Thesis (Ph.D.)--Baylor University, 2008. / Includes bibliographical references (p. 326-330).

In both fact and fiction, the lower-class intellectual is a significant figure of the years 1880--1911. I concentrate on the three novelists who have made the most sustained artistic enquiry into the subject. In the process I hope to show how in practice Victorianism developed into modernism. Hale White and his obscure provincials experience loss of faith but are unable to reject certain values that were fundamental to that faith. If they cannot return to old certainties they cannot embrace the new ones of secularism find mass opinion; significantly, White sets his novels early, rather than late, in the nineteenth century. Gissing writes of his own times but he and his characters are poor struggling scholars in a society given to vulgarity and materialism. They can, however, still respond to certain worldly preoccupations---notably gentility. They are perpetual lodgers seeking a real home. Unlike White and Gissing, Wells is consciously committed to the future. However, his ambitious young scientist or utopian is an 'Anachronic Man', a term just as applicable to a White or Gissing protagonist. The Wellsian hero, ostensibly confident, can still suffer a crisis of identity and identification. I emphasise the individual nature of every chosen example of this character-type; each of them, however, suffers from a conflict between the need to find his unconventionally individual bearings and his need to relate to his fellow human beings in the community, however crass or mediocre that community may be. He faces undesirable extremes of isolation and integration. He is in limbo, and even 'unclassed'. If he originates between the bourgeoisie and the proletariat, he cannot belong to either. His intellectual qualities cut him off from the class or community of his birth but do not necessarily enable him to place himself in another. I show how the ultimate condition for him is one of isolation, but I end on a positive note.

The aim of this study is twofold: firstly, to give a general and broad picture of the painter, W.H. Coetzer as a person and as an artist; secondly, to stress the cultural historic importance of his work. His faithful execution of events in the history of our nation has contributed significantly to the history of South African Art. He inherited his artistic talent solely from his mother. His youth was a time of hardships. His father died when Coetzer was still young. Notwithstanding his duties in supporting his family he turned his back upon a career of wagon-building and dedicated himself with self-assurance exclusively to the art of painting. After numerous initial setbacks his work came to the notice of a few prominent Johannesburg art connoisseurs in 1928. Through their active aid Coetzer could study intermittently at schools of art in London between the years 1925 and 1934, where he received a course aimed at thorough academic training. Returning to South Africa, a period of hardships followed. It was a struggle to have his work accredited. In these years he started feeling it a calling to fulfil a national role as artist. He undertook a thorough study of the history of South Africa and more specifically of the Great Trek. He followed the various routes of the Voortrekkers, making numerous sketches and notes on the way. Con¬sequently, within a few years, he received several commissions from public institutions. To commemorate the historic Trek by wagon (1938) and the inauguration of the Voortrekker Monument (1949), he designed a series of special stamps, dust-covers for publications and various memento's. These brought him acknowledgement as a "national" artist. Coetzer's sketch designs for the historic frieze in the Monument served as the first-indicators and contributed to the unity-existing in the work today. Apart from commissions for portraits of personalities of national importance, public demand for his landscape and still-life paintings increased rapidly. After his marriage in 1942 he came to own, for the first time, a spacious and well-equipped studio. Coetzer's six most frugal years as creative artist were devoted to the designing of the series of tapestries in the Voortrekker Monument. This creation can perhaps be regarded as the climax of his cultural historic art. Coetzer's admiration for the Trekker leader, Louis Trigardt, inspired the creation of his last and biggest mural, "For you, South Africa", painted for the T.P.A. Building in Pretoria. Although known for his works on an historic level, Coetzer is not bound by this theme which required factual rigidity; today he paints according to the inspiration of the moment and for the pleasure it gives him. As a versatile artist adept in handling various media of art, the past forty years have witnessed paintings of divergent nature. His landscapes vary from grandiose, impressive mountain scenes to humble interpretations of Highveld winter lanscapes. It is, however, his Still-life paintings that assert his skill as artist most highly. Today W.H. Coetzer's paintings are resplendent in many public and private collections and will always testify to the history of his nation and will serve as herald to the beauty of his native land. / AFRIKAANS : Die doelstelling met hierdie studie is tweeledig: Eerstens om ‘n algemene en oorsigtelike beeld van die skilder W.H. Coetzer as mens en kunstenaar te gee; tweedens om sy kultuurhistoriese betekenis te benadruk. Met sy uitbeelding van gebeurtenisse uit ons volksgeskiedenis, en die histories-korrekte, realistiese weergawe daarvan, het W.H. Coetzer ‘n groot kultuurhistoriese bydrae tot die Suid-Afrikaanse kunsgeskiedenis gelewer. Hy het sy kunsaanleg uitsluitlik van sy moeder geëerf. Sy jeugjare is gekenmerk deur swaarkry. Sy vader het hulle vroeg ontval. Nie-teenstaande sy verpligtinge om te help met die onderhoud van sy familie, het hy met kenmerkende selfvertroue die wamakery in 1925 laat vaar en hom voltyds op ‘n kunsloopbaan toegelê. Na herhaalde teleurstellings het sy werk in 1928 onder die aandag van ‘n paar Johannesburgse kunskenners gekom. Deur hulle daadwerklike hulp kon Coetzer, met onderbreking, van 1928 af tot 1934 aan Londense kunsskole studeer. Daar het hy deeglike, akademies-gerigte opleiding ontvang en goed presteer. Na sy terugkeer in Suid-Afrika volg ‘n periode van stryd om erkenning vir sy kuns. In hierdie jare ontwikkel by Coetzer die drang om as kunstenaar ‘n nasionale roeping te vervul. Hy onderneem ‘n deeglike studie van die Suid-Afrikaanse geskiedenis, veral die Groot Trek, en maak talle sketse en aantekeninge op sy reise langs die ou Voortrekkerroetes. Binne ‘n paar jaar verwerf hy op hierdie wyse verskeie opdragte van publieke instansies. Vir die Historiese Ossewatrek (1838), en die Inwyding van die Voortrekkermonument (1949), ontwerp hy reekse spesiale posseëls, stofomslae vir publikasies en ‘n verskeidenheid aandenkings. Dit het vir horn erkenning as „volkskilder” meegebring. Coetzer se sketsontwerpe vir die Historiese Fries in die monument het die eerste aanwysing gegee en bygedra tot die eenheid wat vandag in die werk bestaan. Benewens opdragte vir portrette van nasionale figure het die publieke aanvraag steeds toegeneem vir sy landskap- en stilleweskilderye. Na sy huwelik in 1942 beskik hy vir die eerste keer oor ‘n ruim en goedtoegeruste ateljee. Aan die ontwerpe vir die Voortrekkermuurtapisserie vir die Voortrekkermonument het Coetzer ses van sy rypste jare as skeppende kunstenaar gewy. Dit kan bestempel word as die hoogtepunt van sy kultuurhistoriese werk. Coetzer se bewondering vir die Trekkerleier Louis Trigardt het die tema vir sy grootste, en laaste, kultuurhistoriese skildery bepaal, naamlik die muurskildery „Vir jou, Suid-Afrika" vir die Provinsiale-gebou in Pretoria. Wat betref sy persoonlike kuns is Coetzer nie gebonde aan enige beperkende opdrag wat historiese korrektheid vereis nie; vandag skilder hy volgens eie ingewing en vir sy plesier. As veelsydige kunstenaar wat bedrewe is in die hantering van ‘n verskeidenheid kunsmedia, lewer hy oor die afgelope meer as veertig jaar skilderye van uiteenlopende aard. Sy landskappe wissel van grootse, indrukwekkende bergtonele, tot die weergawe van eenvoudige Hoëveldse winterlandskappe. Dit is egter in sy stillewes wat sy kunstenaarskap in hoë mate bevestig word. W.H. Coetzer se skilderye pryk vandag in talle publieke- en privaat kunsversamelings en sal altyd die geskiedenis van sy volk verkondig en die skoonheid van sy land besing. / Dissertation (MA)--University of Pretoria, 2011. / Visual Arts / Unrestricted

