The purpose of this thesis is to explore the ways in which Nicholas Hasluck's novels have been read in the past, and to develop an alternative interpretation which takes into account all Hasluck's narratives, reading them through the framework of current trends in literary and cultural theory. Hasluck is a Western Australian writer whose work takes seriously, while at the same time parodies, the institutions of both Western Australia and Western society.The initial section comprises three chapters, in which Hasluck's novels are read through the commonly used frameworks of the mystery-thriller genre and satire. The second part of the thesis, which covers four chapters, is a reading of Hasluck's narratives through the shift from modernism to postmodernism, drawing particularly on the work of theorists such as Linda Hutcheon, Michel Foucault and Brian McHale. This interpretation reveals how Hasluck's work increasingly uses the marginal, regional narratives of Western Australia to contest the mega-narratives of the West.The significance of this thesis is twofold. Firstly, this is currently the most in-depth examination of the work of a neglected Western Australian writer, and, secondly, the combining of Hasluck's literary themes and this thesis's critical framework provides a productive format for exploring issues of Western Australian history and literature.

This thesis is a re-evaluation of Lin Shu (1852-1924) and his literary translations. Lin Shu is one of China’s most influential translators. He initiated modern literary translation in China, and his translations imported new ideas, literary concepts, styles and techniques from the West. These, in turn, influenced the emergence and development of modern Chinese literature. Nevertheless, Lin Shu and his translations have been belittled and even dismissed for various reasons over the years. The emergence and development of target/culture-oriented translation theories offer the possibility of re-assessing Lin Shu and his translations. The re-assessment of Lin Shu and his translations in this study is based on target/culture-oriented translation theories, which emerged in the 1970s. Target/culture-oriented translation theories focus on the mutual influence between a translation and its target culture, especially on the influence of a translation on the target culture and readers as a criterion for successful translation rather than examining whether the target text is faithful to the source text, as in the traditional linguistic approach. These target/culture-oriented theories can effectively explain the translational phenomenon of Lin Shu, as Lin Shu translated with the needs of the target culture and readers in mind. He attached great importance to the cultural function and influence of his translations during a period of historical transition in China. The criticisms of Lin Shu and his translations in China and elsewhere have largely been negative, often highlighting political issues - his endorsement of the constitutional Qing monarchy and his conservative attitude to the New Culture Movement - as well as his free translation method. Target/culture-oriented translation theories offer a framework for the re-assessment of Lin Shu and his translations that bypasses these narrow approaches. Adopting target/culture-oriented translation theories, this thesis examines Lin Shu’s translations in a trans-cultural context. Lin Shu based his translations on the needs for the Chinese culture and readers of that time, which was clearly embodied in his choice of, and response to, the originals works. The prefaces and postscripts that he wrote for his translations illustrate the new cultural and literary factors that Lin Shu introduced into China. In this respect, Lin Shu’s translation of La Dame aux Camelia is perhaps the most famous case study of his translation method. Through a comparative analysis of the Target Text (TT) and Source Text (ST), the thesis discusses the ‘truthfulness’ of Lin Shu’s translation, and stresses that ‘truthfulness’ lies in seeking poetic equivalence rather than formal equivalence between the target and source texts. We argue that poetic equivalence is similar to Nida’s principle of correspondence, but is beyond his dynamic equivalence. It lays special stress on literary or aesthetic equivalence. Poetic equivalence in Lin Shu’s translations relates to the stylistic expression in China’s literary language and is therefore intrinsic to sinicization. Lin Shu’s skill in classical Chinese is central to our notion of poetic equivalence. However, I argue that Lin Shu’s translation strategy is actually also beyond equivalence. It is primarily embodied in his constant adaptation of the original to the perceived needs of Chinese culture and the acceptability of his translations to Chinese readers. Adaptation includes omission, addition, alteration and abridgment. In terms of target/culture/reader-oriented translation theories, Lin Shu’s adaptations were acceptable in the cultural context of his time. In brief, this study clarifies Lin Shu’s contribution in introducing Western culture and literature into China. The study also stresses the cultural influence of Lin’s translations on modern Chinese culture and on later generation of Chinese writers and translators. This thesis concludes that Lin Shu played a role of utmost importance in the establishment and evolution of early-modern and modern Chinese translation, particularly of modern literary translation in China. Therefore, Lin Shu is the father of modern Chinese literary translation.

