This thesis examines the novels of Christine Brooke-Rose and A. S. Byatt in order to question the extent to which contemporary British novelists are free to innovate with the forms of literary realism, forms that have a long and valued tradition in British literary production. Both authors, I argue, have reassessed the limits of the realist novel over the course of their careers, and the specific ways in which they engage with, or depart from, their literary inheritance are discussed. The introduction contextualises the literary climate out of which the two writers emerge. In the 1960s and 1970s, it was a commonplace of literary criticism to declare the “death of the English novel.” In the years following modernist experimentation, British novelists made a conscious return to the mimetic realism of the nineteenth century. Rather than the intellectual sterility that is often assumed to have dominated this period, I observe that there were in fact many writers who were continuing the innovations of the preceding generations, Christine Brooke-Rose and A. S. Byatt amongst them. To view realism to be in need of renewal is first of all to view literary production in terms of an ontological-historical distinction of texts as types of objects. It may be also to neglect the ways in which literary history is always already in dialogue with the present. Both authors have made concerted efforts to refresh literary realism; however, they have proceeded in very different ways. Brooke-Rose has experimented with the content and the form of the novel in order to renew conventions she insists are fatigued or overworked. The novels she has published since 1964 depart radically from what would ordinarily be recognised as realist fictions as they make no attempt to disguise their own textuality. Byatt, on the other hand, has reassessed realism through the forms of realism itself. Through an engagement with literary history, she revisits realism to pursue what has always been of value within it. In so doing, she creates a developmental model of literary production in which literary debts are made visible in the work of the contemporary writer. Chapter One examines Thru, the literary experiment for which Brooke-Rose is most celebrated. My starting point is her claim, following Roland Barthes’s S/Z, that she is the author of writerly as opposed to readerly texts. I argue that to establish any such easy opposition is to neglect Barthes’s departure from the polemicism that had marked his earlier work. Rather than interrogating how well her texts are supported by her claim to be writerly, I turn the opposition around in order to examine precisely how Barthes’s readerly operates within Thru. Through a close reading both of the novel and of Barthes, I illustrate that many characteristics of literary realism that Brooke-Rose argues are exhausted, in particular characterisation and narration, are still operating in Thru. Chapter Two develops Brooke-Rose’s opposition of readerly and writerly in order to examine its consequence for her own experimental writing. Here I return to Thru to demonstrate the ways in which Barthes’s readerly and writerly operate as interdependent processes rather than as opposing terms. I then reconsider her earliest work, a period she has since disavowed. I argue that rather than a separation, there is a continuum between her earliest works and her later, more experimental, writing that has not been recognised by the author or her critics. In Chapter Three I turn my attention to Byatt’s insistence on a developmental model of literary production. Here I identify the role that evolutionary narratives play in her texts. Two of her works, Possession and “Morpho Eugenia” are set largely in 1859, a year in which a specific epistemological emergence was to reconsider genealogical relations. In this chapter I examine the writings she invents for her characters and argue that she takes metaphors from natural history in order, not only to show the close relationship between literature and natural history, but to provide her reader with a framework of literary-generational descent. Chapter Four examines more closely the ways in which Byatt converses with her literary predecessors. She offers a version of realism that has always been concerned with perception, and with the impossibility of translating that perception into verisimilar fiction. In this chapter I identify the role that art works play within two of Byatt’s earlier novels, The Virgin in the Garden and Still Life, as she finds in them the same metaphorical ambiguities that bind the language of the novelist to imprecision. I then examine the ways in which metaphor works in these novels to elude precise signification of meaning. Chapter Five returns to Byatt’s neo-Victorian texts, Possession and Angels and Insects, and examines the author’s ventriloquism of her Victorian characters, which includes Alfred, Lord Tennyson and Arthur Hallam. Ventriloquism, I argue, is concerned with a remembrance of the literary dead within the present work and is thus an expression of mourning. However, to avoid melancholia the new text must also emphasise its difference from that which is being ventriloquised. I then discuss Byatt’s focus on nineteenth-century spiritualism, as it is through the trope of the séance that she reconsiders the afterlife of literary history itself. The final chapter examines the role of the critic. The mourning of Byatt’s fictionalised Tennyson is singular and overpowering. Chapter Six begins with a consideration of two of Possession’s critics, Mortimer Cropper and Leonora Stern, whose readings, I argue, are similar to Tennyson’s mourning in their inhospitality to other readings, other mournings of the literary text. I compare Cropper and Stern to Possession’s other critics, Roland Michell and Maud Bailey, whom Byatt places in the role of literary heir. Not only do Roland and Maud display an essential respect for the texts that they study, but also their reading is open to revision. The literary text, as Barthes argues, must always keep in reserve some essential meaning. Only through interpretive revision, Byatt implies, is the promise of this hopeful-yet-impossible revelation made to the reader.

