Thesis (M.A.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed Jun. 4, 2009). Advisor: Christopher Hodgkins; submitted to the Dept. of English. Includes bibliographical references (p. 27-29, p. 54-55).

Thesis (Ph. D.)--University of Wisconsin--Madison, 2004. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 315-351).

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 May 31

Thesis (Ph.D)--University of Alberta, 2010. / "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English and Film Studies, University of Alberta." Title from pdf file main screen (viewed on July 8, 2010). Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 20, 2007) Vita. Includes bibliographical references.

This dissertation contributes to the ongoing analysis of art during the anni di piombo (1969-1983) by revisiting and challenging the well-established charge that artists failed to create meaningful reflections on terrorism during the years of lead. I analyze a select number of literary and filmic fictional representations of terrorists and their victims produced in Italy during the first half of the anni di piombo, up to Aldo Moro’s death. Reading these narratives in a comparative perspective, I argue that their symbolic reflection on terrorism becomes particularly evident in the representation of the body of the terrorist. Through my analysis I find that—despite the differences in medium, genre, intended audience, and kinds of political terrorism these narratives respectively explore—a similar fundamental criticism of terrorism as an essentially anti-political practice emerges. In this way, I show, these narratives can be read as contributions to the democratic debate on violence and the principle of civility in politics produced already during that period of great socio-political crisis.

This paper examines the interconnections of nature, magic, and violence in the Nouveaux contes de fées (New Fairy Tales) of the Countess of Ségur and their illustrations. It focuses on the ways in which the Countess reappropriates the framework of the literary fairy tale and subtly breaks with the traditions established by past fairy-tale authors, encouraging a return to nature and a movement away from the perceived corruption of the nineteenth-century city within the context of a timeless magical world. Close study of the Countess’s multiple perspectives on violence as either a motivating form of punishment or as a display of pure malice reinforce the dichotomy of good vs. evil as it is developed in the text, reflecting the author’s desire to create an ordered world in which obedience is rewarded and cruelty is justly punished.

Text in French with an abstract in English / The loss of a life for natural causes has always been, always is and always will be something tragic for human beings, even if it was foreseen. It is all the more tragic when the loss of human life is caused by violent circumstances such as murder or an accident, as in the case of the untimely death of Albert Camus in a car accident. The worst, however, is when a miscarriage of justice in court, due to an error on the part of the judge, results in the loss of a valuable life by the death penalty. This value must be assessed in existential terms, in terms of the human being contextualized in a life worth living despite its absurdity, as described by Camus. It must be realized that this brutal death is imposed by a few words pronounced by a fallible judge, imposing the death penalty on another fallible human being, and that the sentence is then carried out by another fallible human being – all of whom are fundamentally subject to human imperfection and who regularly make mistakes in life. By emphasizing the fallibility of the human being in various ways in his literary works, Camus convincingly demonstrated that, in our already absurd existence, the death penalty is the ultimate scandal, making this punishment truly exponentially absurd – the absurdity of absurdity. How the author demonstrated that fallibility, the eternal imperfection of human beings, is the main reason why the death penalty exceeds absurdity. Using L'Étranger as a starting point, a novel in which the death penalty is mentioned only at trial, on death row, and in the very last part of the novel, and which is strategically supported by other works by Camus, this essay explores how Camus may have used his characters to subtly illustrate the relationship between the everyday imperfections of human beings and the possible death penalty. The essential principle is that there is a precise operational link between the essence and structure of everyday conflicts and the structure of a trial. Parallels are drawn between conflict and trial, particularly with regard to the fallible human beings participating in both, in various judicial capacities, confirming Camus' conviction that the death penalty is the absurdity of absurdity. / Linguistics and Modern Languages / M.A. (French)

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