Research Doctorate - PhD English / This thesis challenges the idea that children’s literature is an inherently colonising act. By applying Mikhail Bakhtin’s theories of dialogism and the carnivalesque to the nonsense literature of Edward Lear and Lewis Carroll, I show that children’s texts can be read as non-colonising. A dialogic reading of Edward Lear’s limericks and Lewis Carroll’s Alice books shows that these texts are non-colonising and emancipatory because they do not promote one worldview or impose a concept of the essentialised child onto the reader. Instead, they challenge the arbitrary boundaries established and maintained by tools such as language and threats of social judgement that support imperial dichotomies of self and other. I also show how the discourse surrounding children’s literature perpetuates a “politics of innocence” concerning a dominant social concept of the child. This discourse encourages purposive adaptations of children’s books, in this case, Lear’s and Carroll’s nonsense texts, that are more colonising than the original texts.

Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2006. / Includes bibliographical references (p. 131-135).

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Jane Smiley retells the tale of “King Lear” through the perspective of one of the evil sisters, in her novel “A Thousand Acres”. While the literary canon places William Shakespeare and his plays at the top of the list, I disagree that the canon should denote what is considered “classic” and what would be disregarded. Jane Smiley's novel is not canonized, but why? Her feminist revision of “King Lear” answers why Goneril and Regan were so evil. I argue that “King Lear” (both the text and the play) does not provide the evidence of dysfunction that Smiley's novel exhibits. “A Thousand Acres” opens up questions about gender formation, issues that are misrepresented and occluded in Shakespeare's “King Lear”. By bringing the trauma of incest to the forefront of the novel, its reverse emotional structures allow the reader to obtain a new perspective to a complex four-century-old play.

Death's presence on the Renaissance stage, and in Renaissance life, has been noticed and remarked upon by scholars in the past. The role of death in the early modern period was in flux due to major changes in religious and social life. During this time, the relationship between the living and dead was put into question, and the way the culture handled preparing for death began to change in significant, if subtle, ways. Renaissance drama became a stage for exploring and confronting the presence of death in life. King Lear and Hamlet remain two of Shakespeare's most enduring meditations on death, though the interpretations of the deaths and the meaning gleaned from the texts varies. My project involves presenting an alternative reading of the deaths that can only be found when one reads the performances in relation to primary documents of the time that deal with similar preparations for death. By reading Hamlet in relation to execution rhetoric and King Lear in relation to will-writing in the early modern period, we can begin to understand the value of their deaths in accordance with the societies they represent. Ultimately, Hamlet succeeds in satisfying the demands of an execution and creates a death that serves both himself and his community. On the other hand, Lear fails to adequately prepare for death and compose a considerate will, which leaves his kingdom in ruins. Both are monarchs whose bodies represent the states they leave behind, but only one manages to satisfy a monumentality that maintains the stability of his kingdom.

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This thesis explores the complexities to be found in the characters of Lear's Fool from King Lear and Feste from Twelfth Night. It begins with an investigation of the history behind the taxonomy of fools that William Shakespeare created in his works. The rest of the thesis is devoted to examining the many facets of the two aforementioned fools, with the goal of discovering just how important and influential they are to their respective plots and to the world of literature. Finally, there is a brief coda that explores the other striking similarities that the two plays have in common.

The study is an examination of the quest motif as it occurs in the Tarot and two dramatic works, King Lear and Marlowe's Dr. Faustus. The development of the quester is traced from his naivete, through a series of trials, to the consummation of his quest.The hero's quest is essentially to achieve an integration of polar opposites: light and dark, good and evil, the conscious and unconscious. Both the Fool of the Tarot and Lear seem to achieve that harmony, and, thus, I treat the Tarot and King Lear in separate sections of the first chapter. I begin with the Tarot also because of its enormous suggestiveness for elucidating the quests of Lear and Faustus. The archetypal nature of the quest is ultimately what unites the three works, and the Tarot provides a repository for the symbols and primordial images that inform quest literature.The second chapter deals with Dr. Faustus. Unlike the Fool and Lear, Faustus never seems to attain the hero's vision of light and harmony (however, the conclusion is ambiguous); indeed, he inverts the quest to its diabolical opposite and becomes the trickster in league with the demonic forces that form the negative corollary to the hero. Faustus' quest is the coexisting opposite of Lear's and the Fool's, and, as such, is the other pole that must be seen to experience the whole.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.