Lawrence's revision of the fiction of his English comtemporary E. M. Forster is a key to the way in which Lawrence's imagination worked. He discovered in early 1915 that Forster was already producing a body of fiction which treated many of his own themes in a manner which resembled the visionary and prophetic mode he wished to create. This study demonstrates that Lawrence's motivation and method in the writing of many scenes in The Rainbow, Women in Love, The Lost Girl, Aaron's Rod, and St. Mawr are governed by his compulsive misreading of scenes, symbols, characters, settings, plots and motifs in Forster's fiction. It is evident that Lawrence needed to establish dominance over Forster in this manner in order to keep alive what he called his "passional inspiration."

This thesis is an examination of sex in D. H. Lawrence's Lady Chatterley's Lover and Radclyffe Hall's The Well of Loneliness as it relates to the social, linguistic and political elements of literary modernism. Both novels "think sex," allowing specific concepts of sex to act as methods of communication between artists and readers. By writing sex, Hall and Lawrence address the modern reader, providing a script for ideal readerly and writerly approaches to the novel. The first chapter examines contemporary cultural and gender theory's understanding of the relationship between sex and discourse and relates this to political and literary considerations of modernism. The second chapter looks at psychosexual medical texts that influenced modernism's understanding of sex and art; the final chapter examines "thinking sex" in Lady Chatterley's Lover and The Well of Loneliness by examining the content and reception of both works.

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This dissertation explores the influence of Reformation representational anxiety on early seventeenth-century poetic depictions of Christ. I study the poetic shift from physical to metaphorical portrayals of Christ that occurred after the English Reformation infused religious symbols and visual images with transgressive power. Contextualizing the juncture between visual and verbal representation, I examine the poetry alongside historical artifacts including paternosters, a painted glass window, an emblem, sermons, and the account of a state trial in order to trace signs of sensory “loss” in the verse of John Donne, George Herbert, Aemilia Lanyer, and John Milton. The introduction provides a historical and poetic overview of sixteenth-century influences on religious verse. The first chapter contrasts Donne’s sermons—which vividly describe Christ—with his poems, in which Christ’s face is often obscured or avoided. In the chapter on George Herbert’s The Temple, I show how Herbert’s initial, physical portraits of Christ increasingly give way to metaphorical images as the book progresses, paralleling the Reformation’s internalization of images. The third chapter shows that Aemilia Lanyer’s Salve Deus Rex Judaeorum makes use of pastoral conventions to fashion Christ as a shepherd-spouse, the divine object of desire. In the final chapter I argue that three poems from John Milton’s 1645 volume can be read as containing signs of Milton’s emerging Arianism. Depictions of Christ in the poetry of Donne, Herbert, Lanyer, and Milton reveal the period’s contestation over images; the sensory strain of these metaphorical representations results in memorable, vivid verse.

Lawrence's work has almost invevitably been read as an aesthetic production whereby one must eventually agree or disagree with his vision of "reality". Those who assume a formalist standard of taste often find that Lawrence "loses control" of his material; those who offer ideological apologies for his work argue that disruptions in the aesthetic plane are representative of an exploratory genius, often seen as the outstanding characteristic of literary modernism. Both approaches, explicitly or otherwise , rely on the ultimate sanction of the achieved image, transmuted by the author always in control of his material. Yet anyone who reads Lawrence with an eye to to what the "tale" says in addition to what the "teller" claims discovers that Lawrence is not in full control of his material, thought it cannot simply be argued, on aesthetic or linguistic criteria, that he is out of control. Rather, there exists a "third" state whereby Lawrence both writes and is written, gives us a message with one hand, yet retracts, as it were, with the other. Because this double-move is preeminently suited to the language of fiction, and because it appears in Lawrence's fiction with the greatest versatility and incisiveness, this dissertation analyzes six of his novels for their rhetorical significance, understood as both an organization of tropes and figures and as a system of persuasive doctrine. A new definition for allegory is proposed, the introductions of thematic and structural "blanks" is examined, and a spread of narrative delays are identified and discussed, all concerned with the central problem of writing novels that direct themselves to the resurrection of a pre-linguistic universe, yet ironically depend more and more upon writing to bring this about. Ideas drawn from Continental philosophy and recent critical theory are incorporated for support and instruction. Attention is also focused on Lawrence's revision processes, often with specific emphasis on unpublished manuscript material.

