No description available.

No abstract available / Old Testament / D.Th. (Old Testament)

No abstract available / Biblical and Ancient Studies / D.Th. (Old Testament)

This thesis looks at the Virginia Woolf's critique of the previous portrayal of characters in fiction and her adaptation of a new narrative style in order to convey a modern realism. Two of her novels include an intrusive narrator that serves to argue for the creation of a new form of representation of the character in the novel. Through the creation of distance and the parody of the genre, Woolf provides the reader a picture of their relationship with the character in the novel.

Interrogating Virginia Woolf and the British Suffrage Movement Gwen Trowbridge Anderson ABSTRACT Much has been written about Virginia Woolf's involvement with feminism and women's rights, but there has been far less exploration about her ties to suffrage. Many of her friends and family are involved in this exploration: Vanessa Stephen Bell, Ethel Smyth, and the Pankhursts (Emmeline, Sylvia, and Cristobel). Other important figures who are relevant to Woolf's work are Sonia Delaunay, Lewis Carroll, and Edmund Spenser. Important concepts like the New Woman, the suffrage movement, feminism, and women's rights are vital to understanding Woolf's involvement with suffrage. This dissertation examines how Woolf used certain descriptive imagery, specifically, suffrage tricolors, rooms, bridges, pillar-boxes, and water as signposts, which subversively point to suffrage and women's rights. Her literary techniques are foregrounded to reveal how involved Woolf was in the suffrage movement and that she showed this involvement in obvious and subtle ways. I uncover suffrage and feminist clues in three of her early novels Night and Day, Jacob's Room, and The Years and compare her use of women's rights in her nonfiction works, A Room of One's Own and Three Guineas. A close analysis of her early writing clearly proves that Virginia Woolf had a plan from the beginning and a prescient view to her thinking about the suffrage movement.

No description available.

Several earlier generations of historians described the later Middle Ages as an 'age of fear'. This account was especially applied to accounts of the presumed mentality of the later medieval layperson, seen as at the mercy of the currents of plague, violence and dramatic social, economic and political change and, above all, a religiosity characterised as primitive or even pathological. This 'great fear theory' remains influential in public perception. However, recent scholarship has done much to restitute a more positive, affective, incarnational and even soteriologically optimistic late-medieval vernacular piety. Nevertheless, perhaps due to the positive and recuperative approach of this scholarship, it did not attend to the treatment of fear in devotional and literary texts of the period. This thesis responds to this gap in current scholarship, and the continued pull of this account of later-medieval piety, by building an account of fear's place in the rich vernacular theology available in the Middle English of the fourteenth and fifteenth centuries. It takes as its starting point accounts of the role of fear in religious experience, devotion and practice within vernacular and lay contexts, as opposed to texts written by and for clerical audiences. The account of drede in Middle English strikingly integrates humbler aspects of fear into the relationship to God. The theological and indeed material circumstances of the later fourteenth century may have intensified fear's role: this thesis suggests that they also fostered an intensified engagement with the inherited tradition, generating fresh theological accounts of the place of fear. Chapter One begins with a triad of broadly pastoral texts which might be seen to disseminate a top-down agenda but which, this analysis discovers, articulate diverse ways in which the humble place of fear is elevated as part of a vernacular agenda. Here love and fear are always seen in a complex, varying dialectic or symbiosis. Chapter Two explores how this reaches a particular apex in the foundational and final place of fear in Julian of Norwich's Revelations, and is not incompatible even with her celebratedly 'optimistic' theology. Chapter Three turns to a more broadly accessed generic context, that of later medieval cycle drama, to engage in readings of Christ's Gethsemane fear in the 'Agony in the Garden' episodes. The N-Town, Chester, Towneley and York plays articulate complex and variant theological ideas about Christ's fearful affectivity as a site of imitation and participation for the medieval layperson. Chapter Four is a reading of Piers Plowman that argues a right fear is essential to Langland's espousal of a poetics of crisis and a crucial element in the questing corrective he applies to self and society. It executes new readings of key episodes in the poem, including the Prologue, Pardon, Crucifixion and the final apocalyptic passus, in the light of its theology of fear.