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This dissertation centers around the impact that geology and its ideas had on nineteenth writers just as it was defining itself from other natural sciences. Geological questions about how rocks and dirt were formed, where they came from, and what kinds of forces act on them are at the heart of the texts I engage here: the writings of Orra White Hitchcock in her travel journals, Emily Dickinson, Edmund Ruffin, and Charles W. Chesnutt; along with the stories told about spirits who inhabit bodies of water in South Carolina, and the illustrations and paintings of Orra Hitchcock. The central concept that the dissertation explores is geopoetics: the modelling of literary and artistic form on geologic processes. In its formal strategies, geopoetic writing aims to establish relationships, explicitly or implicitly, between many changing conditions and across many different temporal moments, all at once. As geologists and average people alike struggled to understand the place of the human in developing theories of how the planet was formed and reformed, the writers I engage here used these theories in their own texts as models for thinking about a series of relationships, both between persons and between humans and the nonhuman world. Though informed by geological research and ideas, geopoetics are not the static transposition of geology’s theories onto the texts I engage with here. Instead, these texts are the means by which their writers explore geologic ideas and the longue dureé natural processes that shape them. Geopoetics occur when an author’s writing strategy recalls the connections between natural and human-made networks in its form, by creating an interplay of literary or poetic structure and geologic imagery. What I mean by this is that the majority of these texts don’t simply feature allusions to geologic features, but, as I show, fundamentally engage with understandings of geological processes in their formal composition. If a volcano in a Dickinson poem, for example, is the vehicle of a metaphor, the volcano doesn’t simply take on the meanings which the metaphor aims to convey. It also causes Dickinson to write in ways that are particularly volcanic – through expansive, oozing analogies that ingest the external world. Hitchcock, Ruffin and Chesnutt, along with believers in bisimbi all make use of the ecosystemic layers that are embodied by rock formations in their writings. For Chesnutt, this looks like the gradual accumulation of conjure stories in his imagination which, though heard when he was a child, come back to retell their stories in his writing as though they had possessed him. In his narratives, conjure stays imbedded in locations throughout his landscapes, catching characters off-guard and radically changing them, sometimes with no clear origin point or conjurer to attribute the spells to. As the above paragraph suggests, Chesnutt, Dickinson, Hitchcock, Ruffin, and tellers of simbi stories each have specific geopoetic strategies with which they explore geologic theories. Subsequently, they each create the interplay of geologic allusion and literary form I describe above in their own, particular ways.