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This thesis analyzes the ways how David Herbert Lawrence advocates sexual politics in his novels The Lost Girl and The Plumed Serpent. The thesis argues that although D.H. Lawrence portrays modern women&amp / #8217 / s search for identity in The Lost Girl and The Plumed Serpent, his attitude is that of a very conventional man who advertises his male fantasies through female characters / and the gender role that he finally assigns to women is unquestioning submissiveness to male authority. The power relations between sexes and the depiction of modern woman in both novels are analyzed as propagandas of patriarchy. This thesis makes use of feminist reading which requires analyses of texts with reference to behavioral codes that are incorporated in the novels and to the systematic patriarchal propaganda which is imposed through textual strategies. The reason for choosing this method of analysis for the present study is to trace the ways in which sexual politics operate within the novels The Lost Girl and The Plumed Serpent by D.H. Lawrence.

In order to study how science and archeology was exploited for political means during the Third Reich this thesis investigates the scientific institute Ahnenerbe, founded in 1935. The thesis is built up as a literature study combining literature sources from the time of the eventas well as research done around Ahnenerbe after the war. The purpose of the thesis is to examine the official and unofficial purposes of the organisation. It investigates how scholars viewed Ahnenerbe at the time, and after the war. It further examines the scientific value of the material published by the organisation, where there is a specific focus on the material covering Germanic Männerbunds.

The objective of the research reported in this thesis was to develop a technique to monitor the dynamics of sediments and nutrients entering the coastal ocean with river plumes associated with high intensity low frequency events (e.g. floods), using ocean colour remote sensing. To achieve this objective, an inverse bio-optical model was developed, based on analytical and empirical relationships between concentrations of optically significant substances and remote sensing of water-leaving radiance. The model determines concentrations of water-colouring substances such as chlorophyll, suspended sediments, and coloured dissolved organic matter, as well as the values of optical parameters using water-leaving radiances derived from the Sea-viewing Wide Field-of-view Sensor (SeaWiFS). To solve atmospheric correction in coastal waters, the aerosol type over clear waters is transferred to adjacent turbid water pixels. The vicinity of the Herbert River, central Great Barrier Reef zone, Australia, was used as a case study for the application of the algorithm developed. The satellite ocean colour technique was successfully validated using sea-truth measurements of water-colouring constituents acquired in the area during various seasons throughout 2002-2004. A high correlation between chlorophyll and dissolved organic matter was found in the coastal waters of the region, and when the bio-optical model was constrained to make chlorophyll a function of dissolved organic matter, the relationship between in situ and satellite-derived data was substantially improved. With reliable retrieval of the major water-colouring constituents, the technique was subsequently applied to study fluxes of particulate and dissolved organic and inorganic matter following a flood event in the Herbert River during the austral summer of 1999. Extensive field observations covering a seasonal flood in the Herbert River in February 2004 revealed high sediment and nutrient exports from the river to the adjacent coastal waters during the flood event. Due to rapid settling, the bulk of the sediment-rich influx was deposited close inshore, while the majority of nutrients exported from the river were consumed by phytoplankton in a relatively small area of the coastal ocean. With the help of ocean colour remote sensing, it was demonstrated that river-borne sediments and nutrients discharged by a typical flood in the Herbert River are mostly precipitated or consumed within the first 20 km from the coast and therefore are unlikely to reach and possibly affect the midshelf coral reefs of this section of the Great Barrier Reef lagoon.