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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

The purpose of this study is to seek out, examine, and analyze the relationship that Emily Dickinson shared with her sister, Lavinia, and with her sister-in-law, Susan Gilbert Dickinson. All of her letters and poems have been carefully considered, as well as the letters and diaries of friends and relatives who might shed light on the three women.

In this essay, I intend to analyze and respond to criticism directed towards the subjective component of Susan Wolf’s Bi-partite “Fitting Fulfillment View”, criticism directed from Thaddeus Metz, Ben Bramble, and Aaron Smuts. Wolf offers a theory about meaning in life which considers both that the subject should find it meaningful and that the source of this meaningfulness should be objectively valuable. However, critics have argued that a subject’s attitude towards meaningfulness should not affect whether one’s life is meaningful or not. Out of the critics I found promising and responded to I did not find any that seriously threatened Wolf’s theory and, in some cases they even seem to misunderstand Wolf’s claim. In the final section, I raise a question for Wolf’s account that I believe would be interesting to pursue in a further study.

Thesis (M.A.)--University of North Carolina at Wilmington, 2003. / Vita. Includes bibliographical references (leaves : [67]-68).

A. S. Byatt attempts to recover lost voices in Possession and Angels and Insects (a collection of two novellas) by examining the limiting roles of women in literature and society. Chapter one examines Possession in which the characters search for their connections to the literary past, ultimately locating them through a lesser-known, female, Victorian poet. In chapter two I consider "Morpho Eugenia," the first novella in Angels and Insects. Byatt illustrates how the male gaze names women and defines their roles. In the second novella, "The Conjugial Angel," analyzed in chapter three, Byatt (re)tells Emily Jesse's story, one formerly appropriated by Alfred Tennyson in In Memoriam. I conclude that Byatt attempts to relocate her heroines from the margins to the center by deconstructing hierarchical patterns of storytelling. Rather than replacing male-monopolized narratives with female ones, Byatt undermines the dominating viewpoint by demonstrating the way in which it obscures all other perspectives.

This study focuses on the first three historiographic novels in a projected quartet---The Virgin in the Garden, Still Life, and Babel Tower---which historicises what we now refer to as the "crises in representation" that occurred over the late 50s and into the 60s. I trace the figure of the Undifferentiated Narrator, both as it is referred to and read by the characters in the world of the novels, and as it is invoked or broken up by the forms of the narratives themselves. / My methodology is outlined in the first section, wherein I place a reading of Byatt's work within the context of contemporary debate regarding the ethics of representation. Then I treat each novel separately, since each is a self-contained novelistic experiment with a different form of literary realism. / In the end I conclude that Byatt's use of polyvocality and multiple histories help us to come to terms with nostalgia for the self-present self, by showing us that it haunts every narrative (and anti-narrative) and is a coercive figure in every life.

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