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In this thesis I examine women's participation in the violent revolutionary organization, Weatherman/Weather Underground. My attempt is to uncover Weatherman's view of women's liberation, their differences to the women's liberation movement and examine the practices implemented. I discuss Weatherman, more generally, in the context and circumstances of their emergence from the Students for a Democratic Society in the late sixties. Influenced by popular revolutionary thinkers Weatherman declared itself and its members revolutionaries dedicated to bringing about a socialist revolution in the United States through strategies of guerilla warfare. Weatherman's insistence on revolutionary violence situated masculinity and machismo within the center of their politics and practice. Weatherman promised its female members liberation through violence and machismo in the fight for a socialist revolution. I explore Weatherman's political position on women's liberation and the result of their politics evident in autonomous women's actions and sexual practices. In addition, I contend that Weatherman's politics more generally, and women's participation in Weatherman was shaped by the cultural hegemony of masculinity, termed by Connell as hegemonic masculinity. Exploration of women's participation in political violence is important to the acknowledgment of women as agents of aggression and the gender fluidity they represent. Weatherwomen's acceptance and adoption of masculinity provides an example of gender fluidity in contexts outside of common homosexual, transgendered, or queer representations. Furthermore, varying perceptions of women's liberation during the late sixties and early seventies has yet to be explored outside of the narrow scope of the autonomous feminist movement. Women who participated in the Weatherman/Weather Underground, their politics of women's liberation and methods in which to accomplish liberation have been ignored by historians of feminism and the New Left. This thesis uncovers the politics of women's liberation in the Weatherman/ Weather Underground, through which I examine the meaning of women's liberation, methods of liberation, and the empowered and limited position of women within the Weatherman/Weather Underground.

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La tesi ha per oggetto il romanzo epistolare in Inghilterra nella seconda metà del XVIII secolo, con particolare enfasi sulle opere scritte da donne. Scopo dello studio è dimostrare come Jane Austen, con le sue opere adolescenziali e il suo “Lady Susan”, rappresenti insieme un momento di sintesi e un punto di arrivo del “novel in letters” settecentesco. In particolare due filoni d’analisi convergeranno verso l’opera austeniana: la prima parte, divisa in tre capitoli, affronta brevemente la storia del romanzo epistolare e della figura della “woman novelist”, analizzando l’importanza dell’opera di Samuel Richardson a metà secolo (cap. 1) e di alcune scrittrici settecentesche quali Sarah Fielding, Charlotte Smith e Frances Burney (cap. 2), per concludersi con l’analisi del “periodo d’oro” del romanzo epistolare inglese, che coincide con gli anni ’80 e ’90 del secolo (cap. 3). La seconda parte della dissertazione, divisa in quattro capitoli, affronta in modo più specifico la figura di Jane Austen e il modo in cui essa si inserisce all’interno dello sviluppo dello stile e della fortuna del romanzo epistolare. Dopo una breve autobiografia dell’autrice e uno studio dell’epistolario fra lei e la sorella Cassandra (rispettivamente capp. 4 e 5), allo scopo di dare conto dell’importanza che le lettere ricoprirono nella formazione di Jane Austen, il cap. 6 è dedicato agli Juvenilia, vale a dire alle opere scritte fra i 15 e i 20 anni, mentre il cap. 7 affronta in modo più approfondito l’analisi di “Lady Susan”, romanzo che decreta l’abbandono dello stile epistolare da parte della scrittrice di Steventon. / The dissertation focuses on the epistolary novel in England in the second half of the eighteenth century, particularly on works written by women. The purpose of this study is to understand how Jane Austen (with her early writings and “Lady Susan”) represents both a synthesis of and a turning point in eighteenth-century novels in letters. In particular, two fields of study will converge into the works by Jane Austen: the first part, divided into three chapters, focuses on the importance of Samuel Richardson at the middle of the century (chapter 1) and of some woman writers such as Sarah Fielding, Charlotte Smith and Frances Burney (chapter 2), whereas chapter 3 is dedicated to the “golden period” of the English epistolary novel during the ‘80s and ‘90s. The second part of the dissertation is divided into four chapters and focuses more specifically on Jane Austen’s role within the development of the style and the fortune of the novel in letters. After a short autobiography of the author and an analysis of the correspondence between her and her sister Cassandra (chapters 4 and 5) in order to underline the importance of letters in Jane Austen’s upbringing, chapter 6 is dedicated to the Juvenilia, that is to say the works written between 15 to 20 years of age, while chapter 7 focuses on “Lady Susan”, a novel which represents the renunciation of the epistolary style by the author.

