From his first translation of Longes Mac nUislenn through The Tain to An Duanaire, changes in Thomas Kinsella's concerns as a translator reveal his increasing respect for the original Irish text. Kinsella's attitude toward the work of translation itself changes from making an "offering to the past" to repossessing a heritage. The change in his concerns as a translator corresponds to changes in Kinsella's poetic use of his cultural and personal past, and these changes in his poetry in turn correspond to his embracing the matter of Ireland. One of the most important changes in Kinsella's poetry is in his understanding of audience. In the early poetry his sense of audience disallows his using the matter of Ireland, but in the later poetry his understanding of audience allows incorporation of Irish material. Before returning to the matter of Ireland, however, Kinsella had to turn away, and his early poetry expresses that eschewal. Not only does Kinsella change audience in his later work, but he also changes poetic stance and his understanding of the function of poetry. A paradigm for the change that takes place in Kinsella's poetry might be his own description of the poles of modern Irish literature, Joyce and Yeats. Like Yeats, Kinsella's early poetry stands above the filthy modern tide, in a romantic isolation epitomized by "Baggot Street Deserta." A pivotal work in Kinsella's movement out of the tower and into the street is "Nightwalker," where the poet immerses himself, like Joyce, in the filthy tide of Irish life. In the new poetry, the past orders the present. Kinsella begins to use Irish myth in a way that it has never been used in Irish poetry in English, as psychic myth. Under the influence of his increased respect for Irish literature, Kinsella's poetry takes on a vatic function and a socially useful function of healing.

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The paper, William Golding: A Pessimistic Moralist: A Study of His Novels confirms the thesis that William Golding is caught in the ineluctable paradox between pessimism and morality; therefore, his view of man combines the duality of his vision. As a pessimist, Golding believes man is selfish, willful, egocentric and morally irresponsible. As a moralist, he perceives a faint hope that a change in behaviour and a re-awakening of moral responsibility is possible if man (in the case of Golding, this paper argues, he means his reader) is forced to see into himself. This dissertation shows how Golding's novels illuminate man's destructive actions and his willful decisions which reveal his nature. Through the vision of man presented in his novels, this dissertation argues, Golding hopes the reader will be persuaded to alter his own behaviour. The focus of the dissertation concerns how Golding's vision of man is revealed by three basic techniques that thread and unify all his novels. First, he creates distant and fabulous settings which correspond to Golding's moral ideas. He concentrates on creating real worlds out of unreal settings where his characters may reveal their true dark natures. Second, the paper discusses how Golding patterns each novel by developing distinct and separate symbols and metaphors that command and control each novel. The idea of darkness within man expresses Golding's vision and this paper shows how darkness as a term and as a vision filters throughout all his works tying them together. Third, Golding is concerned with the concept of reversal. As discussed within this paper, Golding reverses known stories or myths, and he shifts or alters his point of view at the conclusion of each novel. He shifts from the protagonist to an indifferent and distant observer. These reversals focus on Golding's vision and are meant to persuade the reader to see how man should behave, not simply how he does behave.

The aim of this thesis is to compare works of drama regarding the suffering of the human being in the context of life and literature and in relation to the issue of justice, which revolves around the impact of Justice, Humanity and God. My aim is to look at the development of the genre of suffering starting with the Ancient Near Eastern Literature, to define the genre in its development and to characterise its features in the various literatures discussed, especially with respect to the Book of Job. The book of Job is well known for its input in world literature on the theme of suffering. It is therefore important to trace the genre of suffering from its literary origins in the ancient near east and from there to Job. Hence, I will look at ancient works on suffering from Sumeria, from Babylon and from Egypt, and then at the book of Job. I will compare and examine the differences in their approaches and their understanding of God and of justice.

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<p> This dissertation examines the Spanish visual poetry of the 1960s and 1970s, which appeared during the later period of the Franco regime and responded to the rise of mass media and consumer capitalism. It draws on the theoretical work of Gilles Deleuze and F&eacute;lix Guattari to examine how this poetry created an oppositional practice that destabilized the conventional use of codes in media, art, and literature. It brings to light what I will explore as the "schizoid" character of their work and how it redefines the roles of reader, writer, and text in order to create an awareness that is critical and resistant to what the visual poets position as authoritative discourses, such as capitalism, consumerism, and the authoritarianism of the dictatorship. They see these discourses as subjugating the individual's thought through codes of language and image, and they go about subverting such discourses by destabilizing the language and image itself on which those discourses are built. </p><p> This study focuses on the representative works of three different writers, <i> Quiz&aacute;s Brigitte Bardot venga a tomar una copa esta noche</i> by Alfonso L&oacute;pez Gradol&iacute;, <i>La ca&iacute;da del avi&oacute;n en el terreno bald&iacute;o</i> by Jos&eacute; Luis Castillejo, and Textos y antitextos by Fernando Mill&aacute;n. L&oacute;pez Gradol&iacute;'s book restructures the notion of desire as it is represented in capitalist narratives of lack, ultimately schizophrenizing desire as a displaced logic of lack and creating new, interpersonal codes that redefine desire as immanent connection. Castillejo's work deconstructs representation through open-ended texts that multiply possible reading strategies, thus grounding desire in the process of building new codes. Mill&aacute;n's book deconstructs representation into a figural narrative that redefines the reader's role from that of a passive consumer to that of an active schizoanalyst that co-creates poetic codes and schizophrenizes transcendental structures that govern language and image. </p>