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<p>This thesis focuses on W.H. Auden's last four major volumes of poetry: About the House (1965), City Without Walls (1969), Epistle to a Godson (1972) and the posthumous Thank You, Fog (1974). The later poetry has not drawn much scholarly attention or praise, and my study should go part way to redressing the balance.</p> <p>My thesis is that Auden's Christianity profoundly affected every aspect of his later poetry, though most of it is not overtly religious. Many features peculiar to this poetry--the giving of praise for even the simplest things, the delight in words from the slangiest to the most esoteric, the love of challenging prosodic difficulties, and the comic and playful exuberance --are all influenced by (or are actually the result of) the practice of a form of Christianity known as the Affirmative Way. Two main elements of this Way are a concentration on the goodness of all creation and an attempt to see every aspect of existence in its relation to God. Auden manifests a counterbalancing asceticism in aesthetic matters, however, in his rejection of mellifluousness for its own sake, of the pleasures and self-indulgence of 11 Confessional 11 writings, of the excitements of hierophantic utterance, and of any idea or element of style he felt to be subversive of the truth.</p> <p>The attempt to find the dynamic and necessary link between an expansive vision of life and the guidance of a vigorous discipline is the keynote to Auden's career. It extends into all the antinomies around which his thought was organized, and for which he attempted to discover reconciliations --the "Spirit" of Christian love and the "Letter" of Mosaic law; freedom and necessity; history and nature; the subject ego and the predicate self within each person; soul and body; and, though hardly exhausting what could be a very long list, the words of man and the Logos, the Word of God. All this is reflected in Auden's love of writing within the restrictions of formal verse patterns, and Auden takes the idea of patterning one step further by organizing three of his later volumes into fairly complex, overall structures. These are all designed to frame a particular element of the Christian story, and again reveal the extent of Auden's desire to make his words bear witness to the Word. (</p> / Doctor of Philosophy (PhD)

