The thesis comprises, in roughly equal proportions, a commentary on the first book of Heliodoros Aithiopika (a Greek novel of the third or fourth century A.D.); and prolegomena which treat issues raised by the work as a whole. A literal translation of Aithiopika I is included as an appendix. In the commentary a range of points is covered, including philological and textual points, and questions of literary interpretation, and of the historical background of the action of the novel. Some of the literary points relate to the whole corpus of extant ancient Greek novels. One particularly obscure historical point, the identity of the 'Boukoloi', is given extended consideration. The prolegomena consists of five chapters. The first is a brief survey of the textual tradition of the work. The second examines the question of its date of composition and of the identity of its author, surveying the history of this debate, and showing how the evidence of vocabulary can be used to add weight to the argument in favour of accepting the fourth century date (rather than the third century date favoured by some scholars), and the view that Heliodoros was a Christian. The third chapter disputes the current view that the use of terms for divine agencies in the text reflects a lack of a systematic theology. The fourth chapter asks whether the text bears any traces of the local cult of the author's home town of Emesa, and answers with a tentative affirmative. In the fifth chapter the author considers how his contributions to our understanding of the historical and conceptual background of the text could affect our interpretation of it as a literary work.

Screenplay: A wealthy industrialist, Victor Sanderton, has undergone a life change and set up an 'Institute of Higher Learning' in rural South East Queensland. He invites environmental and other contemporary New Age luminaries to hold workshops, while the attendees get in touch with their roots by planting trees. Victor, however, has not come to terms with his own weaknesses. Aleesha, a young runaway, distracts him from his higher purpose. Matt, one of his employees, thinks he sees in this an opportunity to enrich himself at Victor's expense. The situation is further complicated when a private detective, Helen Cox, is employed by Aleesha's mother to search for her. Logline: The ones who think they're strong are most at risk. Exegesis: While the narrative structures employed in the novel form have developed freely over the last century, in mainstream film they have remained relatively static. Even though film is predominantly a visual medium, and therefore suffers from an inherent shallowness, more complex narrative models can present opportunities for film to better mirror the human condition.

This submission is in two parts. The first, an exegesis, sets my creative work in a literary, stylistic and social context. The second and main part of this submission is the first draft of a novel, Sleep, Sister, which I have written over the course of the last year. The exegesis explores issues such as the history of the road novel, alienation and loneliness within society, and in particular within families. It also discusses the novel as a coming of age story, with its main characters being members of Generation X, those born between 1960 -1980. This was the first generation of New Zealand children for whom divorced parents and blended families were common experiences. The exegesis also describes how the themes of the story have informed the style, narrative and characterisation of the book. It concludes with the main question of the novel; whether the two main characters – sisters – can overcome their damaging past. The novel is set in New Zealand, predominantly in the year 1987, although there are flashbacks to the girls’ 1970s childhood. It is written mainly in the present tense and with shifting points of view.

This submission is in two parts. The first, an exegesis, sets my creative work in a literary, stylistic and social context. The second and main part of this submission is the first draft of a novel, Sleep, Sister, which I have written over the course of the last year. [Note: the draft novel is embargoed until 31 May 2011.] The exegesis explores issues such as the history of the road novel, alienation and loneliness within society, and in particular within families. It also discusses the novel as a coming of age story, with its main characters being members of Generation X, those born between 1960 -1980. This was the first generation of New Zealand children for whom divorced parents and blended families were common experiences. The exegesis also describes how the themes of the story have informed the style, narrative and characterisation of the book. It concludes with the main question of the novel; whether the two main characters – sisters – can overcome their damaging past. The novel is set in New Zealand, predominantly in the year 1987, although there are flashbacks to the girls’ 1970s childhood. It is written mainly in the present tense and with shifting points of view.

This submission is in two parts. The first, an exegesis, sets my creative work in a literary, stylistic and social context. The second and main part of this submission is the first draft of a novel, Sleep, Sister, which I have written over the course of the last year. [Note: the draft novel is embargoed until 31 May 2011.] The exegesis explores issues such as the history of the road novel, alienation and loneliness within society, and in particular within families. It also discusses the novel as a coming of age story, with its main characters being members of Generation X, those born between 1960 -1980. This was the first generation of New Zealand children for whom divorced parents and blended families were common experiences. The exegesis also describes how the themes of the story have informed the style, narrative and characterisation of the book. It concludes with the main question of the novel; whether the two main characters – sisters – can overcome their damaging past. The novel is set in New Zealand, predominantly in the year 1987, although there are flashbacks to the girls’ 1970s childhood. It is written mainly in the present tense and with shifting points of view.

Zugl.: Giessen, Univ., Diplomarbeit, 2005

Univ., Diss.--Cambridge. / Bibliography S. 186 - 200.

Darmstadt, Techn. Universiẗat, Diss., 2000.

Suburban Heights is a novella and collection of stories.

222 pages / The novels of Don Berry rank among the best to emerge from the Northwest and can be considered as serious entries in a growing group of New Western novels. While the term "New Western" is widely used, definitions of its meaning are diverse and at times conflicting. This study delves into the diversity and presents a definition of the New Western novel as a historical tool. The New Western is seen as a probe into the themes and traditions of the western experience, and. as such it can be used in the study of history. The use of fiction in the study of history presents several problems, however, because a novelist goes beyond the usual constraints of a factual record. How the novelist uses, or in some cases abuses, the historical record is important to the historian. This study examines Don Berry's Trask as an example of a New Western novel to determine the manner in which the historical records and traditions of the Northwest have been adapted to use in fiction.