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This thesis investigates a neglected sub-genre of women’s writing, which I have termed the literature of the boarding house. Focusing on unmarried women, this is a study of the alternative rooms ‘of one’s own’ that existed in the nineteen thirties: from the boarding house and hotel, to the bed-sitting room or single room as a paying guest in another family’s house. The 1930s is defined by the conflict between women’s emerging social and economic independence and a dominant ideology that placed increased importance on domesticity, the idea of ‘home’ and women’s place within the familial structure. My research highlights the incompatibility between the idealised images of domestic life that dominated the period and the reality for the single woman living in temporary accommodation. The boarding house existed outside conventional notions of female domestic space with its connotations of stability and family life. Women within the boarding house were not only living outside traditional domestic structures; they were placing themselves outside socially and culturally defined domestic roles. The boarding house was both a new space of modernity, symbolising women’s independence, and a continued imitation of the bourgeois home modelled on rituals of middle-class behaviour. Through an examination of novels by Elizabeth Bowen, Lettice Cooper, Stella Gibbons, Storm Jameson, Rosamond Lehmann, Dorothy Richardson, Jean Rhys, Virginia Woolf, and E. H. Young, this study privileges the literary as a way in which to understand the space of the boarding house. Not only does the boarding house blur the boundaries between public and private space, it also challenges the traditional conceptions of the family home as the sole location of private domestic space. I argue that by placing their characters in the in-between space of the boarding house, the authors can reflect on the liminal spaces that existed for women both socially and sexually. In the literature of the boarding house, the novel becomes a site for representing women’s experiences that were usually on the periphery of traditional narratives, as well as a literary medium for articulating the wider social and economic issues affecting the lives of unmarried women.

The thesis deals with a comparative analysis of the demon-lover motif in selected texts of English and American literature. The theoretical basis is the characteristics of the medieval ballad James Harris and some variations of the examined representation in the collection of traditional ballads by F. J. Child. Particular attention is paid to the role of supernatural in relation to the issue of guilt and punishment, in this regard, also the romantic versions of M. G. Lewis, G. A. Bürger and K. J. Erben are considered. The following chapters deals with stories that develop the demon-lover motif (the post-war stories by E. Bowen and S. Jackson). The literary analysis focuses primarily on the trauma of personal and historical past, and the related persecution of the victim, committed to the promise, to show the deepening of the psychological and emotional significance of the traditional story.

This thesis explores the figure of the trickster in the works of Elizabeth Bowen, Elizabeth Taylor, Iris Murdoch and Muriel Spark. By looking at these writers’ treatment of elusive, illusive and allusive characters, the thesis argues that they each incorporated what can be read as “trickster” figures in their fiction as a means of addressing anxieties about art, society and the self. The trickster is a character-type found in narratives from a multitude of cultures and eras, and is typically characterised by his subversive presence, his boundary-crossing and his role as a healer of predicament. While the trickster is often perceived as a universal phenomenon arising from a collective unconscious, this thesis instead focusses on writers’ intentional inclusion of trickster characters in literature as a way of thinking through specific problems. Bowen, it will be shown, interpolated tricksy characters drawn from myth and fairy-tale into her fiction in order to expose a perceived rift between art and academia; Taylor used the trickster to think about the construction of identity in post-war Britain; Murdoch took models from Shakespeare to create tricksters that helped her explore the ethics of writing fiction; and Spark’s tricksters allowed her to conceptualise truth and lies, and good and evil. Concentrating on four mid-century writers whose works have been seen to vary in genre and style, this thesis demonstrates that a trickster paradigm emerged in mid-twentieth-century British fiction – a period not previously associated with the trickster. Influenced by converging strands of trickery and allusion in art through the early decades of the twentieth century, notable mid-century British writers used outsider characters to probe social and artistic shifts in a landscape fractured by war and to reach for a sense of healing. By identifying such characters as trickster figures, this thesis sheds new light on patterns of subversion, healing and character in mid-century fiction. It explores the particular affinity the trickster had with women’s writing, and illustrates how the trickster was important to twentieth-century concerns surrounding metafiction and the role of the reader.

