Thesis (Ph. D.)--West Virginia University, 2005. / Title from document title page. Document formatted into pages; contains v, 220 p. Vita. Includes abstract. Includes bibliographical references (p. 205-217).

In reading The story of Edgar Sawtelle, this essay applies posthuman studies with animal studies and disability studies to analyse how the communication between species occur and how boundaries are expanded. Non-verbal language is closely examined and argued to be just as viable as verbal language in the making of relationships and subjects in literature. By applying posthumanism, biological research and a non-anthropocentric way of thinking one can evolve from the notion that humans are the only subjects which matter, something that has been verified because non-human animals never have been given a voice or an acknowledgment of a language. What happens in a novel when the main protagonist is lacking the ability to speak verbally, when verbal language is what has constructed human exceptionalism over all the other species? / Denna uppsats tillämpar posthumanistiska studier med djurstudier och funktionshinder-studier för att analysera hur kommunikationen mellan arter äger rum och expanderar gränser i David Wroblewskis roman The Story of Edgar Sawtelle. Icke-verbalt språk undersöks och argumenteras vara lika betydande som verbalt språk vid skapandet av relationer och subjekt i litteratur. Genom att applicera posthumanism, biologisk forskning och ett icke-antropocentriskt sätt att tänka kan man avveckla tanken om att människan är det enda subjekt som räknas, detta är något som enbart verifierats eftersom icke-mänskliga djur aldrig fått någon agens eller bekräftande att de har rätten till en röst. Vad händer i en roman när protagonisten saknar förmågan till verbalt språk, när det verbala språket är central som verkning i mänsklig exceptionalism?

Zugl.: Oldenburg, Univ., Diss., 2007

This thesis contains spectroscopic analyses of two unusual binaries with circum- stellar disks - β Lyr and ǫ Aur. Several hundred optical spectra were processed and analyzed for both binaries which led to several original findings. For β Lyr, it was a discovery of a weak shell spectrum originating in a disk pseudophotosphere and a hidden satellite spectrum, present only during eclipses, which arise from additional absorption of the primary light passing through the gaseous envelope around the secondary. For ǫ Aur, it led to the discovery of the apparent multiperiodic line vari- ability occuring during the current eclipse with a dominant and common period of 66d .21 and to an explanation of complex Hα line profiles during the eclipse which is again caused by an additional absorption of a primary light in an atmosphere of a dark disk around a secondary. Also rich series of radial velocity measurements and photometric observations were collected and used to determine a new precise orbital solution for ǫ Aur. Further, a hydrodynamical and a radiative modeling of a discontinuous mass transfer in a close binary system was carried out which resulted in a formation of an elongated disk with a slow prograde revolution, demonstrated itself by double emission Hα line profiles that exhibit V/R variations.

Made available in DSpace on 2016-06-02T20:11:03Z (GMT). No. of bitstreams: 1 6144.pdf: 32503381 bytes, checksum: d3df6020c184821212fe5bd618dc0890 (MD5) Previous issue date: 2014-02-28 / Financiadora de Estudos e Projetos / This dissertation aims to investigate how the Charlotte Brontë s literary project presents in the novel, Jane Eyre (1847), through female authorship, and, as its transposition into Cinema, the movie version by Cary Joji Fukunaga´s Jane Eyre (2011) occurs. The literary project of the author focuses on the issue of gender and its concern was to give voice to the women of her time. The director´s project for this movie comes from melodrama to the triumph of love search. The purpose of analysis is to understand how the interpretation of this source-novel occurs in the 21st century, with the aim of examining how this story is reread, seeking current interpretive understanding of the novel through the film. Thus, this study will demonstrate the importance of the periodization as proposed by Jameson (1992) for the reading of the novel and its transcreation, according to Campos (2004), considering the relationship between economic s, political, social and aesthetic characteristics of each period, as also teaches Candido (1967). The research was developed through the reading the novel, of the theoretical works about the author as well as the director and analysis of filmic narrative. / Esta dissertação tem por objetivo demonstrar como o projeto literário de Charlotte Brontë se apresenta no romance Jane Eyre (1847), por meio da autoria feminina, como ocorre sua transposição para o Cinema, na versão fílmica, de Cary Joji Fukunaga, Jane Eyre (2011). O projeto literário da autora concentra-se na questão de gênero e sua preocupação foi a de dar voz à mulher de seu tempo. O projeto do diretor para esse filme parte do melodrama para o triunfo da busca pelo amor. O intuito de análise é perceber como ocorre a interpretação desse romance-fonte no século XXI, com o objetivo de analisar como essa história é relida, buscando a compreensão interpretativa desse romance-fonte na atualidade pelo olhar fílmico. Neste âmbito, este estudo demonstrará a importância da periodização conforme proposto por Jameson (1992) para a leitura do romance e de sua transcriação, de acordo com Campos (2004), considerando as relações entre as características econômicas, políticas, sociais e estéticas de cada período, conforme também nos ensina Candido (1967). A pesquisa foi desenvolvida por meio da leitura do romance, de obras teóricas sobre a autora e o diretor e análise da narrativa cinematográfica.

