Report (M.S. Ed.)--Virginia Polytechnic Institute and State University, 1994. / Includes bibliographical references (leaf 38). Also available via the Internet.

Thesis (Th. M.)--Dallas Theological Seminary, 2001. / Includes bibliographical references (leaves 83-86).

Thesis (M.A.)--Virginia Polytechnic Institute and State University, 1992. / Vita. Abstract. Includes bibliographical references (leaves 63-65). Also available via the Internet.

Thesis (Ed. D.)--West Virginia University, 2003. / Originally issued as electronic document. Title from document title page. Document formatted into pages; contains vii, 126 p. Vita. Includes abstract. Includes bibliographical references (p. 109-112).

Theses (M.A.)--Marshall University, 2004 . / Title from document title page. Includes abstract. Document formatted into pages: contains v, 67 [7] pages including maps. Bibliography: p. 64-66.

Originally presented as the author's Thesis (Ph. D.)--University of California, Davis, 2002. / Description based on print version record. Includes bibliographical references (p. 263-275) and index.

238 f. / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-02-22T13:08:13Z No. of bitstreams: 1 Fernanda Mota Pereira.pdf: 1391988 bytes, checksum: 874efeda2cedf050bf4581ac42d3405f (MD5) / Approved for entry into archive by Valdinéia Ferreira(neiabf@ufba.br) on 2013-02-22T14:59:13Z (GMT) No. of bitstreams: 1 Fernanda Mota Pereira.pdf: 1391988 bytes, checksum: 874efeda2cedf050bf4581ac42d3405f (MD5) / Made available in DSpace on 2013-02-22T14:59:13Z (GMT). No. of bitstreams: 1 Fernanda Mota Pereira.pdf: 1391988 bytes, checksum: 874efeda2cedf050bf4581ac42d3405f (MD5) / Nesta tese, são tecidas reflexões sobre entrecruzamentos do autobiográfico com o ficcional no horizonte do tema: “literatura como memória, memórias como literatura”, expresso em seu título. O uso da palavra “como” entre os termos literatura e memória(s) simboliza migrações que os marcam, compreendendo, ainda, categorias textuais relacionadas a eles, a saber: a crítica e o arquivo. Migrações que têm sua cena na memória, concebida como um bloco mágico no qual imaginação, devaneios, lembranças, leituras de si e do outro se emaranham,constituindo, criativamente, narrativas literárias, diários, depoimentos, ensaios, artigos e arquivos, que compõem o corpus, aqui investigado, no âmbito da produção intelectual de Virginia Woolf e Judith Grossmann. Em narrativas e outras categorias discursivas eleitas para este estudo, vislumbra-se a representação de sujeitos, cuja tessitura amalgama-se na escrita de seus textos, desmarcando a distinção entre eles por configurarem-se como traços atuantes em grafias de si, presentes, mesmo sob o signo da ausência, nos mais diversos textos – de narrativas escritas em primeira pessoa a escritos nos quais esta não consta –, e por terem como esboço o arquitexto, delineado na memória. Cada uma das categorias discursivas mencionadas foi tratada em um capítulo desta tese, sem, contudo, deixar de trazer à baila as confluências que as atravessam e denotam seus entrelaces, sob o compasso de digressões e redes alusivas da memória. / Universidade Federal da Bahia. Instituto de Letras. Salvador-Ba, 2010.

Doctor of Philosophy / Curriculum and Instruction Programs / Kakali Bhattacharya / Sally J. Yahnke / Over the past five years, alone, in the rural state of West Virginia, the number of identified homeless students has increased 315%— from 2,000 students to 8,300 students— which is assumed to be a conservative estimate by local and state education officials (Mays, 2014). Homelessness is often identified as an urban problem, as the most visible forms occur among street dwellers in urban settings (Joyce-Beaulieu & Sulkowski, 2014). Within rural locations, however, homelessness predominately remains a concealed issue requiring extensive collaboration to combat issues of geographic isolation and lack of support, infrastructure, and public services. This study will demonstrate how community school programming offers considerable potential to provide direct support and services within the school setting for rural homeless youth.

