I denna uppsats kommer jag analysera flickskildringen i två ungdomsromaner, Freaky green eyes och Two or three things I forgot to tell you av Joyce Carol Oates. Romanernas flickor bär på pendlande känslor av begär och avsky både inför sig själva och sina föräldrar. Därför har Julia Kristevas teorier kring abjektion som förklarar dessa motstridiga känslor som en del av subjektets tillblivelse varit fruktsamma för min analys. Flickorna söker tillgång till språket och makten genom en identifikation med sina pappor och manliga värden samt ett bortstötande av sina mammor och allt som representerar det kvinnliga. Men för att må bra och kunna uttrycka sin egen sanning krävs ett omfamnande av mammorna och den egna kvinnligheten vilket när de tillslut fullbordas får flickorna att hitta inre harmoni och sin egen röst.

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"May 2006." / Thesis (M.A.)--Wichita State University, Dept. of English. / "May 2006." / Includes bibliographic references (leaves 36-39)

Richard Joyce claims sincerely uttering moral claims necessarily commits the moral claimant to endorsing false beliefs regarding the predication of nonexistent (non-)natural moral properties. For Joyce, any proposition containing a subject, x, saddled with the predicate “…is moral”[1] will have a truth-value of ‘false’, so long as the predicate fails to refer to anything real in the world. Furthermore, given the philosophical community’s present state of epistemic ignorance, we lack sufficient evidence to justify our endorsement of the existence of (non-)natural moral properties purportedly capable of serving as truth-makers for moral claims. My thesis offers a defense of Joyce’s moral error theory against two different lines of criticisms proffered by Russ Shafer-Landau—one conceptual in nature, and the other ontological. I argue that available evidence compels the informed agnostic about moral truth to suspend judgment on the matter, if not endorse Joyce’s stronger thesis that all moral claims are false.

This thesis attempts to read ¡§Circe¡¨from Freudian perspectives to explore Joyce's narrative intermingling of psychical and historical worlds. It begins with an analysis of the haunting theme in this chapter,the dead, which constantly returns in¡§fantastic scenes,¡¨ followed by an elaboration on the way the ¡§Uncanny¡¨and the¡§Phantasy¡¨operate in each scene. These fantastic scenes,for me,function as signifiers for the unconscious of Joyce's characters and text:they express,abnegate, ridicule,exaggerate,and even betray the psyche of the two male protagonists¡Xespecially Bloom's castration complex¡Xand leads to a narrative and character aberration,allowing Joyce to repudiate the tradition of drama and novel, especially the English narrative convention of linear storytelling. By constructing a fantastic Ireland through crooked mirroring,Joyce becomes not only an international writer, but also an Irish writer.

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains x, 71 p. : music. Includes bibliographical references.

Thesis (M.A.)--Indiana University, 2009. / Title from screen (viewed on February 1, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason T. Eberl, Brian C. McDonald, Kenneth W. Davis. Includes vitae. Includes bibliographical references (leaf 49).

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 222-233).

The central issue in the works of Danish philosopher and religious thinker Soren Kierkegaard (1813-1855) takes the form of a question: "What does it mean to become a Christian?" However, Kierkegaard's ideas exerted influence well beyond Christian circles and have been important to many notable philosophical and literary figures, some of whom chose not to concern themselves primarily with this question (Sartre, Camus, Heidegger, Buber), and some of whom did choose to concern themselves primarily with this question (Tillich, Bonhoeffer, Berdyaev, Marcel). Even though Kierkegaard died in relative obscurity, thanks to posthumous translation of his works into German and to those translations then being embraced by thinkers as diverse as the atheist Sartre and the Hasidic rabbi Martin Buber, Kierkegaard's writings evolved into a great shaping force in twentieth century philosophy, theology, and literature. Extending slightly Kierkegaard's influence, the present study draws upon his concept of irony as indirect communication and upon his concept of the three spheres of existence to engage in close readings of four masterpieces of literature: The Great Gatsby, The Sun Also Rises, Mrs. Dalloway, and Ulysses. The four close readings then become a point-of-departure for considering how Kierkegaard's concept of irony---more specifically, its three spheres of existence--might apply to the world of present-day scholarship and pedagogy. The close readings of the four novels thus serve to establish the context for the final chapter, which considers how Kierkegaard's concept of the three spheres of existence might apply to a broader understanding of scholarship and pedagogy. In addition to offering literary analysis (conventional close readings) of the four novels, the present study also serves as a primer to the theology of Kierkegaard in that the close readings of the novels illustrate various aspects of what Kierkegaard believed to be the three spheres of existence. The study also forwards the action of scholarship and pedagogy by inviting the reader to consider how the three spheres of existence might apply to contemporary scholarship and pedagogy.