This thesis will examine intensively “The Tower of Babel: A Morality” a significant work of Thomas Merton, a major spiritual writer of the 20th Century, entitled. In order to explore this play three other works which impacted significantly on the development of the drama will also be examined. These three works are: A poem also called “Tower of Babel”; a second poem entitled “A Responsory” and a musical work titled “The Tower of Babel: An Oratorio”. Even though Victor Kramer, a Merton scholar, noted the significance of the Morality, the existing literature has all but ignored the impact of “The Oratorio” and the drama. Until this author requested a copy of “The Oratorio” from the Merton Centre in Louisville, Kentucky the work had been known by name only and had never been analysed. Yet this work was a major development from the poem “A Responsory” and led to the creation of the Morality Play. This work argues that “A Morality” was pivotal in contributing to personal and spiritual change in Merton as well as developing a greater depth of social understanding in him. It will also argue that the work contained the seeds of future Merton writings. Writing the drama moved Merton towards a contemplative maturity based on communion not simply community. While many studies have alluded to the play none of them have studied it with this particular focus. This new focus is the discovery of the ways Merton attempted to resolve the dilemma he experienced between the paths of monk and poet and how, in doing so, he created for spiritual seekers a fresh inner significance for the Babel story. This work is opening up new ground for an understanding of the importance of Merton’s insights in the contemporary world. The methods used in this thesis are: 1. Contextualising, that is establishing the historical, social, spiritual and literary framework in which the poems and plays were written, and 2. Literary analysis. Part A of the thesis examines the monastic, spiritual, social, literary and academic contexts which brought Merton to the moment of writing the Morality. Part B is organised chronologically and is an intensive analysis of the poems, the Oratorio and the Morality Play. Part C identifies the seeds of future growth contained within the Morality play and points to some of the directions in which these seeds developed in later Merton works.

Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains iv, 70 p. Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (leaves 224-234).

This thesis is an examination of the Gothic elements present in a selection of works by Canadian playwright Judith Thompson. The Gothic genre is marked by continual flux and adaptation, ensuring that its ability to inspire terror, as well as its relevance as a form of cultural critique, remains undiminished. Gothic texts seek to uncover the anxieties and uncertainties that societies would prefer to repress, and then forcing a confrontation with those elements. Frequently this pattern of repression and return takes the form of various kinds of hauntings, as well as the monstrous. As this emphasis on the “return of the repressed” would suggest, psychoanalysis will figure prominently in my analysis of Thompson’s work and is woven throughout the four chapters. Chapter One concentrates on establishing a working definition of the Gothic, its history and development, and the three subcategories of the genre that I will be focusing on in the subsequent chapters: the postmodern Gothic, the feminist Gothic and the Canadian Gothic. All three Gothic subgenres share their affinity for translating late twentieth-century anxieties into the language of the Gothic. They also share a resistance to closure or solutions of any kind, even if such solutions would seem to be advantageous to the author’s putative ideological stance. The works by Thompson I have chosen evidence her preoccupation with postmodern, feminist and contemporary Canadian concerns. She expresses these concerns in a unique style that blends contemporary literary techniques with the more timeless elements of the Gothic tradition.

„Während über das Geschichtsbewusstsein einer Nation die chronologisch geordneten Geschichtsbücher Aufschluß geben, findet das Gedächtnis einer Nation seinen Niederschlag in der Gedächtnislandschaft seiner Erinnerungsorte.“ schreibt Aleida Assmann in Erinnerungsräume. Formen und Wandlungen des kulturellen Gedächtnisses (München: Verlag C. H. Beck oHG, 1999. S. 337.). In der vorliegenden Masterarbeit wird auf Basis dieser Definition eine Anwendung auf den Bereich der Literatur- und Kulturwissenschaften, im Sinne einer Fokussierung auf literarische Erinnerungsorte, vollzogen, die als Grundlage des kulturellen Gedächtnisses angesehen werden und demzufolge zur Identitätsstiftung einer Region beitragen. Hierbei steht die Vernetzung ausgewählter literarischer Erinnerungsorte, bestehend aus Literaturmuseen und literarischen Gedenkstätten der Region Sachsen, im Vordergrund. Das Ziel dieser Masterarbeit ist einerseits die literaturwissenschaftliche Auseinandersetzung mit Schriftstellern, die in Sachsen gelebt und/ oder gewirkt haben und andererseits die Darstellung des kulturellen Einflusses der bestehenden literarischen Gedenkstätten und Literaturmuseen in der ‚Region’ Sachsen. Im Rahmen dieser Masterarbeit wurde eine Bestandsaufnahme von 231 Schriftstellern angefertigt, die im heutigen Gebiet des Freistaates Sachsen gelebt und/ oder gewirkt haben, aber auch alle Museen, Denkmäler, Grabmäler, Gedenktafeln und Büsten, die an den jeweiligen Schriftsteller erinnern. Hieraus wurden für die vorliegende Masterarbeit 15 Schriftsteller nach spezifischen Kriterien ausgewählt und diese, ebenso wie die zugehörigen Literaturmuseen und literarischen Gedenkstätten, vorgestellt.

Thesis (Ph. D.)--University of Pennsylvania, 1931. / On cover: University of Pennsylvania. "Chronological list of first productions": p. 80-81; Bibliography: p. 107-109.

Thesis (Ph. D.)--University of Michigan, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 277-280).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.