Mental health professionals in all settings work with clients who are affected by trauma. Traumatic events expose mental health professionals to the negative psychological and emotional impact of witnessing and listening to client stories. Vicarious trauma is the emotional consequence of this empathic engagement with clients. The purpose of this correlational study was to identify predictors of vicarious trauma in mental health professionals that had not been studied before. The theoretical framework guiding the study was the Bowen family systems theory and the construct of differentiation of self. A regression analysis was conducted with a purposive sample of 83 licensed or certified mental health professionals from community counseling agencies in the Midwest. Five research questions were evaluated using multiple regression analysis and determined that subcomponents of differentiation of self (i.e., emotional reactivity, I position, emotional cutoff, and fusion with others) predicted vicarious trauma. An additional regression analysis showed that vicarious trauma was best predicted by 2 subcomponents of differentiation of self; emotional reactivity was the most significant predictor followed by I position. By identifying characteristics in mental health professionals that predict vicarious trauma, counselor educators and supervisors can better educate, train, develop programs, and advocate for the emotional welfare of mental health professionals in the field.

Cette thèse traite de l'étude des objets reliés au codage de Bowen-Series du flot géodésique pour des surfaces hyperboliques de volume fini. On démontre d'abord que le billard géodésique associé à domaine fondamental "even corners" d'un groupe fuchsien cofini est conjugué à une bijection du tore, appelée codage étendu, dont l'un des facteurs est la transformation de Bowen-Series. L'intérêt principal de cette conjugaison est qu'elle ne fait toujours intervenir qu'un nombre fini d'objets. On retrouve ensuite des résultats classiques sur le codage de Bowen-Series : il est orbite-équivalent au groupe, ses points périodiques sont denses, et ses orbites périodiques sont en bijection avec les classes d'équivalence d'hyperboliques primitifs du groupe ; ce qui permet finalement de relier sa fonction zeta de Ruelle à la fonction zeta de Selberg. Les preuves de ces résultats s'appuient sur un lemme combinatoire qui abstrait la propriété d'orbite-équivalence à des familles de relations qui peuvent être définies sur tout ensemble sur lequel agit le groupe. Il est aussi possible de conjuguer le codage étendu à un sous-shift de type fini, sauf pour un ensemble dénombrable de points. Enfin, on prouve que les distributions propres pour la valeur propre 1 de l'opérateur de transfert sont les distributions de Helgason de fonctions propres du laplacien sur la surface, puis que l'on peut associer à toute telle distribution propre une fonction propre non triviale de l'opérateur de transfert et que ce procédé admet un inverse dans certains cas

The modern soundscape buzzes with noise. In the 1930s, telephones, radios, and gramophones filled domestic spaces with technological noise, while crowds shouting in the streets created political clamour. During the war in the 1940s, bombs and sirens broke through buildings and burst through consciousness. This dissertation examines the response of three British modernist writers to the cultural shifts brought about by technology and politics, which altered everyday experience and social relations. Elizabeth Bowen, Evelyn Waugh, and George Orwell represent noise in their fiction and nonfiction as a trope of power. Noise, as a palpable emblem of discontent and the acoustic unconsciousness of the period, infiltrates sentences and rearranges syntax, as in the invention of Newspeak in Nineteen Eight-Four. Noise cannot leave listeners in a neutral position. The "culture racket" of the 1930s and 1940s required urgent new ways of listening and listening with ethical intent. / Chapter One provides a reading of Elizabeth Bowen's audible terrains in her novels of the 1930s, where silences and sudden noises intrude on human lives. In Bowen's novels, technological noise has both comedic and tragic consequences. Chapter Two examines noise as a political signifier in The Heat of the Day, Bowen's novel of the blitz. Chapter Three takes up the significance of the culture racket to Evelyn Waugh's novels and travel writing of the 1930s; noise assumes a disruptive, if highly comedic, value in his works, an ambiguity that expresses what it means to be modern. Chapter Four examines Waugh's penchant for satirizing the phoneyness of contemporary culture---its political vacillations---especially in Put Out More Flags, set during the Second World War. Chapter Five considers Orwell's engagement with the emerging social and political formations amongst working, racial, and warring classes in the 1930s. Documenting noise in his reportage, Orwell sounds alarms to alert readers to the mounting social and political crises in his realist novels of the decade. Chapter Six argues that Orwell's final two novels of the 1940s, Animal Farm and Nineteen Eighty-Four, represent the politics of noise in as much as they announce the noise of politics in totalitarian futures. Noise demarcates the insidiousness of propaganda as it screeches from telescreens, the keynote in Big Brother's ideological symphony of domination. Noise, throughout Orwell's writing, signifies the struggle for power. In its widest ramifications, noise provides an interpretive paradigm through which to read Bowen's, Waugh's, and Orwell's fiction and non-fiction, as well as modernist texts generally.