In this study I’ve conducted an analysis of Ernest Hemingway’s short story The Old Man and the Sea where my focus has been analyzing the main character Santiago and how and in what ways he can symbolize mankind’s great need of faith. The definition of what faith is and can be understood as is based on the theory called “worldview” or “philosophy of life”. The usage of this theory is because the faith I’m analyzing, through Santiago, is one that is unspecified and dynamic. I’ve used two methods to conduct my analysis, hermeneutics and close-reading. My analysis is divided into three headlines which follow the progress of the novels story, each with a specific theme: Santiago, destiny and death. To answer the leading research question, how and in what ways Santiago can symbolize faith, I’ve formulated analysis questions for each heading which I’ve answered by with citing the novel and interpretating what said quote may signify regarding my study’s purpose. My conclusion for the study is, simply put, that Santiago in matter of fact does symbolize man’s great need of faith. I’ve examined how complex faith is, how it can be experienced and the importance of its functionality. In other words, my analysis has resulted in another, perhaps new, image of what faith is and can be.

Den engelska kompositören Rebecca Clarke (1886–1979) komponerade vokalmusik med stor skicklighet och kvalitet men hennes verk är inte allmänt kända. I detta konstnärliga examensarbete analyseras ett av hennes viktigaste verk för soloröst och piano; The Seal Man (1922). Det är en romans som är baserad på en gammal keltisk legend om en man som är till hälften säl. Studien riktar fokus på Clarkes impressionistiska kompositionsstil och textens relation till musiken. Detta analyseras metodiskt genom instudering av partitur och läsning av författaren John Masefields (1878–1964) text som Clarkes The Seal Man är baserad på. Studiens resultat påvisar Clarkes skicklighet att i sin komposition gestalta olika karaktärer och stämningar i texten genom musikaliska medel samt influenser från Claude Debussy som var en av impressionismens främsta kompositörer. För mig som sångerska har noggrann analys av Clarkes stil och textens relation med musiken varit till stor hjälp för att uppnå min egna konstnärligt mogen interpretation av sången The Seal Man. / <p>Programm:</p><p>Rebecca Clarke - The Seal Man</p><p>Gösta Nystroem - Själ och landskap 1. Vitt land, 2. Önskan, 3. Bara hos den...</p><p>Benjamin Britten - On this Island Op. 11, 1. Let the florid music praise!, 2. Now the leaves are falling fast, 3. Seascape, 4. Nocturne, 5. As it is, plenty</p><p></p><p>Emmi Kauppinen, sopran</p><p>Chiara Schmidt, piano</p>

Babe Ruth, American Herois a one-person play that chronicles the life of sport's greatest legend and first superstar. The manuscript and performance represent over a year of research, writing and rehearsing. The process to produce a first draft of a manuscript began by researching biographies, autobiographies, documentaries, and the websites including Babe Ruth, the Babe Ruth Museum, and the Baseball Hall of Fame. A production staff was assembled and on April 27, 2002, at the Veterans Memorial Theatre, in Johnson City, TN, a staged reading of the play was performed before an audience. The manuscript underwent a series of rewrites, and the play premiered on October 18 and 19, 2002, at the Bud Frank Theatre, East Tennessee State University Campus. The article that follows contains the first and final drafts of the play, as well as supplemental, promotional, and program information.

In this master’s thesis, I shall examine Graham Greene’s place in criticism of the British novel by focusing on The Third Man and The Quiet American. In terms of theoretical approach, I shall focus on a close, critical reading of the texts employing elements of cultural, historical, psychological, and genre criticism. With the films, I shall focus on lighting and shot formation along with the abilities of the directors and actors. These works have not been studied jointly before as literature or as film or as a combination thereof. Nevertheless, such study proves worthwhile. My thesis is also the first lengthy comparison of the two film versions of The Quiet American. Given that Phillip Noyce’s 2002 film is so new, little lengthy criticism exists. Even though Joseph Mankiewicz’s 1957 film has been available for over forty years, no serious scholarship exists on it. My thesis will fill this critical lacuna.