The short stories of Virginia Woolf have never received serious scrutiny, critics determinedly maintaining that the novels contain the heart of the matter and that the stories are merely preparatory exercises. Mrs. Woolf, however, provides sufficient evidence that she was "on the track of real discoveries" in the stories, an opinion supported by her Bloomsbury mentors Roger Fry and Lytton Strachey. A careful analysis of her twenty-one known stories suggests that they are indeed important (not merely peripheral to the novels and criticism) and are successful in developing specific techniques and themes germane to her total canon. One of the reasons why the stories have never been taken seriously, of course, is that they simply are not stories by any conventional definition— but are nonetheless "short fiction" of interest and significance. The stories derive from three distinctly separate chronological periods. The earliest group (1917-1921) was published in Monday or Tuesday and included two stories available only in that volume, now out of print. (To enable a complete assessment, I have made these stories available as appendices II and III of this thesis, and included Virginia Woolf's lone children's story as appendix IV since it too is of the early period). This phase of creation utilized one primary technique—that of evolving an apparently random stream of impressions from a usually inanimate and tiny focussing object, and was generally optimistic about the "adorable world." The second phase of her short fiction (those stories appearing in magazines between 1927 and 1938) illustrates a progression in both technical virtuosity and in personal discipline: the fictional universe is now peopled, and the randomness of the early sketches has given way to a more selective exploitation of the thoughts inspired by motivating situations. But vacillation is here evident in the author's mood, and while optimism at times burns as brightly as before, these stories as often presage Mrs. Woolfs abnegation of life. The third group, posthumously published by Leonard Woolf in 1944 without his wife's imprimatur (and recognizably "only in the stage beyond that of her first sketch"), still reveals a desire in the author to pursue her original objective suggested in "A Haunted House"--the unlayering of facts to bare the "buried treasure" truth, using imagination as her only tool. In one respect, and one/Only, the critics who have neglected these stories are correct: the pieces are often too loosely knit, too undisciplined, and too often leave the Impression of a magpie's nest rather than one "with twigs and straws placed neatly together." In this the stories are obviously inferior to the novels. But by neglecting the stories the critics have missed a mine of information: herein lies an "artist's sketchbook,” which, like A Writer's Diary, provides a major avenue into the mind of one of the most remarkable writers of our age. / Arts, Faculty of / English, Department of / Graduate

Beginning with the premise that Virginia Woolf's novels exhibit a dual perspective of psychological mimesis and apocalyptic allegory, this dissertation formulates a critical theory of vision which operates on literary principles extracted, with a number of modifications, from two studies of Romantic transcendence: Thomas Weiskel's The Romantic Sublime: Studies in the Structure and Psychology of Transcendence, and the Second Essay of Northrop Frye's Anatomy of Criticism. The narrative role of the Woolfian "moment of being" is explored in her nine novels as a fictional analogue of Weiskel's "sublime moment," a metaphorical subplot in which the harmonious relation between the self and nature breaks down. When the moment of being does not merely collapse into a cycle of nature worship, it follows an Oepidal path of reactive identification in which the character identifies with the prevailing cultural pattern, or "father." Thus the fictional character experiences the moment of being as a failed psychological transcendence. From the perspective of apocalyptic allegory, these novels engage the imagination of the reader by means of the "logical imagination": that is, the poetic Logos becomes-, the anagogic Word. This revolutionary concept of apocalypse is adapted from the theory of symbols that Frye discusses in Anatomy of Criticism, where the "anagogic symbol" is identified with the divine Word. In Woolf's allegory, "there is no God; we are the words" (Moments of Being, 72). The view of Woolf's vision as a dual perspective implies that Woolf advocated, and developed, fictional forms that juxtapose realistic and mythopoeic constructs. Her characters, plots, and settings represent life in this world as a failed transcendence, while her mythical and metaphorical structures define for the reader an imaginative apocalyptic quest having five identifiable stages: 1) the presentation of an inner psychological realm where the imaginary and the real seem inextricable, 2) the discovery of the "out there" as a solid basis for imaginative identity, 3) the exploration of a crisis of vacancy out of which the imaginative self becomes reborn, 4) the establishment of an imaginative pattern as a prelude to the rejection of the "fatherhood" influence of history and society, and 5) the apocalyptic awakening of "ourselves" from the dream of history and of selfhood. From the investigation of these developments in Woolf's vision emerges a distinct novelistic canon. This study, as a whole, documents Virginia Woolf's "own particular search--not after morality or beauty or reality--no ; but after literature itself" (The Diary of Virginia Woolf, I, 214). / Arts, Faculty of / English, Department of / Graduate