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Through an examination of Robertson Davies’s The Deptford Trilogy, this thesis analyses the influence of the international Theosophical movement (with close attention to the Toronto Theosophical Society) and psychoanalysis to the moral world presented in these three Davies novels. Chapter One outlines the context of nineteenth-century Western belief in Theosophy, the most powerful occult movement in the world at the time, with special attention to Toronto as the center for Theosophy in Canada. Chapter Two looks at the occult influence of psychoanalysis, specifically Freud’s uncanny, in Fifth Business, Jung’s theory of individuation in The Manticore and Davies’s growing understanding of Gnosticism in World of Wonders. This second chapter is supported with reference to Davies’s personal library, now housed at the W.D. Jordan Special Collections and Music Library at Queen’s University. I conclude by arguing, with evidence from the novels, that Davies was aware of and influenced by the teachings of the Theosophical Society, which along with his study of Jung, brought him into sympathy with modern Gnosticism. I present evidence that Davies placed numerous hidden references to occult themes within The Deptford Trilogy for the enlightened reader to discover, and that these references offer a new perspective on Davies analysis not yet part of the critical record. / Thesis (Master, English) -- Queen's University, 2013-08-22 16:35:50.33

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AN ABSTRACT OF THE DISSERTATION OF ASHLEY GREEN, for the Doctor of Philosophy degree in English, presented on November 5, 2012, at Southern Illinois University Carbondale. TITLE: TRAUMA INSCRIBED ON THE BODY IN PAT BARKER'S REGENERATION TRILOGY MAJOR PROFESSOR: Dr. Michael Molino In the nineties, British writer, Pat Barker, completed a sequence of novels entitled The Regeneration Trilogy in which she set to the task of understanding trauma in relation to our notions, or mis-notions rather, of WWI. In this trilogy, the author does not simply engage a discussion of the past through the integration of historical figures, personal recordings, and accurate accounts of society and the Western Front during 1917-1918; but through the complexity of her characters' personalities and lives a rather comprehensive evaluation of trauma and its effects on the subject emerges. In the initial book in her sequence, Regeneration, Barker is specifically interested in the ways in which the physical symptoms of war neurosis communicate the nature of an internal crisis, and how those very same manifestations enlighten our understanding of the obstacles of traumatic communication. Dr. Rivers's role as a therapist who endorses the "Talking Cure" establishes language as the key element to the process recovery, proposing, then, it is through a dialectical relationship that the wound[ed] can speak; language, for Barker, is the link reconnecting individuals to their trauma, subjects to their past and present selves, and, ultimately, the soul to its body. It is really through the process of integrating history and fiction that the author is able to evaluate the full breadth of Great Britain's traumatization during WWI. As Barker moves through her trilogy, her observations of trauma increase in scope as Dr. Rivers moves from Craiglockhart, Scotland, ultimately, to London working at the Empire Hospital with Dr. Henry Head. Initially, Dr. Rivers treats specifically shell-shocked soldiers but by The Eye in the Door, Rivers begins treating officers of a different branch, pilots of the Royal Flying Corps; and by the final book in the sequence, The Ghost Road, the doctor applies his clinical theories to both physically and emotionally damaged patients. In direct relation to Dr. Rivers's greater perspective, Barker also brings to light her observations of total traumatization by depicting her female characters as subverted elements of society and locales of crisis. In addition, Barker represents culture as one that also displays obvious clues of violence and traumatization. Ultimately, Barker does all this to make a comprehensive observation of trauma: the physical always reveals evidence of its experience. Through reading the material of -- and written on the body--we can only begin to understand fully the complex nature of trauma and the way in which it has entirely disrupted, yet composed our historical identities.

