Texte remanié de: Diss.--Katholisch-theologische Fakultät--Würzburg--Bayerische Julius-Maximilians-Universität, 1990. Titre de soutenance : Leben aus Gottes Fülle durch Gottes Geist.

Proefschrift--Godgeleerdheid--Leiden, 1979. / Notes bibliogr. Résumés en anglais et néerlandais.

Thesis (M.S.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 121-129). Also available for download via the World Wide Web; free to UO users.

Thesis (Ph. D.)--UCLA, 1993. / Vita. Description based on print version record. Includes bibliographical references (leaves 375-396).

M.A. / Receiving favourable recognition during his life-time, Bosman's short stories have attracted increasing critical attention since his death. With the exception of Professor E. Davis's review of Mafeking Road in Trek, and Lily Rabkin's 'Tribute to Bosman in The Forum after his death, however, much of the early Bosman criticism tends to make sweeping value judgements, with critics' opinions occasionally influenced by the lurid elements in Bosman's personal life; Professor A.G. Hooper, for instance, is recorded as observing that 'Bosman's stories seemed to have a sort of bitterness in them, but this was perhaps due to his hard and bitter life...

No description available.

The exploration and discontinuity of Melville's early life are reflected in his writing career. Before settling into silent conventionality, he wrote remarkably diverse prose. His aesthetics were individualistic: the page was an arena in which to deploy experimental strategies. / The novels from Typee to Moby-Dick can be regarded as action of mind as it explores ways of seeing and describing reality. But these experiments proved that vision is inevitably guided by the well-stocked mind and that Nature is an everchanging subjective construct. / In Pierre, The Piazza Tales, and The Confidence-Man--the fiction that immediately followed these discoveries--the action is externalized. Melville now explores the artist's use of definite forms rather than his mental positings. Paradoxically, this new aesthetic came to serve his final purpose: of disengagement that was subsequently fully manifested in the silence that followed.

No description available.

Diss. Univ. Köln, 2007.

For the purpose of this study, metaphor is defined as a comparison which is not literally true. Such a comparison may be explicitly stated, as in a simile, or it may merely be implied, as in synecdoche, metonymy, hyperbole, or personification. In each case the primary or tenor image, a person, place, object, or idea in the novel, is compared to a secondary or vehicle image, a person, place, object, or idea not literally the same as the tenor image. The body of data on which this investigation is based consists of over fourteen thousand metaphors taken from Melville's nine novels. Each of these metaphors has been classified on the basis of its vehicle image. There are eight general categories, and tables are provided which show the number of metaphors in each category in each novel and the frequency with which the metaphors in each category occur in each novel. Overall, his metaphors suggest that Melville's vision of life was more often pessimistic than optimistic. They also reveal his growth as a writer. In the later novels, metaphors generally are more original than those in the early novels and are more skillfully related to his major themes.