This thesis deals with Dorothy Wordsworth's Rydal Journal, a journal written between 1824 and 1835, when Dorothy Wordsworth was between ages 53 and 64. The most interesting entries in the Rydal Journal include descriptions of William's political views, famous callers at Rydal Mount, church sermons Dorothy heard, books she was reading, and her relationships and correspondence with many friends and family members. In terms of structure, Dorothy's journal entries are generally quite similar over the eleven years of these volumes. Perhaps most strikingly, the vast majority begin with a record of the day's weather. Sometimes, she broadly outlines the entire day's weather (e.g., "Fine day—but still thundery" [11 July 1825]). Other times, she foregrounds the weather she woke up to or experienced in the morning (e.g., "Another fine morning—sun shines" [12 September 1826]). Regardless, throughout the entries, she intersperses events with the weather, as in this typical entry from 11 January 1827: "Very bright—Dora rides—Mrs. Arlow & 3 Norths call—I writ[in]g to Lady B. . . Lovely warm moonlight on snow—Long walk on Terrace." In this way, weather plays a central role in the Rydal Journal, for Dorothy employs weather as her primary measure of time. In what follows, I will begin by offering a short history of timekeeping before and during the Wordsworths' lifetimes, focusing particularly on the degree to which tracking and standardizing minutes and hours was becoming commonplace in the eighteenth and nineteenth centuries. From there, I will show how, in contrast to this trend toward mechanical timekeeping, Dorothy processed time primarily through natural and climatological cycles and events during the Rydal Journal years. Dorothy's apparent rejection of clock time seems to be related to her reliance on nature, for weather time was much more lyrical than mechanical time.

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Thesis (M.S.)--Brigham Young University. Dept. of Geography, 2005. / Includes bibliographical references (leaves 41-43).

In the discussions about contemporary celebrities, the femme fatale, the bad boy, the child star, and the wannabe have become accepted and even celebrated figures. In the late eighteenth and early nineteenth centuries, however, actors and actresses who challenged acceptable strategies for celebrity behavior were often punished by exile, debt, disgrace, and humiliation. Some performers even faced a veritable textual and historical oblivion. Illegitimate Celebrity considers the careers of Dorothy Jordan, William Henry West Betty, Edmund Kean, and Margaret Agnes Bunn, and offers a historical genealogy of "illegitimate" performers who dared to break with social convention and struggled to define and redefine themselves according to strict social codes that dictated their behavior both onstage and off. By examining celebrity productions, portraits, caricatures, and performances as elements to producing celebrity, I demonstrate how the audiences used these public figures to create complex narratives regarding class, femininity, masculinity, marriage, nationalism, among others. Ultimately, the study of illegitimate celebrity reveals the role of celebrity in shaping these discursive structures and provides an important history for modern narratives regarding the role of celebrity in society. / McAnulty College and Graduate School of Liberal Arts; / English / PhD; / Dissertation;

Thesis (M.A.)--University of North Carolina at Wilmington, 2004. / Includes bibliographical references (leaves : [97]-99).

Thesis (Ph. D.)--University of Chicago, The Divinity School, August, 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

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This thesis explores the potential fruitfulness of drama for Christian theology through a close analysis of particular dramatic works by Dorothy L. Sayers (1893-1957). This project contends that to determine the extent to which drama can be more than a mere metaphor in theological writing, it is vitally important for theologians to attend to specific instances of dramatic performance. The approach of this project is, therefore, one of taking time over particular plays, examined with sensitivity to the circumstances of the original productions of these works. Through such close study of Sayers’ plays, a case is made for drama’s capacity to show forth God’s action in history. At the heart of the theology which emerges from the plays is an incarnational and participatory dynamic: a movement which brings embodied, time-bound specificities into an intimate relationship with the excessive, uncontainable, superabundance of divine being. This thesis aims to contribute to the growing body of work which is discovering deep resonances between drama and theology. It also makes a significant contribution to the study of Sayers’ writings. Whilst Sayers’ detective fiction and other prose, in particular her book The Mind of the Maker, has received attention from scholars interested in theology, the theological significance of her plays has been overlooked. The thesis examines in detail four of Sayers’ dramatic works. Chapters Two and Three each treat works written for broadcast on BBC radio: first, Sayers’ 1938 nativity play, He That Should Come; second, her series of twelve plays depicting the life of Christ, The Man Born to Be King, broadcast between 1941 and 1942. Chapters Four and Five discuss plays written for performance in ecclesial settings: The Just Vengeance, commissioned as part of a festival at Lichfield Cathedral in 1946, and The Zeal of Thy House, the Canterbury Cathedral Festival play for 1937.