<p>Syftet med uppsatsen är att undersöka vilka typer av miljöbeskrivande adjektiv och stilistiska figurer som används för att ge en bild av de olika miljöerna i Frances Hodgson Burnetts berättelse <em>Den hemliga trädgården</em>. De miljöer som analyseras är huset Misselthwaite Manor, heden, trädgårdarna och den hemliga trädgården. Metoden som används i uppsatsarbetet är en stilistisk metod som innebär en närläsande intensivanalys av den enskilda texten. Även kvantitativa och kvalitativa aspekter inkluderas i metoden.</p><p>Analysen visar att följande typer av adjektiv förekommer i samtliga miljöskildringar: adjektiv som beskriver dimension, värdering, tillstånd och färg. Adjektiv som beskriver ålder hittas i miljöerna huset Misselthwaite Manor, trädgårdarna och den hemliga trädgården och de som beskriver sinnesstämning hittas i skildringarna av trädgårdarna och den hemliga trädgården. De klassificerande adjektiven hittas endast i skildringen av huset Misselthwaite Manor. Den vanligaste typen av adjektiv är de som utrycker värdering med sammanlagt 148 exempel. Stilfigurerna besjälning och liknelse förekommer i samtliga skildringar, medan metaforen saknas i beskrivningen av huset. Besjälning och liknelse är de vanligaste stilfigurerna, medan metaforen är minst representerad. Analysen visar även att den hemliga trädgården genomgår en positiv förändring, vilket inte är fallet med huset som förblir dystert. Samma typer av adjektiv används i de båda miljöerna förutom de klassificerande, som endast används i skildringen av huset Misselthwaite Manor, och de adjektiv som beskriver sinnesstämning, som används i skildringen av den hemliga trädgården. Den hemliga trädgården innehåller samtliga stilistiska figurer, medan huset saknar figuren metafor. </p><p>         </p>

Syftet med uppsatsen är att undersöka vilka typer av miljöbeskrivande adjektiv och stilistiska figurer som används för att ge en bild av de olika miljöerna i Frances Hodgson Burnetts berättelse Den hemliga trädgården. De miljöer som analyseras är huset Misselthwaite Manor, heden, trädgårdarna och den hemliga trädgården. Metoden som används i uppsatsarbetet är en stilistisk metod som innebär en närläsande intensivanalys av den enskilda texten. Även kvantitativa och kvalitativa aspekter inkluderas i metoden. Analysen visar att följande typer av adjektiv förekommer i samtliga miljöskildringar: adjektiv som beskriver dimension, värdering, tillstånd och färg. Adjektiv som beskriver ålder hittas i miljöerna huset Misselthwaite Manor, trädgårdarna och den hemliga trädgården och de som beskriver sinnesstämning hittas i skildringarna av trädgårdarna och den hemliga trädgården. De klassificerande adjektiven hittas endast i skildringen av huset Misselthwaite Manor. Den vanligaste typen av adjektiv är de som utrycker värdering med sammanlagt 148 exempel. Stilfigurerna besjälning och liknelse förekommer i samtliga skildringar, medan metaforen saknas i beskrivningen av huset. Besjälning och liknelse är de vanligaste stilfigurerna, medan metaforen är minst representerad. Analysen visar även att den hemliga trädgården genomgår en positiv förändring, vilket inte är fallet med huset som förblir dystert. Samma typer av adjektiv används i de båda miljöerna förutom de klassificerande, som endast används i skildringen av huset Misselthwaite Manor, och de adjektiv som beskriver sinnesstämning, som används i skildringen av den hemliga trädgården. Den hemliga trädgården innehåller samtliga stilistiska figurer, medan huset saknar figuren metafor.

BRYCE DALE ALLEN, for the Master of Fine Arts degree in Theater, presented on March 30, 2010, at Southern Illinois University Carbondale. TITLE: MANAGING THE MAGIC: TECHNICAL DIRECTION OF THE SECRET GARDEN MAJOR PROFESSOR: Robert Holcombe This project, Managing the Magic: Technical Direction of The Secret Garden, is a detailed description of the process I used as the technical director to help produce the Department of Theater's production of The Secret Garden at Southern Illinois University Carbondale in April 2009. This work is also a study of the artistic collaboration that took place between the design team and me during the execution of the production. Through this project I was able to polish skills that I had learned through careful goal setting and evaluation. Working on The Secret Garden also gave me the opportunity to broaden my experience and develop my strengths as a technical director.

