Laura Ingalls Wilder's eight-novel Little House series, published between 1932 and 1943, is among the most acclaimed and controversial examples of modern children's literature. The narrative tells the true story of Wilder's pioneer childhood in the 1870s and 80s, including her family's encounters with American Indians. Recently some scholars have argued that Wilder's depiction of American Indians is derogatory, but examining Wilder's literary devices and contextualizing the story in the eras in which it occurred and was written about reveals a more complex portrayal of Native themes. Biographical information about Wilder suggests that she deliberately crafted her story as she recorded it; such changes afforded opportunities to emphasize her political values and critique mythology associated with America's frontier era. Analyzing the narrative in the context of frontier Kansas, and more specifically as women's frontier literature, reveals the literary uniqueness of the Little House story and highlights fallacies inherent in the premise of Manifest Destiny. As Wilder recorded her memories with the help of her well-known libertarian daughter, Rose Wilder Lane, during the Depression they often emphasized their anti-New Deal politics and cautioned readers about the dangers of buying into "big government" policies. The Little House story also reflects trends of the Golden Age of children's literature which demonstrated respect for children by removing didactic lessons from the literature; thus the Little House texts present the controversial subject of America's frontier history in a manner that allows children to draw their own conclusions about it. Finally, two television versions of the Little House story present didactic, positive lessons about American Indians on the frontier, but diminish the possibility for multiple interpretations of the events inherent in Wilder's original story. In a non-fiction article in The Missouri Ruralist in 1920, Wilder reminded her neighbors that home is "the best place for teaching many things, first and most important of which is how to think for one's self." Wilder's texts offer opportunities for discussing the complex topics associated with frontier history and encourage young readers to think critically about Native issues in the texts--opportunities seldom found in mainstream American storybooks and curriculum.

Pedilanthus palmeri Millsp. was evaluated as a potential interior landscaping plant. The optimal propagation technique, production and post-production light requirements, growth regulator response and photoperiod requirement were analyzed. Cuttings were successfully rooted within five weeks after treatment with aqueous solutions of IBA. Root fresh weight increased from 0.58 g with 0 mg·liter⁻¹ IBA to 1.12 g with 6736 mg·liter⁻¹ IBA. No difference in leaf length, width or thickness, plant height or node number was found between plants grown under 77% and 88% shade. Plants moved to a low light interior environment continued to grow and new, thin leaves replaced abscised leaves. The optimum concentration of the growth retardant Bonzi (paclobutrazol), 0.125 g ai per pot, caused a 46% reduction in shoot height. Apical pinching and 500 mg·liter-1 BA increased branch number 3.8-fold. Pedilanthus palmeri is a short day plant. Flowering occurred in the 8 and 10 hour light treatments but not in the longer photoperiods.

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This thesis addresses the central role of the haunted house in mid-to-late Victorian Gothic texts. It argues that haunting in fiction derives from distinct architectural and spatial traits that the middle-class Victorian home possessed. These design qualities both reflected and reinforced current social norms, and anxiety about the latter surfaced in Gothic texts. In this interdisciplinary study, literary analysis works alongside spatial examination, under the premise that literature is a space that can be penetrated and deciphered in the same way that buildings are texts that can be read and interpreted. This work is divided into two main sections, with the first three chapters introducing theoretical, historical and architectural notions that provide a background to the literary works to be discussed. The first chapter presents various theorists’ notions behind haunting and the convergence of spectrality and space, giving rise to the discussion of domestic haunting and its appeal. The second chapter examines the Crystal Palace as the icon of public space in Victorian times, its capacity for haunting, as well as its ability to frame the domestic both socially and historically. The third chapter focuses on the prototype of private space at the time—the middle-class home—in order to highlight the specificity of this dwelling, both as an architectural and symbolic entity. The second section also consists of three chapters, dedicated to the “dissection” of the haunted house, divided into three different areas: liminal, secret, and surrounding space. The fourth chapter examines works where marginal space, in the shape of hallways and staircases, is the site of intense haunting. A novel by Richard Marsh and stories by Bulwer-Lytton, Algernon Blackwood and W.W. Jacobs are analyzed here. The fifth chapter is a journey through rooms and secretive space of the spectral home; works by authors such as Wilkie Collins, J.H. Riddell and Sheridan Le Fanu are considered in order to argue that the home’s exceptional compartmentalization and its concern for secrecy translated effortlessly into Gothic fiction. The final chapter addresses an integral yet external part of the Victorian home—the grounds. Gardens in works by Mary Elizabeth Braddon, Margaret Oliphant, M.R. James, and Oscar Wilde are inspected, proving Gothic fiction’s disregard for boundaries and its ability to exceed the parameters of the home.