Thesis (Ph.D.)--University of California, Los Angeles, 1998. / Chair: Theodore Huters. Includes bibliographical references.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 294-314). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (B.A.)--Haverford College, Dept. of English, 2006. / Includes bibliographical references.

Thesis (M.A.)--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 October 25, 2007 Includes bibliographical references.

No description available.

This thesis is a study of the novelists of the Peninsular and Waterloo campaigns (veterans and non-veterans), the novelists of the naval war, and the novelists of the home front in the Napoleonic Wars.

This thesis is a study of war as a factor in Ernerst Hemingway's novels and stories.

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Dr. John Fenstermaker, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 21, 2005). Document formatted into pages; contains iv, 150 pages. Includes bibliographical references.

Writers from both world wars, concerned with the representation of war, wrestled with the predicament of partial sight. Their work reveals the problematic dichotomy that exists between the individual’s selective range of vision and the immense scale of conflict. Central to this authorial dilemma is the question of the visual frame: how do you contain – within the written word – sight that resists containment and expression? The scale of the two world wars accentuated the representative problem of warfare. This thesis, by examining a wide range of World War One and World War Two literature, explores the varied literary responses to the topical relationship between sight and reality in wartime. It examines the war poetry of Wilfred Owen, Ford Madox Ford’s tetralogy Parade’s End, The Return of the Soldier by Rebecca West, Elizabeth Bowen’s The Heat of the Day, and Virginia Woolf’s novels Mrs Dalloway and Between the Acts alongside less well-known works such as David Jones’s prose-poem In Parenthesis, the two short stories ‘The Soldier Looks for His Family’ by John Prebble and ‘The Blind Man’ by D.H. Lawrence, as well as William Sansom’s collection of short stories Fireman Flower, and Louis Simpson’s war poetry. This thesis, by focussing on the inherent difficulties of reconciling perception and representation in war, interrogates the boundaries of sight and the limits of representation. The changing place of sight in writing from the two world wars is examined and the extent to which discourses of vision were shaped and developed, in the early decades of the twentieth century, by war experience is explored. The critical containment and categorisation of sight that often dominates readings of sight in texts from both world wars is questioned suggesting the need for a more flexible understanding of, and approach towards, sight.

Breaking the Frames of the Past examines recent visual and literary work about the periods of historical violence in Argentina, Chile, and Peru. In my dissertation, I argue that these cultural productions can challenge the linear conception of historical time, and reveal the existent tensions and blind spots present within the cultural memory realm of each nation. By examining the specificity of the materials and the aesthetic strategies present in the works, I hope to elucidate a necessary introspective turn in memory- what I have nominated metamemory, present in works that not only seek to interrogate official national paradigms, discourses of the past, productions of knowledge, and memorial imperatives, but also works that are profoundly aware of their condition as memory objects within a cultural memory realms. Breaking the Frames of the Past is divided into two parts, Part One: Images, engages with memory at a broader collective level, and analyzes the different ways the photographic medium has been used to represent the past and craft a sense of national belonging. Part Two: Texts is concerned with subjective memory, and the overlap between childhood memories lived simultaneously within the frame of a period of historical violence. I discuss literary work written by those born during these periods of violence in order to see how from their subjective experience and through their works they can assert to the existing tensions within cultural memory paradigms. In examining novels by those who are “the Secondary Characters” of history, I argue that their use of metafictional strategies is able to counter the feeling of displacement and sense of belatedness that is present in postmemory works.