This thesis aims to examine non-human agency in Elizabeth Jane Burnett’s The Grassling and Hiromi Itō’s Wild Grass on the Riverbank. Using a theoretical framework based on material ecocriticism, queer ecology and affect theory, the thesis explores how Burnett’s and Itō’s poetic narratives reconfigure the relationship between human and nonhuman in non-anthropocentric ways with the help of the irreal. The thesis discusses how the texts reimagine desire, moving from a Freudian view in which desire is repressed, to an understanding of desire as becoming as expressed by Deleuze. In the stories, humans metamorphose into plants, showing the interconnectedness of all matter and the importance of care exceeding species. These strands of the narratives contest anthropocentrism, and by extension also the heteropatriarchy to which it is related. Grief over traumatic experiences like family loss and migration in the stories are shown to be related to the loss of a planetary home as a result of climate change.

This thesis argues that textual and historical analysis of The Carol Burnett Show reveals that the program utilized slapstick, women's comedy and feminist humor to create comedic parodies of television commercials, melodramas and women's films, and soap operas. Their television commercial parodies reflect Second Wave feminist critiques of media advertising contemporary with the program. Comparison of the work of early feminist film theorists and media critics to the program's parodies of film and soap opera reveal an interest in texts that address a female audience and that The Carol Burnett Show was making similar critiques to feminist media scholars in the years before it became a field of inquiry.

This thesis traces the figure of the idealized child through three of Frances Hodgson Burnett's children's books: Editha's Burglar (1888), Little Lord Fauntleroy (1886), and The Secret Garden (1911). In all three books Frances Hodgson Burnett introduces child characters who have a nuanced understanding of the world around them that allows them to cure the brokenness in the adult world. Burnett's use of the child figure and of illness as a representation of flaws in society reflected increased focus on these topics in the nineteenth century; they also rose from her belief in mind cure. This thesis examines the source of the curative power each protagonist wields, the impacts of their cure, and what the need for cure says about the larger society and the characters themselves. It also emphasizes how this cure was shaped by the children's gender and socioeconomic status. I argue that throughout all three works Burnett's protagonists take on traits of the idealized child to restore the world to her view of the natural world order. In doing this, Burnett reaffirms traditional family structure, separate spheres ideology, and class hierarchy. / Master of Arts / This thesis traces the figure of the idealized child through three of Frances Hodgson Burnett's children's books: Editha's Burglar (1888), Little Lord Fauntleroy (1886), and The Secret Garden (1911). In all three books Frances Hodgson Burnett introduces child characters who have a nuanced understanding of the world around them that allows them to cure the brokenness in the adult world. Burnett's use of the child figure and of illness as a representation of flaws in society reflected increased focus on these topics in the nineteenth century; they also rose from her belief in mind cure. This thesis examines the source of the curative power each protagonist wields, the impacts of their cure, and what the need for cure says about the larger society and the characters themselves. It also emphasizes how this cure was shaped by the children's gender and socioeconomic status. I argue that throughout all three works Burnett's protagonists take on traits of the idealized child to restore the world to her view of the natural world order. In doing this, Burnett reaffirms traditional family structure, separate spheres ideology, and class hierarchy.

The “dialogue novel” is best understood as an ongoing novelistic experiment that replaces narration with dialogue, so that such basic narrative constituents as character, setting, chronology, and plot find expression not through the mediation of an external or character-bound narrative consciousness, but through the presented verbal exchange between characters. Despite sustained critical attention to the variety and “openness” of the novel form, dialogue novels have been largely ignored within English studies— treated as neither a sustained tradition within, nor a perverse manifestation of, the novel. This study seeks to address that absence and to situate the dialogue novel within narrative and novel studies. Drawing from analytic philosophy, narratology, literary theory, and the dialogue novels themselves, this study demonstrates how the unique formal texture of the dialogue novel opens onto valuable discussions about such topics as cooperative language communities, narrative desire, the power dynamics implicit in talk, and the relationship between time and narrative. Overriding these concerns is an attention to how the social nature of conversation determines how the dialogue novel represents institutional power and character agency, as well as how the dialogue novel establishes a dynamic between reader and text for the refiguration of meaning and the reconstruction of fictional worlds. Chapter One uses Paul Grice’s Cooperative Principle as a baseline for delineating how communities are formed and maintained through dialogue in Henry James’s The Awkward Age. Chapter Two considers Henry Green’s late dialogue novels alongside his novel theory and René Girard’s theory of mimetic desire to illustrate how both character and readerly desire function as imitative practices. Chapter Three considers the novels of Ivy Compton-Burnett through Aaron Fogel’s theory of “forced dialogue” to argue that dialogue’s constraints can offer liberative structure to the novel form and those who are subject to these strictures. And Chapter Four reads dialogue novels by William Gaddis and Nicholson Baker through Paul Ricoeur’s threefold mimesis and Lubomír Doležel’s possible-worlds theory to argue that the dialogue novel presents an ideal form for examining the complex intersection of formal texture and history, as well as the dialectic between narrative configuration and human time. / English

