Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 186-194).

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 214-219). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph.D.) -- University of Glasgow, 2001. / Includes bibliographical references (p. 328-340). Print version also available. Mode of access : World Wide Web. System requirements : Adobe Acrobat reader required to view PDF document.

Thesis (Ph. D.)--Harvard University, 1988. / Includes bibliographical references.

Thesis (doctoral)--Jyväskylän yliopisto, 1986. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 245-258) and index.

Thesis (M.A.)--University of Missouri-Columbia, 2005. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 11, 2006) Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Phillip Barrish. Vita. Includes bibliographical references.

The central concern of my thesis is to bring into focus the problematic relation between Georges Rouault's (1871-1958) pictorial vocabulary and his subject matter: on the one hand, abstract mark-making and on the other, a refusal to cede to abstraction or formalism through an insistence that these marks remain yoked to representation. The result is an examination a way of painting that embraces its state of uncertainty, which interrogates its own construction, and strains against the very materiality it simultaneously celebrates. Chapter one traces the critical reaction to Rouault's painting in the early years of the twentieth century, which was at best mystification, and at worst, disgust. This chapter also analyses the thick painterly terms of these paintings and their resistance to conventional meaning, arguing that there are parallels between Rouault's project and contemporary experimental forms of art and literature within modernism. Chapter two continues this exploration, attending to the various relationships between surface and depth that are interrogated by Rouault's canvases. These relationships reveal the deep philosophical and theological questions at stake Rouault's painting. Chapter three explores a theological reading of Rouault's work beginning with the aesthetics of his associate, the French Catholic philosopher, Jacques Maritain - a reading that shows how painting can be true to its material conditions and strain towards a higher, albeit obscure, form of knowledge. Against this, the last chapter argues that the paintings also support the possibility of a bleaker world-view, aligned with Dostoyevsky's kenotic theology, in which matter potentially overwhelms the possibility of transcendental meaning. In conclusion, I argue that Rouault's painting interrogates the vocabulary of modernism and presents the 'fallen' or 'wounded' state of a painting that acknowledges its material conditions.

In the field of literary modernism, value has been assigned most often to texts that display a certain kind of innovation: aggressive, destructive, and difficult. Other, quieter texts have been relegated to the periphery of the modernist canon. This dissertation, contributing to the work of the New Modernist Studies, argues for an expansion of how critics define innovation and, by extension, modernism. Through close reading and thorough analysis of critical reception, I explore a <“>restrained<”> modernism in the stories and novels of E.M. Forster, Nella Larsen, and Elizabeth Bowen, demonstrating how their innovation proceeds from and depends on their performance of clarity and their deconstruction of traditional forms from within. These three authors strategically deploy familiar traditions like the female bildungsroman, social satire, and the tragic mulatta tale in order to explore the queer agency of restrained subjectivities trapped inside. Forster, Larsen, and Bowen defy critical accusations of timidity, conservativism, and failure, critiquing the totalizing identity categories of nation, race, sexuality, and gender and suggesting the quiet yet radical power of a literary--and modernist--restraint.