Text in Afrikaans / After taking her severely incapacitated husband to Europe immediately after the cessation of hostilities to obtain specialist medical treatment, Mrs Rachel Isabella Steyn (Tibbie) in 1905 brought the partially recovered Pres Steyn back to South Africa. She joined forces with her husband to revive the defeated Afrikaner socially, spiritually and materially. Tibbie assisted her husband with establishing the Oranje School for Girls in 1906, and in 1907 the Oranje Association for Women (OVV) was formed with Tibbie as chairperson. Although she was English speaking by birth, she openly identified herself with efforts to promote Afrikaans as a cultural language. Alongside her husband she worked for the building of the National Women's Monument to commemorate those who had died during the war. During all these activities she conscientiously cared for the health and spiritual needs of Pres Steyn. After Pres Steyn's death in 1916 she emerged more forcefully in public life. After the First World War in co-operation with Emily Hobhouse she collected money for the needy in Central Europe. She was constantly occupied with alleviating the needs of people, e.g. by collecting small donations from her people who had been impoverished by the war. In this manner a home could be acquired for Emily Hobhouse and Mrs De Wet, widow of the famous war general, could be assisted in her need. In 1926 Tibbie also arranged the burial of Emily Hobhouse at the Women's Monument. As a leader among her people Tibbie experienced the tensions of the Rebellion and two world wars without becoming involved publicly. Despite sharp political differences between the two language groups and amongst members of her own fam~ly, she successfully maintained her role as binding force. She preferred acting behind the scenes. She was the patroness of many organisations, and while she was often involved in ceremonial situations she always performed her duties with grace. Among both English and Afrikaans speaking peoples she was held in high esteem and among Afrikaners she spontaneously became accepted as Volksmoeder. When she was 83 years of age the Government asked her to act as South Africa's official representative at the abdication of Queen Wilhelmina of the Netherlands. She was accorded a state funeral at the Women's Monument when she died on 3 January 1955. / Nadat sy haar ernstig ongestelde man na die einde van die Anglo-Boereoorlog vir gespesialiseerde mediese behandeling na Europa geneem het, het mev. Rachel Isabella Steyn (Tibbie) die gedeeltelik herstelde pres. M. T. Steyn in 1905 na Suid-Afrika terug gebring. Sy het haar saam met pres. Steyn beywer om die verslane Afrikanervolk op maatskaplike, geestelike en stoflike gebied weer op te hef. Tibbie het pres. Steyn bygestaan met die oprigting van die Meisieskool Oranje in 1906. In 1907 het die stigting van die Oranje-Vrouevereniging (OVV) onder haar voorsitsterskap geskied. Hoewel sy van afkoms Engelssprekend was, was sy een van die eerstes wat Afrikaans tot skryftaal verhef het. Aan die sy van haar eggenoot het sy gewerk vir die oprigting van die Nasionale Vrouemonument om die gestorwe vroue en kinders van die oorlog te gedenk. Te midde van dit alles het sy nougeset gewaak oor pres. Steyn se gesondheid en sy geestelike welsyn. Na pres. Steyn se dood in 1916 tree sy sterker na vore in die openbare lewe. In samewerking met Emily Hobhouse samel sy na die Eerste Wereldoorlog geld in vir noodlydendes van Sentraal-Europa. Sy het haar voortdurend beywer vir die verligting van die lot van haar mense, o.a. met die insameling van halfkrone by 'n oorlogsverarmde volk. So is o.a. 'n huis vir Emily Hobhouse bekom, en is die nood van genl. De Wet se weduwee verlig. Tibbie het ook in 1926 die leiding geneem met die begrafnis van Emily Hobhouse by die Vrouemonument. As leiersfiguur het sy die spanning van die Rebellie en die twee wereldoorloe sonder enige omstredenheid deurleef. Te midde van skerp politieke verskille tussen die taalgroepe en onder haar eie familie tree sy met sukses as saambindende krag op. Hoewel sy geweldige invloed gehad het, het sy by voorkeur agter die skerms opgetree. Sy was beskermvrou van verskeie organisasies en waar sy dikwels by seremoniele geleenthede betrek was, het sy haar pligte met groot grasie vervul. Onder sowel Engelse as Afrikaners is sy sonder voorbehoud geeer, en by die Afrikaners het sy spontaan die eretitel van Volksmoeder verwerf. Op drie-en-tagtigjarige ouderdom is sy in 1948 deur die Regering afgevaardig as Suid-Afrika se gesant tydens die plegtighede verbonde aan die abdikasie van koningin Wilhelmina van Nederland. Sy is 'n staatsbegrafnis by die Vrouemonument gegee toe sy op 3 Januarie 1955 oorlede is. / History / D. Litt. et Phil. (Geskiedenis)

In this studyi apply a feminist-narratological grid to the works under discussion. I show how narration is used as strategy to highlight issues of concern to women, hereby attempting to make a contribution in the relatively new field of feminist narratology. Chapter One provides an analysis of Pride and Prejudice as an example of a feminist statement by Jane Austen. The use of omniscient narration and its ironic possibilities are offset against the central characters' perceptions, presented by means of free indirect style. Chapter Two examines The Tenant of Wildfell Hall as a critique of Wuthering Heights, both in its use of narrative frames and in its at times moralistic comment. The third and fourth chapters focus on Charlotte Bronte. Her ambivalences about the situation of women, be they writers, narrators or characters, are explored. These are seen to be revealed in her narrative strategies, particularly in her attainment of closure, or its lack. Chapter Five explores the increasing sophistication of the narrative techniques of Elizabeth Gaskell, whose early work Mary Barton is shown to have narrative inconsistencies as opposed to her more complex last novel Wives and Daughters. Finally, I conclude that while the authors under discussion use divergent methods, certain commonalities prevail. Among these are the presentation of alternatives women have within their constraining circumstances and the recognition of their moral accountability for the choices they make. / English Studies / D. Litt. et Phil. (English)

Thesis (M.A.)--Miami University, Dept. of Communication, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 97-105).

