This is a critical study of F. Scott Fitzgerald‟s Tender Is the Night focusing primarily on the lack of examination and criticism surrounding the women characters. Included are reviews of Fitzgerald‟s personal and professional life from the publication of his critically acclaimed The Great Gatsby until the publication of his last complete novel, Tender Is the Night, discussion of the contemporary and current criticism of the novel, and a feminist reading of the novel in order to focus more significant critical attention upon the women characters in order to create a fuller understanding of Fitzgerald‟s novel.

F. Scott Fitzgerald was a product of the era he was at his zenith: the roaring 1920s. By the time he arrived in Los Angeles, he was short on money and the audience for his novels and writing was waning. This work explores his time in L.A., his attitude toward cinema & the Hollywood system, and how he incorporated what he learned from screenwriting into The Last Tycoon, the unfinished novel that Fitzgerald aimed to revive his own career with.

This thesis presents a portrait of cultural diversity filtered through a lens of memory, experience and architecture. What does diversity look like? Where do we experience diversity? How unrestrained is our experience of it? Although cultural identity is tied to both personal experience and memory, Toronto’s experience of diversity has evolved with the growth of the city. Consequently, Toronto’s cultural diversity is today experienced through a limited and problematic architectural and marketing-based framework. These frameworks make ethnicity more accessible, but also limit our experience of it. I propose to release these limitations by highlighting the frameworks within which we view our various ethnicities. These are 1) the marketing of ethnic products to consumers (specifically Loblaws Presidents Choice, No Name and Memories Of…products) and 2) architectural uniformity. I examine these issues by recounting personal experiences with my family in South Western Ontario; by conducting a typological study of Toronto’s storefront restaurants – a portrait of a city which expands on the representation of industrial landscapes made by Bernd and Hilla Becher and the study of social types made by August Sander; and through my own experience of the street food and outdoor markets of Thailand. However, to highlight such constraints did not seem enough. So I created a white, unmarked model of a typical Toronto restaurant façade (formerly a shop front.) This tabula rasa suggests the possibility for an alternative strategy by showing the limitations of the channels through which we are forcing cultural diversity. The blank shop front model brings us back to a starting point from which cultural diversity can be reconsidered.

Scott Shapiro, an exclusive legal positivist, argues that inclusive legal positivism is inconsistent with the view that legal norms must conceptually provide reasons for agents of a legal system to act in specified ways. I defend inclusive legal positivism from Shapiro's charge of inconsistency.

In Tender Is the Night, F. Scott Fitzgerald retells the story of the Fall from Genesis through psychologist Dick Diver and his wife and patient Nicole, drawing poetic and thematic inspiration from John Milton’s Paradise Lost. This essay traces the progression of the Divers’ fall and ultimate separation through the novel’s three books and considers how the highly autobiographical foundation of the novel, which has drawn considerable critical attention, may in fact allow Fitzgerald to craft a work that aligns with and simultaneously expands upon Milton’s interpretation of the Fall.

In this project, I use Sir Walter Scott, William Wordsworth, and Charles Dickens to trace the emergence of what I call a poetics of private life. I argue that a literature of individualized, interior domesticity developed in response to the effacement of the Scottish Enlightenment and its local specificity at a time of British assimilation. In the eighteenth century, metropolitan Scotland, buoyed by hopes of cultural and economic renewal, developed and popularized antiquarian studies of local folk culture and theories of history positing telic models of societal development. Such concepts and practices were the intellectual fruits of the universities, learned societies, and philosophical circles that typified Scotland's heavily institutionalized Enlightenment. In the wake of the Act of Union, a new literature emerged, one exchanging models of universal human progress for narratives of private life. This arc coincides with Scott's renunciation of regional, historically inflected Scottish poetry in favor of three-volume fiction and Wordsworth's corresponding need to develop an increasingly autobiographical (and generically "British") Romanticism. These dual developments would significantly alter the shape of British literature for Scott's novelistic successors such as Dickens. Thus, this dissertation resituates the emergence of British Romanticism and the nineteenth-century three-volume novel both historically and geographically, within a narrative beginning in the eighteenth century, with Scotland's assimilation into an increasingly urban, homogenous Britain.

