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Simone de Beauvoir's fiction is still a largely unexplored field. This thesis offers new readings of her whole fictional corpus, using as critical lenses Freudian and Lacanian psychoanalysis in an ironically polemical move : vehemently anti-Freudian at the beginning of her career, Beauvoir denied the validity of his theories. Revealingly, however, her fiction tells a different tale. It is this untold Beauvoirean story I set out to tell in my study, which unfolds on three levels of critical interpretation. Firstly, using her own autobiographical admissions I examine her resolute resistance to psychoanalysis and offer possible reasons for her initial violent disavowal of its concepts. Secondly, I trace her explicit engagement with psychoanalysis as a clinical discipline through a chronological examination of her fiction, and, finally, I employ psychoanalytic literary theory as a magnifying optic onto her entire fictional output, thus offering new interpretations of her most underread texts. My conclusions are as follows : Beauvoir's resistance to psychoanalysis in fact stemmed from her own experience; by denying its value, she could also deny her own vulnerability, since the deep psychological damage caused by her unhappy childhood was still present in the strata of her own unconscious. Secondly, the thematic development of her fiction parallels the gradual acceptance of psychoanalysis as a valid clinical discipline following her self-analysis throughout her autobiographical creations - in her final two works, childhood and madness are laced together in a potent thematic explosion of her own articulated neuroses. And finally, the obsessive textual patternings betray her own repressed fears : throughout every fictional text, Oedipal triangles, fragmented identity and psychological breakdown play against each other against the backdrop of the symbiotic lure of idealised love. I thus hope to prove the relevance psychoanalysis has with regard to Beauvoir, despite her professed resistance to it.

In the 1980s, Thea Astley asserted that she had "to write as a male" to acquire literary acceptance in the 1950s and 1960s. In making this statement, Astley outlined what it meant to write as a male and to write as a female. The increasing critical use of these statements as an explanation for the subject matter and the style of Astley's fiction, however, ignores the gendered reception of her work, generates misconceptions regarding her early novels, undervalues the continuity of her feminist critique of what she calls the "genital loading" of Australian culture, and negates her attack on genres, narratives, and plots which constrain women. Using the theoretical work of Raymond Williams, Kaja Silverman, and Rita Felski, this thesis proposes that Astley be read not in terms of "masculine" or "feminine" writing, but in terms of her political commitment to feminism. To contextualize Astley's comment, Chapter One emphasizes the masculine bias of the literary debates in. the 1950s. Chapter Two argues that the "misfit paradigm" used to read Astley's fiction obscures the feminist and class themes of her work. To counteract the view that Astley's early fiction concentrates on male characters, Chapter Three focuses on Astley's representation in The Slow Natives (1965) of wife and prostitute, and on Astley's critique of the mutually reinforcing genres to which they belong: romance and antiromance. Chapters Four, Five, and Six examine, respectively, A Descant for Gossips (1960), An Item From the Late News (1981), and Reaching Tin River (1990). This chronological sequence establishes the consistency of her feminist critique of Australian society. It also accentuates the theme of masculinity in crisis and foregrounds the way in which critics have gendered Astley's work as feminine. These chapters consider the relation between melodrama and masculinity in A Descant for Gossips, the connection between Astley's use of the female "I" and the appearance of the transvestite in An Item From the Late News, and the political implications of the womb as a metaphor, for escape in Reaching Tin River.

Set in a Finnish-American community in Upper Michigan, How Many Tears, a novel, represents the tears of pain, anger, and frustration that the protagonist, Ann T'oivonen, has shed merely because of the circumstances of her birth. It is a story of success, since she moves toward the ability to choose, toward some primitive level of autonomy, and it is a story that tries to represent the real problems of real people caught in an abusive, alcoholic world, a brutal world, where the characters find themselves neither by choice, nor by intention. Ann's struggle is made more difficult by her lack of education and support and her inability to define for herself what she wants from life. She moves from an abusive childhood to marrying an alcoholic whom she leaves only after her life has been physically threatened. Adrift in the world, she accepts charity from another man, who will be her second lover, but he too is an alcoholic, and she leaves him, finally in search of something for herself. How Many Tears is a story, not of Ann's struggle for enrichment--it is her struggle for survival. / Department of English

The purpose of this project was to demonstrate usage of the criteria important in writing an adolescent novel. My main effort with this project was to write something that was both educational and entertaining.To prepare this novel, I discussed my subject with people in the fields of medicine and psychiatry. I also used several books and articles relating to the experience of adolescent depression.By the time I completed the work, I felt that I had designed something that displayed my knowledge of adolescent literature, and something that was very entertaining as well as education. The manuscript was sent to Farrar, Straus, and Giroux in April, 1988.In preparation for submitting the work, I followed standard guidelines for manuscripts as outlined in Writer’s Market and as recommended by workshop advisors.My conclusions from this project are that I feel very satisfied that Dancing In The Dark is an encouraging, interesting piece of contemporary literature for adolescents. / Department of English