This thesis examines the novels of Christine Brooke-Rose and A. S. Byatt in order to question the extent to which contemporary British novelists are free to innovate with the forms of literary realism, forms that have a long and valued tradition in British literary production. Both authors, I argue, have reassessed the limits of the realist novel over the course of their careers, and the specific ways in which they engage with, or depart from, their literary inheritance are discussed. The introduction contextualises the literary climate out of which the two writers emerge. In the 1960s and 1970s, it was a commonplace of literary criticism to declare the “death of the English novel.” In the years following modernist experimentation, British novelists made a conscious return to the mimetic realism of the nineteenth century. Rather than the intellectual sterility that is often assumed to have dominated this period, I observe that there were in fact many writers who were continuing the innovations of the preceding generations, Christine Brooke-Rose and A. S. Byatt amongst them. To view realism to be in need of renewal is first of all to view literary production in terms of an ontological-historical distinction of texts as types of objects. It may be also to neglect the ways in which literary history is always already in dialogue with the present. Both authors have made concerted efforts to refresh literary realism; however, they have proceeded in very different ways. Brooke-Rose has experimented with the content and the form of the novel in order to renew conventions she insists are fatigued or overworked. The novels she has published since 1964 depart radically from what would ordinarily be recognised as realist fictions as they make no attempt to disguise their own textuality. Byatt, on the other hand, has reassessed realism through the forms of realism itself. Through an engagement with literary history, she revisits realism to pursue what has always been of value within it. In so doing, she creates a developmental model of literary production in which literary debts are made visible in the work of the contemporary writer. Chapter One examines Thru, the literary experiment for which Brooke-Rose is most celebrated. My starting point is her claim, following Roland Barthes’s S/Z, that she is the author of writerly as opposed to readerly texts. I argue that to establish any such easy opposition is to neglect Barthes’s departure from the polemicism that had marked his earlier work. Rather than interrogating how well her texts are supported by her claim to be writerly, I turn the opposition around in order to examine precisely how Barthes’s readerly operates within Thru. Through a close reading both of the novel and of Barthes, I illustrate that many characteristics of literary realism that Brooke-Rose argues are exhausted, in particular characterisation and narration, are still operating in Thru. Chapter Two develops Brooke-Rose’s opposition of readerly and writerly in order to examine its consequence for her own experimental writing. Here I return to Thru to demonstrate the ways in which Barthes’s readerly and writerly operate as interdependent processes rather than as opposing terms. I then reconsider her earliest work, a period she has since disavowed. I argue that rather than a separation, there is a continuum between her earliest works and her later, more experimental, writing that has not been recognised by the author or her critics. In Chapter Three I turn my attention to Byatt’s insistence on a developmental model of literary production. Here I identify the role that evolutionary narratives play in her texts. Two of her works, Possession and “Morpho Eugenia” are set largely in 1859, a year in which a specific epistemological emergence was to reconsider genealogical relations. In this chapter I examine the writings she invents for her characters and argue that she takes metaphors from natural history in order, not only to show the close relationship between literature and natural history, but to provide her reader with a framework of literary-generational descent. Chapter Four examines more closely the ways in which Byatt converses with her literary predecessors. She offers a version of realism that has always been concerned with perception, and with the impossibility of translating that perception