Reproduction de : Thèse de doctorat : Etudes anglophones : Lyon 2 : 2004. / Titre provenant de l'écran-titre. Bibliogr. Notes bibliogr. Index.

Thesis (D.M.A.)--West Virginia University, 2009. / Title from document title page. Document formatted into pages; contains v, 520 p. : col. ill., music. Vita. Includes abstract. Includes bibliographical references (p. 448-504). Includes discography (p. 505-511).

Inaug.--diss.--Erlangen. / Lebenslauf. "Literaturverzeichnis": p. iv-v.

Thesis (doctoral)--Université de Lyon II, 1977. / Includes bibliographical references (v. 1, p. iii-xlv) and index.

Inaug.-diss.--Leipzig. / Lebenslauf. "Beilage I[-II]" (Latin and Flemish in parallel columns): xvi p. Bibliography included in "Noten und anmerkungen" (p. 99-103).

Zugl.: Hamburg, Techn. Univ., Diss., 2009

Thesis (M.A.)--Catholic Theological Union, 2002. / Vita. Includes bibliographical references (leaves 103-106).

Thesis (D.M.A.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 35-37).

When Henry James sat down to write his "amusette" as he called The Turn of the Screw (1898), he created various ambiguities in the text as a means of confusing and surprising his readers or, in other words, catching them off guard. Over a century later, the mysterious ambiance surrounding the novella has not become any clearer. While critics from Edmund Wilson to Edna Kenton have analyzed the work from a somewhat psychoanalytical perspective, stating that the ghosts of Miss Jessel and Peter Quint are merely figments of the governess's imagination, Tzvetan Todorov and Rosemary Jackson examine James's work through a fantastic approach, putting faith in the governess's narrative. From Todorov's perspective, the fantastic requires: "... the fulfillment of three conditions. First, the text must oblige the reader to consider the world of the characters as a world of living persons and to hesitate between a natural a supernatural explanation of the events described. Second, this hesitation may also be experienced by a character; thus the reader's role is so to speak entrusted to a character, and at the same time the hesitation is represented, it becomes one of the themes of the work- in the case of naïve reading, the actual reader identifies himself with the character. Third, the reader must adopt a certain attitude with regard to the text: he will reject allegorical as well as 'poetic' interpretations. (33)" In other words, Todorov's concept of hesitation involves a focus on an external point, the perspective of the reader. Yet, the reader's perspective cannot be separated from the character or thematic value of the work, thus linking the two elements through hesitation itself. Todorov explains that The Turn of the Screw fits the characteristics of the fantastic genre in regard to the reader's hesitation. Indeed, it is that very quality which has created so much critical contention in the past. Because of this hesitation, the reader must determine whether or not to believe the governess and thus, believe in the reality of the ghosts. While I will begin by defining the fantastic from Todorov's and Jackson's perspective, it is my belief that both authors fail to connect all of the elements that appear in James's text without venturing outside of the work. In my thesis, I will strictly adhere to James's novella, focusing only on the content as I connect the governess's experience to an alternative reality rather than a deviation into psychological madness. In this way, The Turn of the Screw will be revealed as a fantastic text, producing its effects on the reader through the evolution of these tendencies within the work.

In 1929, Henry Ford opened Greenfield Village, his outdoor history museum in Dearborn, Michigan. Fourteen years earlier, Ford announced that written history was bunk. The museum was designed to reshape the historical project by celebrating farmers and inventors in lieu of military heroes and politicians. Included among the structures were Thomas Edison’s Menlo Park Laboratory, Noah Webster’s home, and Ford’s Quadricycle shop. Ford used architecture and material culture to connect American progress to self-made manhood, middle-class domesticity, and the inventive spirit. Despite signs that the struggling automotive industry is responsible for Michigan’s economic decline, the site is popular--since 1976 over one million visitors have attended each year. This project examines this phenomenon, which exemplifies how publics often fail to link past and present in the same way that scholars do. The Village’s largely unexplored archives documenting its internal history are mined, along with primary and secondary sources on the histories of public history and the Detroit metropolitan-area. Chapter one studies the site’s construction and audiences during Ford’s presidency arguing that the populist public images of Ford and Edison mediated encounters with the Village. Chapter two links the site to the racial politics of the Detroit metro-area, which marked the Village as an alternative public space for whites. Chapter three draws on visitor surveys, to show how patrons’ worldviews were shaped by the politics of populistconservativism. Chapter four explains how the appointment of an academic as president ensured the addition of progressive historical narratives, but the site’s location in Dearborn impeded efforts to draw a larger African American audience. In the mid-1990s, the fifth chapter contends, administrators successfully sought new patrons by blending progressive history and entertainment. This project argues that the Village is popular because it articulates both visitors’ longing for an imagined past, and desires for alternative futures. It also proposes that representations of the past are understood not only through a study of their internal histories, but by placing them in the broader contexts of the economy, politics, and social relationships of the geographic area in which they are located. / text