Odds and Ids is a satirical novel of 419 pages that ridicules the tenets of psychotherapy and the beliefs and behaviors of psychotherapists. There are two story lines which overlap and converge at the end. Odd chapters tell the story of semi-sane Clinical Psychologist Nicholas K. Mavros and his alcoholic dog, Misty, the melancholy collie. Disillusioned by life, and in particular by the sham of psychotherapy, Nick decides to commit suicide in seven days by driving his burgundy van off the Billy Bopplemeyer Pier at sunset.He and Misty form a sacred pact to achieve that gallant end. Knowing that he will be dead in one week frees Nick at work and play to say what he is thinking and to act as he is feeling. He simply does not care any longer what others--friends, staff, and clients--think of his behavior. The odd chapters follow him day by day until he and Misty plunge or do not plunge into the cold waters of Puget Sound.The even chapters trace the rise and fall of the fictional Rumanian Bithwanians, a strange family that personifies postFreudian psychotherapy. Three generations of odd Bithwanians bungle through the bizarre world of mental health, seldom knowing the first thing about how to help another human being. Each Bithwanian is so enmeshed in the intricacies of his own theory that he's;fails to see his clients as animate human beings.The last Bithwanian, whose suicide opens the second friend of Nicholas Mavros, the errant protagonist, whose intent to commit suicide 3efines the central plot of the odd chapters.Their relationship, seen in retrospect, ties the two story lines together.The guiding idea throughout the novel is that the right to label others, and this alone, separates therapists and clients.The following are shot at in the novel: A) Therapists and their illusions.B) Clients and their unrealistic expectations.C) The non-training of future clinicians.D) Therapy, insurance companies, the union of psychologists,sex, love, religion, tradition, and existentialism. / Department of English

In the 1980s, Thea Astley asserted that she had "to write as a male" to acquire literary acceptance in the 1950s and 1960s. In making this statement, Astley outlined what it meant to write as a male and to write as a female. The increasing critical use of these statements as an explanation for the subject matter and the style of Astley's fiction, however, ignores the gendered reception of her work, generates misconceptions regarding her early novels, undervalues the continuity of her feminist critique of what she calls the "genital loading" of Australian culture, and negates her attack on genres, narratives, and plots which constrain women. Using the theoretical work of Raymond Williams, Kaja Silverman, and Rita Felski, this thesis proposes that Astley be read not in terms of "masculine" or "feminine" writing, but in terms of her political commitment to feminism. To contextualize Astley's comment, Chapter One emphasizes the masculine bias of the literary debates in. the 1950s. Chapter Two argues that the "misfit paradigm" used to read Astley's fiction obscures the feminist and class themes of her work. To counteract the view that Astley's early fiction concentrates on male characters, Chapter Three focuses on Astley's representation in The Slow Natives (1965) of wife and prostitute, and on Astley's critique of the mutually reinforcing genres to which they belong: romance and antiromance. Chapters Four, Five, and Six examine, respectively, A Descant for Gossips (1960), An Item From the Late News (1981), and Reaching Tin River (1990). This chronological sequence establishes the consistency of her feminist critique of Australian society. It also accentuates the theme of masculinity in crisis and foregrounds the way in which critics have gendered Astley's work as feminine. These chapters consider the relation between melodrama and masculinity in A Descant for Gossips, the connection between Astley's use of the female "I" and the appearance of the transvestite in An Item From the Late News, and the political implications of the womb as a metaphor, for escape in Reaching Tin River. / Arts, Faculty of / English, Department of / Graduate