James Thurber, along with others who wrote for The New Yorker magazine, developed the 'little man' comic figure. The little man as a central character was a shift from earlier nineteenth-century traditions in humor. This twentieth-century protagonist was a comic antihero whose function was to create sympathy rather than scorn and bring into question the values and behaviors of society rather than affirm them, as earlier comic figures did. The little man was urban, inept, frustrated, childlike, suspicious, and stubborn. His female counterpart was often a foil: confident and controlling enough to highlight his most pitiable and funniest features. Contradictory gender roles and stereotypes are essential to Thurber's humor. This thesis thus reads Thurber's work as critical of gender roles. Thurber's humor demonstrates that expectations for men and women to be socially masculine and feminine are often incongruous with their capabilities and natures. Often his work is funny because of the way it portrays gender as performance and as expectations imposed upon people instead of as inherent qualities in men and women. These roles create conflicted characters as well as conflict between the characters that Thurber draws in his stories, often a quarreling husband and wife. Also characteristic in Thurber's humor is the element of neurosis. Thurber often played with the vernacular concepts of neurosis, and he capitalized on public obsession with Freudian psychology with his satires and with fiction and essays about various anxieties and daydreaming. Neurosis works well as comic material because it also catalyzes the battle of the sexes. To support my interpretation of Thurber as a critic of societal gender roles, Freud's book The Joke and Its Relation to the Unconscious is useful at illuminating a deeper 'tendency' in Thurber's humor. Thurber is often thought of as a misogynist, for his personal behavior and for his unflattering literary portrayal of women as unimaginative nags. This thesis also examines the complexities and developments of Thurber's attitudes toward women. Most importantly for Thurber, his little man figure and the battle of the sexes was a way to express the importance and power of the liberated human imagination.

This article claims that Ralph Ellison's use and then revision of French existential themes is essential to understanding his overriding message of Invisible Man: Ellison's hope for a more polyglot American democracy that transcends the white democracy of mid twentieth century America. Specifically, I argue that Ellison, after demonstrating his ability to understand and engage in the traditional ideology of European existentialism, deviates from its individualistic conclusions demanding that the larger community, not just the solitary individual, must become ethically responsible if the classic existential tenet of authenticity is to be achieved. In order to establish this claim, I identify key passages in Invisible Man that indicate Ellison's desire to engage the existential movement. Writings from Camus and Sartre provide the foundation for comparison between Ellison's work and the French based philosophy. This background provides the groundwork to explore Ellison's deviations from the existential forms of his day. These departures have significant implications for Ellison's view of a socially productive individual, and therefore of his message in Invisible Man. In order to document the prevalence of existentialism in Ellison's literary consciousness, I then discuss its rise and decline in postwar New York. I also outline what is known about Ellison's relationship to the movement. Lastly, I conclude with a discussion of the philosophical tradition of existential philosophy and the difference between the philosophy of existence, seen in the Western canon through philosophers like Kierkegaard, and existentialism, one of its popular manifestations that peaked in the 1940s. Separating the two existential movements allows me to explore the tangential way most Ellison critics have associated him with existentialism and advocate for a more inclusive critical discussion of Ellison's relationship to existentialism.

This thesis seeks to understand the South as a space through which the contested bodies of two literary characters and the men who authored them can be more fully explored: the Ex- Colored Man in James Weldon Johnson's The Autobiography of an Ex-Colored Man and Nicholas Worth in Walter Hines Page's The Southerner; each appearing within an early twentieth-century novel masquerading as an autobiography. These bodies serve to help us understand how the regional Other of the South has inflicted itself on individuals living in the South and caused an irreparable fracture to the characters' identities forcing them into passing roles in lives they do not see as their own. This passing allows the characters to adopt a new persona in the communities that they inhabit, but never permits them to inhabit new bodies themselves. They are always left with the perception that they do not corporeally belong and the anxiety that the "truth" about their body might be exposed at any moment. Ultimately, the thesis also challenges the notion of passing as merely racial and explores other forms of passing, especially ones dealing with geography (i.e. a Southerner passing as a Northerner) and explains that the New Southern Studies needs to find ways to examine the South that are not dependent on racial binaries.

This study emphasizes the private and public struggles of the common man as portrayed in two representative plays by Arthur Miller, Death of a Salesman and The Price, and two by Thornton Wilder, Our Town and The Skin of Our Teeth. These plays demonstrate man's struggle because of failures in responsibility toward self and family and because of his inability to fully appreciate life. Miller concentrates on the pathetic part of Man's nature, caused by a breakdown in human communication. Wilder, however, focuses on the resilient part which allows man to overcome natural disasters and moral transgressions. The timelessness of man's conflict explains the motivations of symbolic character types in these plays and reveals a marked applicability to all average citizens in American society.

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