Text in Afrikaans / After taking her severely incapacitated husband to Europe immediately after the cessation of hostilities to obtain specialist medical treatment, Mrs Rachel Isabella Steyn (Tibbie) in 1905 brought the partially recovered Pres Steyn back to South Africa. She joined forces with her husband to revive the defeated Afrikaner socially, spiritually and materially. Tibbie assisted her husband with establishing the Oranje School for Girls in 1906, and in 1907 the Oranje Association for Women (OVV) was formed with Tibbie as chairperson. Although she was English speaking by birth, she openly identified herself with efforts to promote Afrikaans as a cultural language. Alongside her husband she worked for the building of the National Women's Monument to commemorate those who had died during the war. During all these activities she conscientiously cared for the health and spiritual needs of Pres Steyn. After Pres Steyn's death in 1916 she emerged more forcefully in public life. After the First World War in co-operation with Emily Hobhouse she collected money for the needy in Central Europe. She was constantly occupied with alleviating the needs of people, e.g. by collecting small donations from her people who had been impoverished by the war. In this manner a home could be acquired for Emily Hobhouse and Mrs De Wet, widow of the famous war general, could be assisted in her need. In 1926 Tibbie also arranged the burial of Emily Hobhouse at the Women's Monument. As a leader among her people Tibbie experienced the tensions of the Rebellion and two world wars without becoming involved publicly. Despite sharp political differences between the two language groups and amongst members of her own fam~ly, she successfully maintained her role as binding force. She preferred acting behind the scenes. She was the patroness of many organisations, and while she was often involved in ceremonial situations she always performed her duties with grace. Among both English and Afrikaans speaking peoples she was held in high esteem and among Afrikaners she spontaneously became accepted as Volksmoeder. When she was 83 years of age the Government asked her to act as South Africa's official representative at the abdication of Queen Wilhelmina of the Netherlands. She was accorded a state funeral at the Women's Monument when she died on 3 January 1955. / Nadat sy haar ernstig ongestelde man na die einde van die Anglo-Boereoorlog vir gespesialiseerde mediese behandeling na Europa geneem het, het mev. Rachel Isabella Steyn (Tibbie) die gedeeltelik herstelde pres. M. T. Steyn in 1905 na Suid-Afrika terug gebring. Sy het haar saam met pres. Steyn beywer om die verslane Afrikanervolk op maatskaplike, geestelike en stoflike gebied weer op te hef. Tibbie het pres. Steyn bygestaan met die oprigting van die Meisieskool Oranje in 1906. In 1907 het die stigting van die Oranje-Vrouevereniging (OVV) onder haar voorsitsterskap geskied. Hoewel sy van afkoms Engelssprekend was, was sy een van die eerstes wat Afrikaans tot skryftaal verhef het. Aan die sy van haar eggenoot het sy gewerk vir die oprigting van die Nasionale Vrouemonument om die gestorwe vroue en kinders van die oorlog te gedenk. Te midde van dit alles het sy nougeset gewaak oor pres. Steyn se gesondheid en sy geestelike welsyn. Na pres. Steyn se dood in 1916 tree sy sterker na vore in die openbare lewe. In samewerking met Emily Hobhouse samel sy na die Eerste Wereldoorlog geld in vir noodlydendes van Sentraal-Europa. Sy het haar voortdurend beywer vir die verligting van die lot van haar mense, o.a. met die insameling van halfkrone by 'n oorlogsverarmde volk. So is o.a. 'n huis vir Emily Hobhouse bekom, en is die nood van genl. De Wet se weduwee verlig. Tibbie het ook in 1926 die leiding geneem met die begrafnis van Emily Hobhouse by die Vrouemonument. As leiersfiguur het sy die spanning van die Rebellie en die twee wereldoorloe sonder enige omstredenheid deurleef. Te midde van skerp politieke verskille tussen die taalgroepe en onder haar eie familie tree sy met sukses as saambindende krag op. Hoewel sy geweldige invloed gehad het, het sy by voorkeur agter die skerms opgetree. Sy was beskermvrou van verskeie organisasies en waar sy dikwels by seremoniele geleenthede betrek was, het sy haar pligte met groot grasie vervul. Onder sowel Engelse as Afrikaners is sy sonder voorbehoud geeer, en by die Afrikaners het sy spontaan die eretitel van Volksmoeder verwerf. Op drie-en-tagtigjarige ouderdom is sy in 1948 deur die Regering afgevaardig as Suid-Afrika se gesant tydens die plegtighede verbonde aan die abdikasie van koningin Wilhelmina van Nederland. Sy is 'n staatsbegrafnis by die Vrouemonument gegee toe sy op 3 Januarie 1955 oorlede is. / History / D. Litt. et Phil. (Geskiedenis)

In this studyi apply a feminist-narratological grid to the works under discussion. I show how narration is used as strategy to highlight issues of concern to women, hereby attempting to make a contribution in the relatively new field of feminist narratology. Chapter One provides an analysis of Pride and Prejudice as an example of a feminist statement by Jane Austen. The use of omniscient narration and its ironic possibilities are offset against the central characters' perceptions, presented by means of free indirect style. Chapter Two examines The Tenant of Wildfell Hall as a critique of Wuthering Heights, both in its use of narrative frames and in its at times moralistic comment. The third and fourth chapters focus on Charlotte Bronte. Her ambivalences about the situation of women, be they writers, narrators or characters, are explored. These are seen to be revealed in her narrative strategies, particularly in her attainment of closure, or its lack. Chapter Five explores the increasing sophistication of the narrative techniques of Elizabeth Gaskell, whose early work Mary Barton is shown to have narrative inconsistencies as opposed to her more complex last novel Wives and Daughters. Finally, I conclude that while the authors under discussion use divergent methods, certain commonalities prevail. Among these are the presentation of alternatives women have within their constraining circumstances and the recognition of their moral accountability for the choices they make. / English Studies / D. Litt. et Phil. (English)