Cary-Cortona is a city that lies on the periphery of two realities; the reality of pragmatism and the reality of abstraction. It was conceived as a response to the pragmatic questions posed by an uncertain, yet impending future. It was nurtured by the correlation of vaguely related information until the facts and figures themselves became an abyss of abstraction. From the cavernous depths of information came a night of dreams when Cary-Cortona first emerged as walls and columns that began to form a city of arcades and courtyards. On that night the inhabitants walked the streets and alleys and the fragments of a dream became the very real elements of a living town. The subconscious residue of that dream flowed together as expressions of order, hierarchy, and form, drawn into existence through the media of models, drawings and sketches. Those formal expressions have taken on a reality of their own even when seen as abstractions through pragmatic eyes because they represent aspirations not yet realized. Cary-Cortona is very much alive in the realm of ideas, and as an idea it can emote a different series of images from each viewer who sees it. Just as there are limitless images of the future each tied to the individual, Cary-Cortona represents only one aspiration for a small corner of a vast future. In its present form Cary-Cortona is an adolescent in a purgatory between the two realities of abstraction and pragmatism, belonging to neither world completely, yet existing to be judged and scrutinized by both. / Master of Architecture

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This dissertation attempts to fill a void in early modern English drama studies by offering an in-depth, cross-gendered comparative study emphasizing representations of women’s discursive agency. Such an examination contributes to the continuing critical discussion regarding the nature and extent of women’s potential agency as speakers and writers in the period and also to recent attempts to integrate the few surviving dramas by women into the larger, male-dominated dramatic tradition. Because statements about the nature of women’s speech in the period were overwhelmingly male, I begin by establishing the richness and variety of women’s attitudes toward marriage and toward their speech relative to marriage through an examination of their first-person writings. A reassessment of the dominant paradigms of the shrew and the silent woman as presented in male-authored popular drama—including The Taming of the Shrew and Epicene—follows. Although these stereotypes are not without ambiguity, they nevertheless considerably flatten the contours of the historical patterns discernable in women’s lifewriting. As a result, female spectators may have experienced greater cognitive dissonance in reaction to the portrayals of women by boy actors. In spite of this, however, they may have borrowed freely from the occasional glimpses of newly emergent views of women readily available in the theater for their own everyday performances, as I argue in a discussion of The Shoemaker’s Holiday and The Roaring Girl. Close, cross-gendered comparison of two sets of similarly-themed plays follows: The Duchess of Malfi and The Tragedy of Mariam, and A Midsummer Night’s Dream and Love’s Victory. Here my examination reveals that the female writers’ critique of prevailing gender norms is more thorough than the male writers’ and that the emphasis on female characters’ material bodies, particularly their voices, registers the female dramatists’ dissatisfaction with the disfiguring representations of women on the maledominated professional stage. I end with a discussion of several plays by women—The Concealed Fancies, The Convent of Pleasure, and Bell in Campo—to illustrate the various revisions of marriage offered by each through their emphasis on gendered performance and, further, to suggest the importance of the woman writer’s contribution to the continuing dialectic about the nature of women and their speech.