梁婉儀. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1995. / 參考文獻: leaves 278-291. / Liang Wanyi. / 論文內容簡介 / Chapter 第一章 --- 引言 --- p.1-4 / 註釋 --- p.5 / Chapter 第二章 --- 鄧友梅傳（1 9 3 1 ´ؤ ) / Chapter (一） --- 動蕩少年（1931´ؤ 1949) --- p.6 -14 / Chapter (二） --- 得志靑年（1949一1957) --- p.15-20 / Chapter (三） --- 悲哀壯年（1957 ´ؤ 1976) --- p.21-30 / Chapter (四） --- 風光中年（1976 ´ؤ) --- p.31 -35 / 註釋. --- p.36-47 / Chapter 第三章 --- 近年有關鄧友梅人格的一些評論 / Chapter (一） --- 劉心武、李頻筆下的鄧友梅. --- p.48 ´ؤ58 / Chapter (二） --- 鄧友梅性格剖析 --- p.59-69 / 註釋 --- p.70-75 / Chapter 第四章 --- 鄧友梅早期小說 / Chapter (一) --- 小引 --- p.76 -77 / Chapter (二） --- 愛情小說. --- p.78-84 / Chapter (三） --- 工地題材小說. --- p.85-91 / Chapter (四) --- 戰士生活小說. --- p.92-95 / Chapter (五) --- 小結 --- p.9 6 / 註釋. --- p.97- 100 / Chapter 第五章 --- 鄧友梅的小說理論與實踐 / Chapter (一） --- 鄧友梅的小說理論. --- p.101-107 / Chapter (二） --- 鄧友梅的小說理論評析 --- p.108 - 111 / Chapter (三） --- 鄧友梅小說理論的實踐 --- p.112-124 / 註釋 --- p.125 ´ؤ131 / Chapter 第六章 --- 鄧友梅小說的敘事模式 / Chapter (一） --- 小引 --- p.132-134 / Chapter (二） --- 小說的敘事模式 --- p.135-138 / Chapter (三） --- 鄧友梅小說的敘事時間. --- p.139 -149 / Chapter (四） --- 鄧友梅小說的敘事角度 --- p.150-160 / Chapter (五） --- 鄧友梅小說的敘事結構. --- p.161 -163 / Chapter (六） --- 小結. --- p.164 -165 / 註釋. --- p.166 -169 / 附表： <鄧友梅小說的敘事模式>. --- p.170-171 / Chapter 第七章 --- 鄧友梅的小說人物 / Chapter (´ؤ) --- 小引. --- p.172 -175 / Chapter (二） --- 鄧友梅的人物班子 --- p.176-179 / Chapter (三） --- 人生世相的描畫 --- p.180-182 / Chapter (四） --- 人物的塑造. --- p.183-192 / Chapter (五） --- 小結. --- p.193-195 / 註釋. --- p.196-198 / Chapter 第八章 --- 鄧友梅的小說語言 / Chapter (一） --- 小引 --- p.19-202 / Chapter (二） --- 鄧友梅小說語言的時代性 --- p.203-207 / Chapter (三） --- 鄧友梅小說語言的地域性 --- p.208-218 / Chapter (四） --- 鄧友梅小說語言的性格化. --- p.219-225 / Chapter (五） --- 鄧友梅小說語言的其他特色 --- p.226-232 / Chapter (六） --- 小結 --- p.233 / 註釋 --- p.234-241 / Chapter 第九章 --- 鄧友梅的京味小說 / Chapter (一） --- 創作京味小說的原因 --- p.242-246 / Chapter (二） --- 京味小說中的京味（地域色彩） --- p.247-261 / Chapter (三） --- 鄧友梅京味小說的特色 --- p.262-266 / 註釋 --- p.267-271 / 第十章 結語 --- p.272-276 / 註釋 --- p.277 / 參考書目 --- p.278-291 / 鄧友梅小說繫年 --- p.292 -293 / 鄧友梅小說結集 --- p.294-295

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Margin of Balance is a collection of seven short stories developed and published during the spring and summer sessions of 1993. This six-hour creative project was completed under the guidance of Ms. Margaret Dimoplon, Dr. Thomas Koontz, and Dr. Frances Rippy, all of the English department. Stories were written, workshopped by these committee members, then rewritten or revised; upon completion, the stories were paginated, printed, and perfect-bound for marketing on consignment in area bookstores.Numerous authors-Virginia Woolf, Allen Tate, Dylan Thomas, and William Blake, to name a few-have used self-publishing as a first step on a successful career path. This creative project, besides completing the requirements for my master's degree, becomes an initial opportunity to place my collected fiction in public.The stories "Knuckling Under," "Margin of Balance," "Run, Red Pony," and "A Man of Letters" were begun in fiction classes taught by Ms. Dimoplon. The three longest stories-"The Anointed," "Brooklyn Babes & Babbling Brooks," and "Strings Attached"-were written for this particular project. My professional experience as an editor and graphic designer made planning and producing the book possible. Six sixteen-page signatures and a separate cover were printed at Ball State University Printing Services and bound at Commercial Service in Anderson, Indiana.Although I have had extensive experience in journalistic and public relations writing, this project served as a professional introduction to the field of fiction writing. Also, it became a final opportunity to work with three accomplished professors, a last chance to gain insight concerning my work and writing methods through their guidance. Though the collection must stand on its own merits, the experience of working with three such distinguished literary academicians proved most valuable and unforgettable. I trust that, through this project, I carry some portion of their sagacity into my writing endeavors. / Department of English