Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 260-265). Also available for download via the World Wide Web; free to University of Oregon users.

My research explores the interplay between the archival and aesthetic sensibilities of novelists not typically associated with archival practices--Claude McKay, Richard Wright, Ralph Ellison, and Jack Kerouac. In juxtaposing their dual roles as public novelists and private archivists, I expose how their literary practices echo with core concepts in archival theory and position the novel as an alternative and superior site of historical preservation. Drawing on my experience as an archivist, I argue that the twentieth-century American novel's concern with inclusivity, preservation and posterity parallels archival science's changing approach to ephemera, arrangement, and diversity. The role of the archive in my work is both methodological and thematic: first, my own research incorporates these authors' cache of research materials, correspondence, drafts, diaries, and aborted or unpublished pieces, obtained during my visits to their various repositories. Second, I extricate the role of the archival in their fictions, and trace how their research, documentation, and classification practices inform their experiments with the novel form. I propose that all these vagabond masters of novelistic craft throw into relief the archive's positivist fallibility while also stressing its creative mutability.

This project asserts that male Naturalist authors were not “hypermasculine” acolytes of strident manhood, but instead offer alternative constructions which they portray as less traumatic and more cohesive than prevailing social notions of normative male behavior. I maintain that the rise of the concept of manhood advocated by Theodore Roosevelt in the early decades of the twentieth century contributed to this misconception, for it generated a discourse of “manly” individualism which became equated with socially acceptable performances of masculinity for many Americans. My first chapter illustrates the gradual evolution of an individualistic, violent, and strident concept of manhood, which I label “strenuous masculinity,” through the rhetoric of Theodore Roosevelt. The second chapter explores the ways in which Stephen Crane’s fiction illuminates the trauma and confusion inherent in strenuous concepts of manhood. Many of Crane’s stories, like “Five White Mice,” demonstrate the failure of individualism, while others, like “The Open Boat,” document a more positive construction of what I call “homosocial manhood.” In my third and final chapter, I attempt to prove that Richard Wright’s early texts showcase a range of possible outcomes of black male attempts to stand up to racial oppression. I document that Uncle Tom’s Children and Native Son both depict a continuum of confrontation, with individual violence on one end of the spectrum and non-violent group protest on the other. Furthermore, because individual resistance is consistently equated with the suffering and death of the protagonists, my project implies that strenuous manhood also fails to provide a site for effectual and sustainable opposition to the negating forces of racial oppression. / Theodore Roosevelt and the transformation of American masculinity -- "The youth leaned heavily on his friend" : alternative constructions of masculinity in Stephen Crane's fiction -- Richard Wright's early fiction as a rejection of the racial oppression of strenuous manhood. / Department of English

Thesis (M.A.)--Florida State University, 2006. / Advisor: Darryl Dickson-Carr, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 26, 2006). Document formatted into pages; contains viii, 103 pages. Includes bibliographical references.

Chicago occupies a place in the American imagination as a city of industry and opportunity for those who are willing to hustle. Writers have in no small part contributed to the creation of this mythology; this canon includes Frank Norris, Theodore Dreiser, Upton Sinclair, Carl Sandburg, and Richard Wright. What is it about these authors that make them the classics of Chicago literature? The “essential” books of Chicago enshrine a period during which the city still held a prominent position in the national economy and culture, and embodied for Americans something of their own identity—the value of individualism, and the Protestant work ethic. Notably absent are the narratives from immigrants, particularly those of color: for a city that was a primary destination for the Great Migration of African Americans from the South and the concurrent immigration of Mexicans in the early part of the 20th century, it is remarkable that these stories have not gained significant attention, with the exception of Richard Wright’s. This dissertation interrogates the discourse of ambition and labor in the Chicago literary tradition from the perspective of three Mexican American authors from Chicago—Carlos Cortez, Ana Castillo, and Sandra Cisneros. These authors, faced with late 20th century deindustrialization and the enduring legacy of segregation, engage with the canonical narratives of Chicago by addressing the intersections of race and citizenship as they affect urban space and labor opportunities. Rather than simply offering a critique, however, the Mexican American authors engage in a re-visioning of the city that incorporates the complexities of a fluid, transnational experience, and in doing so suggest the future of urban life in a post-industrial America. / text