.</p> <p>While several excellent materialist criticisms of Canadian multiculturalism are available today, these studies have confined their analyses for the most pati to structural forms of racism engendered through legislative and popular discourses. This study seeks to build upon the work begun by these theorists by offering an analysis of the psychic or affective effects of racism upon racialized minority subjects and a reconsideration of the way in which marginal subjectivities are engendered through racist discourses. In order to achieve this end, this study traces the history of legislative and popular racism against a particularly marginalized ethnic group, the Chinese, from their arrival in the midnineteenth century up to their current position in multicultural Canada. In order to explore fully the psychic dimensions of racism, this study also includes an examination of select Chinese Canadian literature in English by Wayson Choy and Fred Wah. These texts not only lend voice to the history of exclusion faced by the Chinese in Canada, but theorize about alternative hybrid subjectivities that offer both sites of individual and cultural expression, and valuable anti-racist politics.</p> / Master of Arts (MA)

<p>This thesis examines a selection of Anglo-Saxon texts featuring food, medicine and magic circa 975-1100 C.E and explores the ways in which food preparation, spiritual practices and magic were related to eating, spiritual and bodily health. I argue that during this period a context-specific attitude of continuity between magic and prayer, food and medicine was present. The supernatural was not differentiated from, but bound up with speech, the body and eating. A study of these texts grants us access to Anglo-Saxon perceptions ofhealth, spirituality, human relationships and death. In order to discuss this special literary space in history we need to develop a critical language that can convey the spiritual force ofwords without putting them into binary categories of "Christian" or "Pagan." Medieval texts resist modem and postmodern literary and historical categorization, making it more important to analyze the significance of overlap than to study the history of these works in isolated disciplines.<br />This project consists offour sections, each a different framework with which to approach and analyze these texts. These sections are as follows: Part 1) Food and Consumption, Part 2) Magic and Prayer, Part 3) Medicine and Death. A single Anglo-Saxon charm, for example, will receive three separate treatments and analyses. The categories that I have set up will thus work to demonstrate their very non-existence; the same passages can be studied three different ways and simultaneously have three different usages and meanings. My fmal conclusion functions as a connecting space where I will explain the ways in which this thesis both demonstrates and participates in the fluidity and permeability ofthese texts. As the separate discourses offood, magic and medicine synthesize in the conclusion, so too will the reader's categorical understanding of the Anglo-Saxon world.</p> / Master of Arts (MA)

<p>Historically, the Gothic, both in its plastic and literary manifestations, may be broadly defined as a reactive aesthetic movement--reactive against classicism, Reason and, most importantly, social convention. Typically, the Gothic imagination, as exhibited in eighteenth-century Romantic fiction, seeks out sensations which are morally and psychologically aberrant, and experiences which are sometimes flagrantly anti-social, these predilections expressing a grave mistrust of the status quo and, at the same time, an angst at having lost a coherent ethical framework. This thesis attempts to gauge the artistic, intellectual and emotional impact of the Gothic tradition on Dickens the social critic. My intent essentially is to set Dickens within the general context of dark Romanticism, to demonstrate how he exploits the "horrid" imagery (ghosts, corpses, corruption) and melodramatic narrative technique of Gothic romance quite as competently as any sensation novelist, yet turns them to the account of a dedicated<br />Victorian social conscience. I focus primarily on Bleak House, probably Dickens's most emphatically "Romantic" novel, but also take some note of his earlier and later career.</p> / Master of Arts (MA)

<p>In Darkness at Noon the third person narrative and the structure of the story itself are dictated solely by the polemical intent. Koestler wants to force the reader to relive Rubashov's struggle to maintain his individual identity despite overwhelming pressure to adopt that of the Communist Party. His intellect is already so molded to this group that only in his emotions, most of which he has repressed, can he find the seeds of his authentic self. The narrative technique encourages the reader to view the story through the aperture of this inner self but when Rubashov shifts his centre of consciousness to his reasoning persona the reader's perspective is destroyed, along with much of the moral and aesthetic force of the novel.</p> <p>The unconscious as a subject invites the use of symbols. Those of Koestler grow naturally out of, the facts of his story; they even reinforce one another, and spawn related images until some passages approach allegory. They are also useful litmus papers for detecting the emotional attachment to Marxist ideology Koestler retains.</p> <p>In this novel Koestler dramatizes his arguments by embodying all those he wants us to approve in Rubashov and all those he wants us to doubt in the Party; thus he controls our responses very precisely. But the split in Rubashov designed to clarify Koestler's ideas also destroys his human quality and so undermines the tragedy of Darkness<br />at Noon.</p> <p>It is not the didacticism but the subject matter of this novel that undercuts its aesthetic quality. The narrative technique pulls the reader inside Rubashov's emotions but when Rubashov loses contact with this self, the reader loses his window on events and his<br />concern about them. And, in a novel about individual freedom, the process of making explicit the normally implicit motives of an individual celebrates the philosophy of determinism rather than freedom. However, the loss of the reader's connection with the centre of consciousness and the difficulty of communicating the nature of freedom are overcome by the fascination of the contradictory emotions aroused by the ideas in Darkness at Noon.</p> / Master of Arts (MA)

Master of Arts (MA)

<p>For Samuel Richardson, language is the means by which he tells the story of Clarissa but, more importantly, it is his symbol within the novel of the deceptions of the world. It is language that leads the heroine away from herself and from everything that she holds dear; it is language that frustrates her and Lovelace's attempts to reach an understanding; and it is language, finally, that must be abandoned by Clarissa as she<br />prepares herself for death. Through a close study of the language of Clarissa, this paper attempts to define the heroine's relationship to the words she and the other characters use and to trace Richardsen's involvement with this theme. It is argued that Richardson emphasizes Clarissa's attitude towards language through the use of imagery, lmagery which is especially noticeable and important towards the end of the novel when the heroine rejects ordinary words in favour of sacred language.</p> / Master of Arts (MA)

<p>In Aspects of the Novel, Forster discusses the function and importance of "fantasy" and "prophecy", fictional elements that play an essential role in his own works. The object of this study is to provide a definition of these two terms, and to apply them to an evaluation of Forster's two most renowned novels--Howards End and A Passage to India.</p> / Master of Arts (MA)