What is generally referred to as the Nouveau Roman, or New Novel, made its appearance in France in the early 1950s. As the name implies, the New Novel claimed to be new, that is, to break away from what one must call, for lack of a better term, the traditional novel. The New Novel aroused considerable interest in France and abroad; literary critics, journalists, and the New Novelists themselves, were soon airing their views on the subject. Passionate and prolonged discussions ensued. It is this Debate which we propose to investigate. For this purpose, we shall limit ourselves to five authors: Alain Robbe-Crillet, Michel Butor, Nathalie Sarraute, Claude Simon, and Robert Pinget -, and to the years: 1954--1964. Our study is divided into three main sections. In Part I, we have indicated the reasons underlying the limitations imposed on the scope of the thesis, that is, why we confined ourselves to the examination of the role played in the Debate by only five specific authors, and why we chose to investigate only the years 1954--1964. In conjunction with a study of the aims of the New Novel as propounded by the New Novelists themselves, a survey is made of the writers, French and foreign, whom the New Novelists themselves claim as their precursors. For the study of the actual Debate, both a chronological and a thematic approach is adopted. In Part II, the chronological approach - imposed by the historical nature of the subject - will enable us to examine the immediate reactions of the press to the New Novels on their publication and to the authors of these novels. In Part III, the thematic approach will enable us to proceed to a critical evaluation of the principal arguments thrown up by the Debate. In view of the nature of the subject, our documentation for this thesis is derived primarily from a close examination of the literary periodicals and journals of the period. In addition, we have analysed both the theoretical writings by the New Novelists and interviews they have given to the press. We have also used original material in the shape of interviews given to us at a later date (February-March 1973) by the five New Novelists on whom we have based our study and by the two Critics who played a major role in the Debate on the New Novel: Roland Barthes and Maurice Nadeau.

<p> This dissertation examines integral, challenging contemporary poetry and fiction, and its relationship to notions of the criminal in multiple guises. The present focus on &ldquo;criminal&rdquo; excavates not only its literal meaning&mdash;the nature of crime, and its specific relation to penal law&mdash;but also brings to light how the &ldquo;criminal&rdquo; affects the construction of fiction and poetry, and the lives of various individuals (speakers) within the chosen texts. Intricately tied with the criminal are practices that transgress, and this study will also locate specific creations where poets and novelists construct transgressions that challenge contemporary ideas of narrative and poetic modes. This study argues that expanding the term &ldquo;criminal&rdquo; opens up not only the current field of &ldquo;criminal studies,&rdquo; but also examines contemporary poetry and prose. This dissertation argues that a new formulation of the criminal proliferates practices of subjectivities that are forced upon individuals and taken for granted, and that the &ldquo;criminal&rdquo; is intricately tied to works that transgress and experiment. </p><p> The criminal, at its most basic, involves the nature of crime; it relates to the penal law; guilty; characteristic of a criminal. Most studies of &ldquo;criminality&rdquo; fall under the term &ldquo;prison literature,&rdquo; which focuses on individuals who have been incarcerated, and subsequently chronicled their lives in writing. Other studies and novels focus specifically on the struggle of individuals in prison. These texts take incarceration as their primary focus. This dissertation looks to make a distinct break between &ldquo;prison&rdquo; writing and &ldquo;criminal&rdquo; writing, moving the focus from incarceration to other social boundaries; however, &ldquo;prison&rdquo; and &ldquo;criminal&rdquo; are two terms that often intersect and overlap. &ldquo;Criminal&rdquo; writing does not take incarceration as its jumping off point, though incarceration may play a role; instead, the &ldquo;criminal&rdquo; is a spatial way of being in the world that either marks one off from contemporary society, or borders on notions which denote one as outsider. This project looks to expand the field from literatures focusing primarily on incarceration to studies depicting acts of transgression and deviance that may not necessarily land an individual behind bars, but mark one as separate from societal norms, as an outsider. This study envisions the &ldquo;criminal&rdquo; as branching out from its basic definition to include a variety of ways individuals &ldquo;transgress&rdquo; from their present predicament. This includes but is not limited to illegal acts one partakes in but is not caught, and acts that jeopardize one&rsquo;s place in society. As such, the &ldquo;criminal&rdquo; is opaque, nebulous, harder to pin down; it works from the periphery, the margins, interstitial spaces; whereas &ldquo;prison&rdquo; writing already denotes the given fact that one is or has been incarcerated, calling to mind a fixed location and trajectory. </p><p> Both poetry and fiction illustrate this branching out in similar and disparate ways, and the focus on both showcases the plurality and broad reach of these genres. The central objects of study will be a range of contemporary American poetry and fiction: James Baldwin&rsquo;s <b>Giovanni&rsquo;s Room</b> (1956); Rosmarie Waldrop&rsquo;s <i>Driven to Abstraction </i> (2010); Joanna Scott&rsquo;s <i>Arrogance</i> (1990); and C.D. Wright&rsquo;s <i>One Big Self: An Investigation</i> (2007). These texts give voice to the myriad, opaque notions of the &ldquo;criminal,&rdquo; while at the same time blurring the lines of how poetry and prose function; each text, as well, marks off distinct breaks in the artists&rsquo; bodies of work. These texts transgress on multiple levels, in turn, mirroring and mimicking the slippery, proliferating term&mdash;&ldquo;criminal.&rdquo;</p><p>