into verisimilar fiction. In this chapter I identify the role that art works play within two of Byatt’s earlier novels, The Virgin in the Garden and Still Life, as she finds in them the same metaphorical ambiguities that bind the language of the novelist to imprecision. I then examine the ways in which metaphor works in these novels to elude precise signification of meaning. Chapter Five returns to Byatt’s neo-Victorian texts, Possession and Angels and Insects, and examines the author’s ventriloquism of her Victorian characters, which includes Alfred, Lord Tennyson and Arthur Hallam. Ventriloquism, I argue, is concerned with a remembrance of the literary dead within the present work and is thus an expression of mourning. However, to avoid melancholia the new text must also emphasise its difference from that which is being ventriloquised. I then discuss Byatt’s focus on nineteenth-century spiritualism, as it is through the trope of the séance that she reconsiders the afterlife of literary history itself. The final chapter examines the role of the critic. The mourning of Byatt’s fictionalised Tennyson is singular and overpowering. Chapter Six begins with a consideration of two of Possession’s critics, Mortimer Cropper and Leonora Stern, whose readings, I argue, are similar to Tennyson’s mourning in their inhospitality to other readings, other mournings of the literary text. I compare Cropper and Stern to Possession’s other critics, Roland Michell and Maud Bailey, whom Byatt places in the role of literary heir. Not only do Roland and Maud display an essential respect for the texts that they study, but also their reading is open to revision. The literary text, as Barthes argues, must always keep in reserve some essential meaning. Only through interpretive revision, Byatt implies, is the promise of this hopeful-yet-impossible revelation made to the reader.

Thesis (Ph.D.)--University of Wisconsin--Madison, 2006 / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 261-282).

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / The rose is the flower most traded in the world, and Cearà has been outstanding in their production in greenhouses. However, virtually all the production techniques employed by growers are based only on field observations, without any scientific basis. The objective of this study was evaluate the influence of substrate and added with nutrient solution in the rooting of cuttings roses, variety Carola, propagated in plastic trays by the method of cutting (or striking), and evaluate their productivity in greenhouses. The experiment was conducted in the municipality of SÃo Benedito - CE, in the company CeaRosa Com Exp Imp. e Prod. Flowers Ltda. in its early seedling production, and in the TecFlores - School of Floriculture of the State Government of Cearà in its early planting in the greenhouse. Were also evaluated six substrates (100% sand, 100% dry coconut fiber, 50% sand + 50% dry coconut fiber, 75% dry coconut fiber + 25% sand, 25% dry coconut fiber + 75% sand and 25% husk rice + 75% dry coconut fiber). The experimental design was factorial analysis with two factors, and the parameters evaluated were added with nutrient solution and the six substrates. At the stage of seedling production was evaluated the percentage of catches of seedlings, root length, seedling dry weight and content of macro and micronutrients present in seedlings. In the production phase and development in the greenhouse, were assessed the number of sprouts emitted by plants and the levels of macro and micronutrients of the leaf tissue of plants. The added with nutrient solution was not affect the percentage of catches of the seedlings, regardless of the substrate, but was affect the root length and dry weight of seedlings. The productivity of the rose plants was not affected by the substrate or by added with nutrient solution during the rooting process. / A rosa à a flor mais comercializada no mundo, e o Cearà vem se destacando na sua produÃÃo em estufas. No entanto, praticamente todas as tÃcnicas de produÃÃo empregadas pelos produtores baseiam-se apenas em observaÃÃes de campo, sem qualquer embasamento cientÃfico. O objetivo deste trabalho foi avaliar a influÃncia de diferentes substratos e do enriquecimento destes atravÃs de imersÃo em soluÃÃo nutritiva no enraizamento de mudas de roseira, variedade Carola, propagadas