Texte remanié de: Thesis Ph. D.--Gênes, Italie--Université de Gênes. / Bibliogr. p. 223-240. Index.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 206-214).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1965. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis (Ph.D)--Boston University / The work of Elizabeth Madox Roberts, Kentucky novelist and poet (1881-1941), presents a problem in valuation. Her early novels, particularly The Time of Man (1926) and The Great Meadow (1930), received critical acclaim and popular success. Yet today Miss Roberts' novels are virtually neglected or given scant recognition as "regionalist." Examination shows that "regionalism" in the 1920's and 1930's was primarily a sociological phenomenon; the term "literary regionalist" proves to have little objective critical meaning, operating rather as a vaguely pejorative label . Accordingly, I examine Miss Roberts' work in terms of three questions: What does she try to accomplish? How well does she succeed? Is the achievement worthwhile? By studying her published works and her extensive private writings, it is possible to extract her philosophic and aeathetic perspectives . The intellectual profile which emerges is that of a philosophical idealist whose basis of faith is in an active perceiving imagining mind; her definition of reality is highly subjective , organic and dynamic. The primal unit ia the self-contained experiential individual, striving to grow in accordance with the principles of organic harmony - - that is to say, self-urged to become true, beautiful, and good by the natural accretions of experience. Further, this isolated individual can transcend himself, merging into something beyond himself through love, friendship, communal groupings, and aesthetic and religious experiences. In these flashes of transcendent "belongingess," individuality is not lost, but, paradoxically, greatly intensified. Happiness consists then in the most extensive creation of design on the chaos of sensation. [TRUNCATED]

Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 226-233).

Thesis (M.A.) -- Memorial University of Newfoundland. / Typescript. Bibliography : leaves 196-202. Also available online.

Thesis (Ph.D.)--Boston University / After being neglected, Ford Madox Ford has been re-discovered as an important novelist. This dissertation deals with Ford as a literary theorist and as an influence on other writers. Chapter I treats Ford's emergence with the help of Joseph Conrad from his Pre-Raphaelite background and his subsequent renunciation of Pre-Raphaelite aesthetics. Chapters II and III treat his theory of the novel and his acceptance of certain Flaubertian techniques, e.g. impressionism, the progression of effect, and the impersonal author [TRUNCTAED]

No description available.

This thesis attempts to establish that Ford Madox Ford's tetralogy Parade's End is in structure and essence a comic novel. The first chapter deals briefly with the fourth novel, The Last Post. The suggestion is made that it provides a comic conclusion to the tetralogy. Its vision is positive and promises a better world for mankind. Chapter Two follows the suggestion that Parade's End is comic with a theoretical analysis of the nature and form of comedy. The theory is taken largely from Northrop Frye's work Anatomy of Criticism. The central point made is that in comic action there is a motion from one type of society to another. In the new society, which is more humane than the old, the romantic hero and heroine are finally able to achieve happiness. There is a freeing of artificial bonds imposed by the old society, which is characterized in the tetralogy by the term "parade". When the old society has finally been defeated, a comic saturnalia breaks out in A Man Could Stand Up. That Parade's End so closely follows a comic pattern suggests that Ford was using the pattern very consciously. Chapter Three deals with Ford's technique of impressionism and discusses the relation of this technique to the mode of irony as defined by Frye. Ford's ironic vision is discussed with reference to his dual view of Tietjens' character as both heroic and "villainous". "Parade" is also to be considered ironically in Ford's work. The old code has produced a system which is apparently very beautiful and very virtuous but all systems are found to be inhibiting and deleterious. Using the concept of the dual vision, the rest of the thesis discusses some of the characters in the comic action. They are seen to be suffering from a bondage to a social code which represses man's instinctual nature. The code of repression leads to comic scenes such as the one in which Duchemin disrupts the elaborate breakfast party with his obscenities. Tietjens is the main concern and he is considered as an inhibitor of festivity who gradually, through the experience of war, is born into the comic hero, breaks with society and sets out to establish a new society in the pastoral world of the fourth novel. The war itself is seen as an extension of the nature and activities of society. A society which has imprisoned intimacy, communication, sexuality, love, explodes into war because it has an inadequate vision of the necessities of human existence. The novel, Parade's End, is, in part, an argument against rigid social institutions. The comic action moves away from rigidity towards a sense of flux. The old order decays, falls, but this fall is not tragic nor epic; it is found to be salubrious and comic. Tietjens sloughs off his old skin, his old principles, and frees his instinctual nature to become more human. What was feared is not to be feared; the passing of generations is one of the things that is. The other thing that is is Tietjens' character. His system goes but he himself does not. In contrast, his brother Mark, totally identified with the system, dies. The romantic hero and heroine, however, are saved, as they always are in a world of comic fiction. / Arts, Faculty of / English, Department of / Graduate