The essay analyses three works of supernatural horror fiction written by different authors over various periods of time. These three works are “The Old Nurse’s Story” by Elizabeth Gaskell, “Lost Hearts” by M. R. James and The Small Hand by Susan Hill. The argument of the essay is that all three stories diverge from the conventions of Gothic horror stories by including a child in the role of victim and ghost. This makes the stories more frightening since they challenge the reader’s expectations of children’s innocence. In order to discern how the stories diverge from the norm the essay explores the traditional conventions of the genre such as setting, narrator, the structure of the time-frame, the buildup of mystery, the observer of the ghost, the ghost itself, and finally the visitation. In the end, the essay finds that all three of the analysed stories fit the formula of a conventional Gothic horror story, using similar methods for building up suspense and fear in the reader. Moreover, all three enhance the effect through the combination of evil and innocence in the children.

This study investigates the relation between faith in a transcendent reality and faith in language, both verbal and visual, in the work of English novelist and critic Antonia Byatt. Her ideal conception of communication combines the immediacy and primal vigour of the visual with the methodical pragmatism of words. However, Byatt's characters who exemplify this effort at double vision - in particular Stephanie Potter Orton in the 1985 novel Still Life - find in their quests frustration and even death rather than fulfillment. My investigation focuses on A. S. Byatt's presentation of the way language attempts to represent and interact with three particular areas: fundamental personal experiences (childbirth, death, love), perceptual and aesthetic experiences (colour and form, painting), and transcendent experiences (supernaturalism and Christian religion). I consider all stages of her career to date - from her first novel The Shadow of the Sun (1964) to Babel Tower (1996). Although Possession: A Romance (1990) has garnered most of the critical attention accorded to Byatt, I argue that this novel is not generally representative of her principles or style. A neo-Victorian romance, part parodic and part nostalgic, combined with an academic comedy, Possession shares neither the sombre mythological and psychological fatalism of her 1960s fiction nor the modified realism of her middle-period fiction. Still Life and The Matisse Stories (1993) are the works that best elucidate Byatt's major preoccupations; they intently strive to combine the most powerful aspects of verbal and visual knowledge. The methodological basis for this study is pluralist; it emphasizes close reading, combined with phenomenological, biographical, and thematic criticism. As Byatt does, I rely principally on the ideas of writers and artists rather than theorists; she cannot be understood without specific reference to George Eliot, Donne, Forster, Murdoch, Van Gogh, and Matisse (among others). Byatt's quest for truth and transcendent meaning and her investigation of the trustworthiness of words have undergone recent changes; she seems more sharply aware of the limitations of language and the unattainability of absolute truth. Her writings in the 1990s about paintings and colour emphasize their intrinsic value rather than their ability either to revitalize the word or suggest the numinous.

Since 1993, diet and fitness promoter Susan Powter has gained significant prominence with her passionate message of health and wellness. This study used fantasy theme analysis to examine Powter's view of reality and her ability to persuade her audience. The analysis revealed a coherent vision, "Stop the Insanity!," within which Powter and other dieters are viewed as heroes. Additionally, the diet and fitness industries are viewed as conspiring villains who starve dieters and exclude the unfit from exercise programs. Powter differentiates herself from these villains by promoting herself as an uneducated but sincere speaker who does not starve or exclude people. Rather, she can identify with dieters because she has experienced their pain and frustration. Because anything is better than the "starvation" and "exclusion" promoted by the diet and fitness experts, Powter's program cannot help but succeed in the eyes of those who share her vision of reality. / Department of Speech Communication

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 196-207). Also available in electronic format on the Internet.

Diss.--Freiburg(Breisgau)--Univ., 1998. / Bibliogr. p. 279-295.

Thesis (Ph.D.)--University of Texas at Dallas, 2008. / Includes vita. Includes bibliographical references (leaves 278-291)