em bandejas plÃsticas pelo mÃtodo de estaquia, bem como avaliar sua produtividade sob cultivo protegido. O experimento foi conduzido no municÃpio de SÃo Benedito â CE, na empresa CeaRosa Com. Exp. Imp. e Prod. de Flores Ltda em sua fase de produÃÃo de mudas, e no TecFlores â Escola de Floricultura do Governo do Estado do Cearà em sua fase de plantio em casa de vegetaÃÃo. Foram testados seis substratos (100% areia, 100% pà de coco seco, 50% areia + 50% pà de coco seco, 75% pà de coco seco + 25% areia, 25% pà de coco seco + 75% areia e 25% casca de arroz + 75% pà de coco seco). O delineamento experimental utilizado foi anÃlise fatorial com dois fatores, onde foram avaliados os parÃmetros enriquecimento e os seis substratos. Na fase de produÃÃo de mudas, foram avaliados a percentagem de pega das mudas, o comprimento de raÃzes, a massa seca das mudas e o teor de macro e micronutrientes presentes nas mudas. Na fase de produÃÃo e desenvolvimento em casa de vegetaÃÃo, foram avaliados o nÃmero de brotaÃÃes emitidos pelas plantas e os teores de macro e micronutrientes do tecido foliar das plantas. O enriquecimento da soluÃÃo nÃo afetou a percentagem de pega das mudas, independentemente do substrato utilizado, mas afetou o comprimento de raÃzes e a massa seca das mudas. A produtividade da roseira nÃo foi afetada pelo substrato e nem pelo enriquecimento deste durante o processo de enraizamento.

This essay aims to explore and answer if the horror movies about exorcism stays true to the historical practices of the ritual. Or if the creators of these films made it all up. But also to see how the ritual has been portrayed in these movies over the years. Therefore I chose to analyse four different movies that is in different historic periods of the horror movie genre. Among these movies is the classic movie that started it all, The Exorcist. The other movies is representing periods that came after, with this essay we can also gather how society sees the rite of exorcism. The essay is going to present the history of the ritual, the various symptoms of possession and the classifications of getting an approved exorcism. We will focus on the roman-catholic tradition of this ritual, mainly because it is the version that the movies take most of their inspiration from.

When juveniles are defined by society as delinquent they are frequently institutionalized. These institutions are referred to as reform schools, correctional institutions or schools, residential care facilities, treatment centers, or variations of the above. They are state sponsored or privately sponsored. Whatever name is on the sign by the front door, each institution is in the business of "people changing." The excellence of an inanimate product can be measured, weighed, checked, and reproduced; but an altered person is more difficult to measure. If one is in the business of people-changing, it seems important to see if one is in fact changing people. This study of post institutional adjustment in one privately sponsored girl's residential care facility is an attempt to look at change in a group of released girls measured in the scale devised by the study group).

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In this study, we extend the spatial weight matrix defined by Getis and Aldstadt (2004) to a more general case. The modified spatial weight matrix performs better than the original spatial weight matrix since the modified spatial weight matrix adjusts weights of observations based on the distance from other observations. Both the simulation study and the application to the ecological process of invasion of non-native invasive plants (NNIPs) provide evidences for the better performance of the modified spatial weight matrix. We also develop procedures that can be used to quantify the invasion stages of NNIPs. The resultant map of invasion stage on county-level provides a useful and meaningful tool for policy makers; especially, it can be used to optimize allocation of management resources. The result of simultaneous autoregressive model shows that not only the biotic and abiotic factors but also human activities play an important role in the establishment and spread of multiflora rose in the Upper Midwest. It also shows the tendency of the establishment and spread of multiflora rose (Rosa Multiflora, Thunb. ex Murr.) in the Upper Midwest.