Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1995. / Abstract and vita. Includes bibliographical references (leaves 93-96).

Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. Eugene Crook, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed Mar. 1, 2004). Includes bibliographical references.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Leland B. Jacobs. Dissertation Committee: Arthur W. Foshay. Includes bibliographical references.

This thesis examines Northrop Frye's critical theories in relation to Jungian psychology.

Thesis (Ph.D.)--McMaster University, 2003. / Advisor: Alvin A. Lee. Includes bibliographical references (leaves 275-288). Also available via World Wide Web.

To fully appreciate the thematic essence of the Italian short-story writer Dino Buzzati it is necessary to understand his use of literary archetypes. As these have been discussed by the Canadian literary critic Northrop Frye, the question for the study was whether his theory about the tragic mode could be mapped directly onto the themes of Buzzati and, if there were discrepancies, what impact they had on the received message. The study presupposed the archetypes found in the tragic mode of the fifth phase and in the low mimetic mode as described by Frye, exemplified by Adam and the episode of the fall of man, and found many of them in the short stories collection La boutique del mistero by Buzzati. The narrative follows the archetypal theory perfectly with the cause, fall and effect of the situation, and many tragic characters can be found, such as Adam. However, Frye’s seven cyclic worlds correspond in only five cases, whereas two violate the tragic archetypal laws: the cosmological and the vegetable worlds. The literary effect is that tragedy is perceived as occurring too soon in the protagonist’s life and described by the ironic observational writer as having no effect on the world, leaving the readers with the sense that they too might be excluded from society the way Adam was and prematurely die alone.

Syftet med uppsatsen är att visa på likheten mellan Dan Browns The Da Vinci Code och sagans struktur, aktörer och handling, samt att påvisa romanens didaktiska möjligheter. Utifrån Vladimir Propps sagoteori och Northrop Fryes arketyper och historiska kategorisering samt ett studium av populärromanens likheter med sagan utifrån Ulla Lundqvists undersökning görs en strukturalistisk analys. Vidare har en mindre enkätundersökning gjorts för att skapa en uppfattning om hur en grupp elever på en gymnasieskolan uppfattat romanens didaktiska möjligheter. Resultatet visar att The Da Vinci Code innehåller sagans struktur, med endast några få avvikelser från den kronologiska ordningen, samt att romanens aktörer överrensstämmer med Propps teori och Fryes arketyper. Handlingen uppvisar tydliga inslag från sagan, och överrensstämmer med de sagoelement som Lundqvists undersökning visar, så som exempelvis dualism, magi, i överförd bemärkelse, och ett lyckligt slut. Den didaktiska undersökningen visar att eleverna uppfattar att romanen, trots kritiken kring dess fiktion, kan bidra till att ge kunskaper i ämnen som historia, religion och språk.

Thesis (MA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Linda Karell. Includes bibliographical references (leaves 98-104).

No description available.

The discourse surrounding art in the early 21st century seeks to explain our artistic practices in terms of a radically distinct set of conventions, which many have dubbed ‘metamodern.’ Metamodernism abides neither by modernist aspirations of linear progress, nor by the cynical distrust of narratives familiar to postmodernism. Instead it appears to be based on an entirely different set of premises, relating to betweenness, oscillation, and metaxis, generating art with a dual capacity for irony and sincerity. While metamodernism seeks to break the mold of the conventions that preceded it, it also avoids delimitation and prescription, and this traps it in an impossibility. To truly supplant the postmodern, the metamodern state of betweenness must be equally definite and formally circumscribed. In this project, I argue that metamodernism can be defined as an aesthetic of liminality – a state of thresholds and transitions – and that such a definition opens new avenues for understanding its core axioms. The second goal of the project is to reflect on where the metamodern state of transition might lead, and what future forms it promises. The project relies on literary theory, chiefly that of Northrop Frye, on analysis of the discourse surrounding contemporary aesthetics, as well as on occasional forays into philosophy, anthropology and sociology. The project concludes that metamodernism’s core tenets are best understood as existentialist in nature, abiding by the tradition of existentialist writers such as Kierkegaard, Nietzsche, Merleau-Ponty, and others. Identifying an existential underpinning to metamodern art is also to uncover an ethical substrate to what otherwise appears to be a freeform aestheticism. The ties between existentialism and metamodernism provide a case study for a broader look at the relationship between ethics and aesthetics, which might be pursued in future work. / Thesis / Master of Arts (MA) / There is a growing consensus among scholars that early 21st century art can no longer be explained in terms of familiar aesthetic conventions. The term ‘metamodernism’ is catching on as a description of our new era. Metamodernism is understood as an oscillation between two modalities – modernism and postmodernism – generating art that is more idealistic and romantic than what we have seen in previous decades, while retaining its capacity to be ironizing and self-aware. However, the discourse surrounding metamodernism has been tentative, provisional, and difficult to circumscribe. In avoiding any overarching claims or settled positions, metamodernism risks remaining only a radicalisation of previous conventions rather than a genuine evolution. The goal of this project is to come to grips with the core tenets of metamodernism, to present them more clearly and distinctly, and to suggest what the scholarship surrounding metamodernism might need to move beyond its current constraints.