The historical era between 1850 and 1950 is known to be a turbulent period reflected not only in adult literature but also in the texts written for children. This unusually rich period in terms of political, social and ideological development certainly influenced most parts of the world. However, it was particularly important for England mainly for the transition of the Victorian era and Edwardian period to the modern history initiated by the WW I. Throughout this period many new ideologies arose and scientific discoveries were more numerous than ever. In 1859, for instance, Darwin's On the Origin of Species by Means of Natural Selection was published and initiated the still on-going war period between Christianity and science. At the same time, the concept of childhood started to be understood in a different way and books written for children became a common commodity converting the end of 18th century in the Golden Age of children's literature. However, according to Peter Hunt's publication Understanding Children's Literature, 'all texts are inevitably infused by ideologies'. Therefore, the aim of this thesis is firstly, to study the way in which ideologies are incorporated in the texts for children (overt or covert) and secondly, the extent to which the texts for children become a vehicle of...

Artifacts recovered from archaeological excavations near the Willamette River in Lake Oswego, Oregon indicate the presence there of a Late Windust-Early Cascade Phase site possibly dating to 9,000 B.P. The assemblage includes 137 projectile points, bifaces or point fragments, nearly all of the Cascade-type. Two stem fragments and one complete point which are similar to those of the Windust Phase which dates 10,000-8,000 B.P. in the southern Columbia Plateau also were found. Stone knives, choppers, scrapers, hammerstones, cores and microblades also are included in the assemblage. No later type notched or stemmed points have been recovered from the site. If the hypothesized dates are valid, the site will be the oldest discovered to date in the Lower Willamette River-Portland Basin area. This thesis reports on the site, its excavation and its artifacts.

This dissertation seeks to identify, contextualize, and explain the achievement of late modernist novelists. Late modernism represents a significant, under-examined chapter in the development of the twentieth-century novel. Unlike the majority of their peers in the decades after modernism’s height, novelists such as Henry Green, Ivy Compton-Burnett, and Elizabeth Bowen—and the best-known, Samuel Beckett—continue to innovate in prose rather than returning to realism. Unlike their predecessors, late modernists move towards doubt, eschewing the sometimes ultimately redemptive ethos of high modernism. They do so without the insistence of later postmodernists, however, or their playful mood. The result is something new, strange, and “in between.” The aims of this study are to specify the nature of late modernist style, place it in its aesthetic and historical context, and explain its significance. Each chapter is a close reading of key works by one writer: each novelist uses different techniques to add to the late modernist aesthetic, but they all move in the same direction. The first chapter explores Henry Green’s work, analyzing the textual omissions and narrative construction that make his novels so evasive. In Compton-Burnett’s case, the focus is on how dialogue creates a constantly shifting moral world in which nothing can be taken for granted. The chapter on Beckett explores repetition, both as a microscopic stylistic tool and an organizing device that prevents the text from reaching conclusion. In examining Bowen, the centre is how her syntax circles continually around various kinds of “nothingness” and self-reflexively suggests ways to explore it. This study arranges late modernist novelists in a new continuum alongside Samuel Beckett, with the result that Beckett seems less a unique genius, and the other late modernist writers seem less eccentric and more profoundly challenging. They all seek ways to go on writing when doing so seems impossible. Late modernists bring something new to the novel. Through the smallest stylistic gestures, their works make and unmake themselves, refusing to allow the reader finality. They avoid the aesthetic and philosophical associations of either consolation or utter uncertainty; late modernists matter by refusing to matter in a familiar way.