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This thesis explores the multiplicity of the versions of self to be found in the writings of Christopher Isherwood.  Using stories of autobiography and psychoanalysis, the thesis argues that Isherwood depicts various identities within his writing in which the act of composition is in fact an act of constructing the self.  This is a study of the intellectual strategies adopted by Isherwood in a life of continuous self-creation.  This thesis aims to reposition Isherwood not just as a minor member of a literary generation, but as an individual writer who repays study. This thesis focuses on works by Isherwood that could be said to provide an autobiographical presentation of self up to 1939; although his autobiographical habit does not end in 1939, this study is limited to an analysis of ‘early Christopher’.  This thesis does, however, include certain works published post-1939 that deal with Christopher’s life prior to his move to America in order to investigate the manner in which Isherwood revisited and reinterpreted his previously presented mythologies of self. The works being analysed are not treated in order of composition: looking at various themes, my thesis investigates the various methods of self-composition and self-analysis in Isherwood’s writing.  The emphasis of this research is not biographical: it is his constructs of self that are being examined.  The variability in the characters presented as ‘I’ shows an understanding of a self that is formed in reference to the time this life was written and the social expectations of this moment: Isherwood is engaging in a series of strategies linked to forms of autobiography and Freudian psychoanalysis for finding and presenting a self, a self that is under constant review by the author.

Wong Chun-chi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 95-98). / Abstracts in English and Chinese.

Thesis (Ph. D.)--University of Washington, 1992. / Vita. Includes bibliographical references (leaves [207]-230).

Thesis (Ph. D.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains v, 271 p. Includes abstract. Includes bibliographical references (p. 252-271).

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The thesis comprises a novel – Interpreters and a critical commentary. Interpreters The novel explores the notion of identity, the interpretation of the past, the secrets and lies inherent in families, the parent/child relationship and the collective and personal guilt of a generation who grew up in Nazi Germany. It is a work of fiction that has grown out of memory and imagination, informed by original research, family memoirs, and oral history. Interpreters tells the story of Julia Rosenthal, a successful anthropologist, who returns to the suburban estate of her 1970s childhood. During her journey, both actual and emotional, the unspoken tensions that permeated her seemingly conventional family life come flooding back. Trying to make sense of the secrets and half truths, she is forced to question how she has raised her own daughter – with an openness and honesty that Susanna has just rejected in a very public betrayal of trust. Meanwhile her brother, Max, is happy to forge an alternative path through life, leaving the past undisturbed. In a different place and time, another woman is engaged in a painful dialogue with an unidentified listener, struggling to tell the story of her early years in wartime Germany and gradually revealing the secrets she has carried through the century. Critical commentary Autobiographical fiction as a genre can be laden with moral and ethical issues, and I have made their examination the centrepiece of my critical commentary. I have focused on the contractual understanding of the relationship between the author, reader and those written about, the issue of who “owns” memory, and issues relating to a writer's responsibility – and the limits of that responsibility – to their sources. I have examined the tension between “truth” and “fiction” and whether this is something that is particularly problematic in the writing and reading of autobiographical fiction. I have also considered what happens to the writer and the reader when the rules are broken by fake memoir, particularly fake memoir related to recent history and, most particularly, to the Second World War and its aftermath. My reflections on my own novel and its genesis are complemented throughout by discussions of other, mostly twentieth century, authors' and critics' works.

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 339-366). Also available for download via the World Wide Web; free to University of Oregon users.