<p>This dissertation examines the ways in which Beckett, in his post-trilogy fiction, challenges the "meaning-ful" structures of the traditional novel {character, plot, action) and offers the reader, in their place, new narrative strategies. These strategies {mnemonic, canonic, catechetical, recursive) are an experiment with linguistic and narrative structures and can be seen to "dis-close" what Beckett terms as the chaos and flux behind form.</p> <p>Chapter II establishes those sorts of "meaning-ful" structures which give form to the chaos of experience, structures which, according to Frank Kermode, make sense of man's life, both in myth and in fiction, by enabling him to place a "telos" on nothingness. In this way, man constructs a world filled with teleological sequence, and consequently, "objectifies" and "spatializes" his life by insisting that there is concordance and consonance in the world.</p> <p>Chapters III and IV deal primarily with the "syntax of weakness" and the "rhetoric of abstractiom" that are characteristic of Beckett's narrative st_rategies. On the levels of language and narrative, Beckett's prose can be seen to subvert the traditional form of fiction (sequential progression of plot; motivated action; character development and presentation; ordered fictional universes with spacetime co-ordinates; and linearity) and to deprive language of its accustomed, grammatical form.</p> <p>Chapter V shows the sort of fictional world we are left with when such human consanances (normal linguistic structures and ordered fictional universes) are removed. The reader is denied that traditional fictional world, a world which, as Beckett shows us, is illusory, and which both defies category and works to dismantle--de-construct-its form.</p> <p>Beckett's fiction becomes all the more provocative when we see that his denial of closure in fiction--the formal need to have beginnings and ends--opens up the hermeneutic potential of the text. Readers, accustomed to more traditional narrative structures, are involved in a dialectic when they attempt to impose order and form om a body of language that, replete with ambiguities and abstractions, defies that impulse to establish consonance and continues to sabotage the reader's pre-conditioned impulse to construct meaning.</p> / Thesis / Doctor of Philosophy (PhD)

The lecture recital was given on July 2, 1984. The Megalith Trilogy was performed following a lecture which examined the internal structure of the work. The main body of the lecture focused on motivic and tonal considerations and included motivic and pitch reductions of the three movements. In addition to the lecture recital three other public solo recitals were performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

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Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-23T13:56:52Z No. of bitstreams: 1 dissertacao-gilberto-bettini-bonadio.pdf: 852054 bytes, checksum: 78268677a89c5c70c19b8c3e626875c3 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-23T14:05:37Z (GMT) No. of bitstreams: 1 dissertacao-gilberto-bettini-bonadio.pdf: 852054 bytes, checksum: 78268677a89c5c70c19b8c3e626875c3 (MD5) / Made available in DSpace on 2016-06-23T14:05:37Z (GMT). No. of bitstreams: 1 dissertacao-gilberto-bettini-bonadio.pdf: 852054 bytes, checksum: 78268677a89c5c70c19b8c3e626875c3 (MD5) Previous issue date: 2014-04-28 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A presente pesquisa tem como tema a investigação sobre o problema do tempo na obra de Samuel Beckett, mais precisamente em seus romances do pós-guerra: Molloy, Malone morre e O Inominável. A partir do ensaio de Beckett sobre Proust e da filosofia de Bergson, procuramos analisar de que forma a pesquisa sobre a questão do tempo nos romances em questão pode nos aproximar do pensamento estético beckettiano, evidenciando, assim, a forma pela qual os questionamentos de Beckett adquirem expressão artística e como as imagens e as histórias surgidas em seu universo literário apontam conteúdos filosóficos, possibilitando uma aproximação no diálogo entre filosofia e literatura / This research has as a theme the investigation about the problem of the time in the work of Samuel Beckett, more precisely in his postwar novels: Molloy, Malone dies and The Unnamable. From Beckett's essay about Proust and the philosophy of Bergson, we try to analyze how the research about the question of time in such novels can get us closer to the Beckettian esthetic thinking, thus showing the way in which the questioning of Beckett acquire artistic expression and how the images and stories arising in his literary universe point to philosophical contents, enabling an approach in the dialogue between philosophy and literature.

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<p> Jürgen Moltmann's trilogy-Theology of Hope, The Crucified God, and The Church in the Power of the Spirit-is pervaded by the concept of "contradiction." Secondary literature commonly alludes to his theology of contradiction, describing his theology as "dialectical," but the literature rarely analyzes it comprehensively. This thesis seeks to fill this lack. It argues that in Moltmann's trilogy God creates and fosters in the world three different types of contradiction (objective, subjective and active) through three different means (God's promises, his crucifixion, and the work of his Spirit in and through the Church) in order to accomplish his purposes. The inductive sections of the thesis show that contradiction exists in nearly every chapter of each book. The systematic sections show contradiction is central to the main systematic theological topics of the trilogy. Understanding Moltmann's theology of contradiction this way allows for clearer interpretation of his theology as a whole.</p> / Thesis / Master of Arts (MA)