This thesis presents a portrait of cultural diversity filtered through a lens of memory, experience and architecture. What does diversity look like? Where do we experience diversity? How unrestrained is our experience of it? Although cultural identity is tied to both personal experience and memory, Toronto’s experience of diversity has evolved with the growth of the city. Consequently, Toronto’s cultural diversity is today experienced through a limited and problematic architectural and marketing-based framework. These frameworks make ethnicity more accessible, but also limit our experience of it. I propose to release these limitations by highlighting the frameworks within which we view our various ethnicities. These are 1) the marketing of ethnic products to consumers (specifically Loblaws Presidents Choice, No Name and Memories Of…products) and 2) architectural uniformity. I examine these issues by recounting personal experiences with my family in South Western Ontario; by conducting a typological study of Toronto’s storefront restaurants – a portrait of a city which expands on the representation of industrial landscapes made by Bernd and Hilla Becher and the study of social types made by August Sander; and through my own experience of the street food and outdoor markets of Thailand. However, to highlight such constraints did not seem enough. So I created a white, unmarked model of a typical Toronto restaurant façade (formerly a shop front.) This tabula rasa suggests the possibility for an alternative strategy by showing the limitations of the channels through which we are forcing cultural diversity. The blank shop front model brings us back to a starting point from which cultural diversity can be reconsidered.

Georg Lukács The Historical Novel continues to have a wide influence in Walter Scott criticism. However, Lukács theoretical insights into the role of genre in Scotts work remains underappreciated. This thesis takes for its departure Lukács summary that "the profound grasp of the historical factor in human life demands a dramatic concentration of the epic framework" (41). Lukács description of these two forms, dramatic and epic, is then applied in a reading of Scotts The Heart of Midlothian. Lukács terms offer a way of describing how Scotts fiction works, as the interplay of dramatic and epic motifs provide the aesthetic mediation for Midlothians social and political concerns. The chief problem raised through this reading is the role of genre in establishing a sense of historical necessity. In The Heart of Midlothian, the role of genre is made concrete in the novels gradual transition. Opening with dramatic social unrest, the novel shifts attention to the epic journey of Jeanie Deans and how her intervention re-establishes domestic and political harmony within the world of the novel. The interplay of dramatic and epic forms establishes a sense of internal necessity, as each major character organically finds his or her role in the overall course of progress. The thesis turns in its final chapter and conclusion to a resistance in Midlothian to the "dramatic concentration of the epic framework." Thus instead of solely applying Lukács categories to a Scott, the conclusion of the thesis turns Scott against Lukács. Midlothians conclusion evinces the resistance of Scott the storyteller to Scott the novelist of historical necessity, as the storyteller re-opens a sense of unforeseen possibility at the novels conclusion. The thesis concludes with a meditation on the ethical implications of Scotts competing narrative practices, that is, the dissonance between the historical novelist and the storyteller.

<p>Slavery and freedom are central issues in the historiography of nineteenth-century America. In the antebellum era (1820-1860), personal status was a fluid concept and was never as simple as black and white. The courts provide a revealing window for examining these ambiguities because court cases often served as the venue for negotiations over who was enslaved and who was free. In St. Louis, enslaved men and women contributed to debates and discussions about the meaning of personal status by suing for their freedom. By questioning their enslavement in freedom suits, slaves played an important role in blurring the law's understanding of slavery; in the process, they incurred the enormous personal risks of abuse and the possibility of sale. </p><p>Using the records of over 300 slaves who sued for freedom, as well as a variety of manuscript sources, newspapers, and additional court records, this project traces these freedom suits over time, and examines how slave law and the law of freedom suits shifted, mainly in response to local and national debates over slavery and also to the growing threat of anti-slavery encroachment into St. Louis. When the laws tightened in response to these threats, the outcomes of freedom suits also adjusted, but in ways that did not fit the pattern of increasing restrictions on personal liberty. Instead, the unique situation in St. Louis in the 1840s and 1850s, with its increasingly anti-slavery immigrant population, allowed slaves suing for freedom to succeed at greater rates than in previous decades.</p> / Dissertation

Texte remanié de: Th. Ph. D.--New Haven (Conn.)--Yale university. / Notes bibliogr. Index.