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abstract: This dissertation makes the case to reclaim the typically negative term, coterie, as a poetic method and offers the epithalamium as a valuable object for the study of coterie conditions and values. This examination of the historical poetics of the epithalamium shows how the form was reappropriated by gay postwar poets and those in related social circumstances. This study applies and builds on theories developed by Arthur Marotti (John Donne: Coterie Poet), and Lytle Shaw (Frank O'Hara: The Poetics of Coterie) and subsequent critics to develop a coterie poetics, the markers and terms for which I have arranged here to demonstrate conscious "sociable" poetics. It is thus to our advantage to study coterie conditions and methods to open readers to insights into twentieth-century poets that have deliberately exploited reception among those in private and public spheres, just as their Early-Modern precursors did--often as a matter of survival, but also as formative practice. The key figures in this study wrote significant epithalamia or made major theoretical claims for coterie poetics: John Donne (1572-1631), W. H. Auden (1907-1973), Paul Goodman (1910-1972), and Frank O'Hara (1926-1966). O'Hara's poetry is approached as the apex of coterie poetics; his personal immediacy and obscure personal references should alienate and exclude--yet, they invite. / Dissertation/Thesis / Ph.D. English 2012

This thesis sets out to examine the proposition that Air Marshal Sir George Jones??? time as Chief of the Air Staff (CAS) of the Royal Australian Air force (RAAF) was both beneficial and detrimental to the Service but the benefits gained from his time in office outweighed the detriment. Sir George Jones served as CAS for nearly ten years (1942 - 1952). This was the longest continuous appointment of a CAS to date. Jones was CAS for most of the Second World War and it was during that time that the two events for which he is most remembered occurred, viz the controversy surrounding his appointment and his ongoing conflict with the RAAF Operational Commander (W.D. Bostock). In order to assess his impact on the RAAF, this thesis describes events and incidents that occurred while Jones was CAS. To compile this work, data was drawn from numerous sources including: interviews with family members and ex-RAAF personnel; official records maintained by the National Archives of Australia (NAA), the RAAF Historical Section and the RAAF Museum; Jones??? personal papers held by family members and the Australian War Memorial; and the papers of other RAAF officers and politicians held by the RAAF Museum and the National Library of Australia (NLA). Jones wrote a brief autobiography, which (together with other secondary sources) was used to ???fill in the gaps.??? This research shows that Jones??? time as CAS was far more eventful and filled with more conflict than he alludes to in his autobiography. He had no say in his appointment as CAS but his personality did not allow him to make the best of the situation with Bostock. Contrary to the views expressed in earlier works, Jones??? appointment was not a mistake but a deliberate move by the Minister for Air. The conclusion reached is that Jones??? time in office was beneficial to the RAAF. He presided over its growth to being the world???s fourth largest air force at the end of the Second World War. He oversaw its post war demobilisation and was responsible for planning the Service???s structure to meet the Australian Government???s needs during the early years of the Cold War.

In recent years, Gothic literary studies have increasingly acknowledged the role played by Shakespeare in authorial acts of appropriation. Such acknowledgement is most prominently stated in Gothic Shakespeares (eds. Drakakis and Townshend, 2008) and Shakespearean Gothic (eds. Desmet and Williams, 2009), both of which base their analyses of the Shakespeare-Gothic intersection on the premise that Shakespearean quotations, characters and events are valuable objects in their own right which mediate on behalf of the 'present' concerns of the agents of textual appropriation. In light of this scholarship, this thesis argues the case for the presence of 'Gothic Shakespeare' in Gothic writing during the latter half of the eighteenth century and, in doing so, it acknowledges the conceptual gap whereby literary borrowings were often denounced as acts of plagiarism. Despite this conceptual problem, it is possible to trace distinct 'Gothic' Shakespeares that dismantle the concept of Shakespeare as a singular ineffable genius by virtue of a textual practice that challenges the concept of the 'genius' Shakespeare as the figurehead of genuine emotion and textual authenticity. This thesis begins by acknowledging the eighteenth-century provenance of Shakespeare's 'Genius', thereby distinguishing between the malevolent barbarian Gothic of Shakespeare's own time and the eighteenth-century Gothic Shakespeares discussed under the term 'appropriation'. It proceeds to examine the Shakespeares of canonical Gothic writers (Horace Walpole, Ann Radcliffe and Matthew Lewis) as well as their lesser-known contemporaries (T.J. Horsley Curties and W.H. Ireland). For instance, Walpole conscripts Hamlet in order to mediate his experience of living in England after the death of his father, the first Prime Minister Robert Walpole. The thesis then argues for the centrality of Shakespeare in the Gothic romance's undercutting of the emergent discourses of emotion (or 'passion'), as represented by the fictions of Radcliffe and Lewis, before moving on to consider Curties's attempted recuperation - in Ethelwina; or, the House of Fitz-Auburne (1799) - of authentic passion, which is mediated through the authenticity apparatus of Edmond Malone's 1790 editions of Shakespeare's plays. It concludes with W.H. Ireland's dismantling of Malone's ceoncept of the 'authentic' Shakespeare through the contemporary transgressions of literary forgery and the evocation of an illicit Shakespeare in his first Gothic romance, The Abbess, also published in 1799.