Thesis (M.A.)--Liberty University, 2009. / Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 249-256).

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Any study of The Alexandria Quartet would be incomplete without a discussion of Durrell's concept of time. His spacetime relativity proposition is central to the work and, therefore, must be fully understood if The Alexandria quartet is to be appreciated. This investigation proposes to examine Durrell's relativity proposition as it is presented in The Alexandria Quartet. The study will begin with a general discussion of time from both a scientific and philosophical point of view. This introduction will focus on the modern cyclic view of time, or mind-time, as opposed to the more traditional linear concept of time. After the introductory presentation, the study will deal with the view of time as presented by Durrell in The Alexandria Quartet and will concentrate on time and setting, on time and modern love, on time and reality as seen from the varying points of view of the many characters, and finally on time and the artist.

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After a brief contextualisation, time and history are examined in Ackroyd's novels. Chapter 1 examines postmodernism. Chapter 2 explores history perceived as fact and as construct. Chapter 3 investigates the dissolution of the distinction between history and fiction. Chapter 4 analyses the development of 'originality' and the futile search for origin. Chapter 5 examines the interchangeability of fiction and reality. Chapter 6 studies theories on time, focusing on Einstein's theory of relativity. Chapter 7 analyses the coexistence of the past and present, and the relativity of time. Chapter 8 scrutinises the myth of 'mobilities of presence', which facilitates rejuvenation. Chapter 9 considers the relation between time and space necessary for rejuvenation. Chapter 10 looks at simultaneity and the eternal present. It is clear that Ackroyd explores the mobilities of presence of historical and fictional characters, objects, and texts, thus showing that time is a web of simultaneously existing present moments. / English Studies / M.A. (English)

The south African playwright Athol Fugard of ten explores the problems which apartheid has created within his society -problems ranging from the racial and societal to the spiritual. He seems to communicate his thoughts about these issues through many direct references to space. This study investigates the meanings these spaces communicate. Four plays were chosen as representative of Fugard's subject matter (covering both white and non-white society) and career: Blood Knot (1963), People are Living There (1970), The Road to Mecca (1985), and My Children, My Africa (1990). Then three steps were carefully followed. First, each reference to space was identified and categorized using Keir Elam's and Susanne Langer's definition of "virtual space" as guide to the establishment of categories. Three categories were established: virtual space (that which is immediately visible to the audience), extended-virtual space (the off stage world which is real to the characters but unseen by the audience), and imaginary space (that which the characters project on or into the world around them). second, patterns and relationships among the spaces were identified (using Kenneth Burke's and Mary McCarthy's methodology of image clusters and dramatic alignments). Third and finally, the meaning of these patterns was explored, often using Edward Hall's science of proxemics to facilitate understanding. There is considerable similarity and continuity from play to play in the use of space. Fugard often employs references to extended-virtual space to communicate the many ills which have arisen in South African society. He also typically includes a virtual space or spaces which provide a safe haven from those ills. In addition, be almost always uses reference to imaginary space or spaces to communicate the hope for the future of freedom for all of South Africa's people. Ideally, the recognition of the spaces in Fugard's work should be actively, and knowingly, articulated in any production of his plays. This study provides a methodology for exploring these spaces and an indication of what many of the spaces mean.

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Thesis (Ph. D.)--Lehigh University, 2002. / Includes vita. Includes bibliographical references (leaves 255-269).