This thesis examined the news coverage and editorial coverage the New York Times gave Susan B. Anthony’s participation in the women’s suffrage movement from the time Miss Anthony joined the movement in September 1852 until her death in March 1906. Using various books on Miss Anthony as well as the New York Times index, a chronological list of events and activities involving Miss Anthony’s participation in the woman’s suffrage movement was complied. Pages of the New York Times then were examined on the dates and near the dates of Miss Anthony’s activities to learn what coverage the newspaper had given her or the movement.The study showed that when the woman’s suffrage movement began in the early 1800s, women had few of the rights they enjoy today. Society of the time believed a woman’s place was in the home and that only man, as head of the household and chief breadwinner, should enjoy the right of suffrage. However, people who supported the woman’s suffrage movement believed women should enjoy the same employment opportunities and wages men of that day enjoyed and saw the ballot as the women could achieve those opportunities.Having shown the society of the early 1800s as well as the reasons for the woman's suffrage movement, the thesis focused on Miss Anthony's activities in the movement to show the coverage the New York Times gave her and the movement both news-wise and editorially throughout her life. The thesis found the New York Times covered her activities and those of the movement factually, based on the historical books written about her life and activities. However, the study found the newspaper's editorial opposition to the movement lacked the facts to support its emotional, and often illogical, feelings against the movement. Only when Miss Anthony was found guilty of voting did the New York Times stand on firm ground in opposition to her actions because it presented facts based on the United States Constitution to support its statements.The thesis concluded the New York Times reported its news stories factually and accurately, but used emotional appeals which lacked facts to support its opposition to the woman's suffrage movement. The thesis also concluded the New York Times reflected the society it served, a society that believed woman belonged in the home instead of out in a man's world, demanding the ballot in order to achieve equal rights with man.

Thesis (Ph.D.)--Bowling Green State University, 2008. / Document formatted into pages; contains ix, 260 p. : music. Includes bibliographical references.

I den här uppsatsen undersöker jag hur den fotobaserade konstnären Denise Grünstein använder sig av det fotografiska mediets möjligheter och begränsningar. Syftet med uppsatsen är att undersöka det narrativa draget i Denise Grünsteins iscensatta fotografier. Hur det narrativa draget gestaltas och varför Grünstein använder sig av ett narrativt drag. Begreppet narrativitet utreds och används för att tolka fem av Grünsteins fotografiska verk. Genom att förstå narrativitet öppnas även dörrar för en djupare förståelse för hur bild kommuniceras. Därav uppsatsen titel ”Jag ser vad du säger”. Uppsatsen har sin teoretiska utgångspunkt i Mieke Bals teori om hur narrativitet i form av information skapas och förmedlas i bild. Bal definierar fem narrativa karaktäriseringsbegrepp: ”utmärkande gestalter”, en ”fiktiv talesperson”, ”identifierbara platser och miljöer”, ett ”hypotetiskt förhållande till tid och rum”, samt en ”förändringsprocess där en händelse övergår till en annan händelse”. De narrativa karaktäriseringsbegreppen, inom ett specifikt medium, blir pusselbitar som bidrar till att föra fram bildens dolda berättelse. Utifrån dessa karaktäriseringsbegrepp analyseras fem utvalda verk av Grünstein. Vidare har även konstnären själv, via mailkorrespondens, delgett sin bild av hur hon ser på narrativitet i förhållande till sina verk. I uppsatsens slutdiskussion fastslår jag att Micke Bals narrativa karaktäriseringsbegrepp kan användas för att analysera det narrativa draget i Grünsteins iscensatta fotografier. Uppsatsen drar slutsatsen att Denise Grünstein använder sig av ett narrativt drag i sina fotografier för att ge liv åt komplexa, reflekterande och gränsöverskridande berättelser som säger någonting nytt om världen.

The fate of Susan Pevensie has been one of the most controversial and interesting topics of debate about The Chronicles of Narnia since readers realized that she was no longer a friend of Narnia. Many critics have condemned C. S. Lewis for being sexist, thus making the stereotypically feminine Susan with her love of parties, nylons, and lipstick ineligible for salvation. This thesis proposes to look at Susan's choices and fate from the perspective of moral imagination. It argues that Lewis did not bar Susan from heaven to belittle femininity, but rather to comment on the consequences of choice, belief, and the vital exercise of moral imagination. Placing Susan in a fairy-tale world highlights the differences between what is real and what seems impossible and pushes both Susan and the readers to develop their own moral imagination in the pursuit of belief in the truth. Looking at Susan's ambiguous fate and comparing her story to other characters' journeys throughout the series shows readers the power of the imagination and offers hope that Susan, like the rest of her siblings, may make it to Aslan's Country after all.

This thesis aims essentially at a re-evaluation of the marginalisation that conventional critical assessment makes of Jane Austen's epistolary novella 'Lady Susan' (1794-1795). The consensus within Austen studies, one that has largely been unchanged and unchallenged since the time of the first professional academic accounts of Austen's work (and in turn influenced by the C19 view of the writer) is that 'Lady Susan' is an artistic failure, a regressive step in Austen's stylistic development and, most fundamentally, that its epistolarity is a constraint on the technical progress that Austen appeared to be making in work prior to this, most notably, the unfinished third-person novella "Catharine, or The Bower". The thesis provides a close reading of 'Lady Susan' and of 'Catharine' and in marked opposition to the consensus, concludes that 'Lady Susan' is an emphatic step forward in Austen's stylistic progress, most particularly through the manner in which it establishes a moral framework from within which to develop character and plot, its attainment of incipient narrative voice through a complex use and exploitation of epistolary polyphony (thereby foreshadowing the omniscient third-person narrators of Austen's mature fiction, in addition to its experimentation with a form of free indirect speech) and the markedly plausible realism that is present throughout the novella. Austen's termination of the epistolary section (the novella being concluded in third-person narrative - an ending that was added some time later and which is generally viewed as her own recognition of epistolary limitation), in the view of this thesis, therefore cannot be attributed to stylistic inadequacy or constraint, and obliges other motives to be posited. The thesis then proceeds to move from text into context and assesses the extra-literary factors that may have prompted Austen's abandonment of the epistolary section, according a co-centrality to the character of Catherine that has never before been emphasised in Austen studies and the consequences of which suggest the writer’s political engagement with “the French Question”, and with political concerns in general, at an age that is far earlier than most critics usually accept (‘Lady Susan’ was written when Austen was 19). Beyond the text itself, our close assessment of a broad range of critical views (both on ‘Catharine’ and ‘Lady Susan’) lead us to posit that the critical insistence on the novella’s inferiority and regressiveness, both of which claims we strongly refute through our close reading of the text, in fact corresponds to a determinedly evolutionary manner of understanding novelistic development, on that in turn derives from Ian Watt’s account of the rise of this literary form. In accordance with standard academic procedure, the thesis begins with a critical review—in this case, of epistolary studies— including studies that monographically consider Austen’s work. It also considers the role of Austen’s private correspondence in the broader question of literary epistolarity. The thesis terminates by adding to its conclusion the obligatory outlines of what we deem to be valid and necessary further research into this subject and related issues.

As innovative as his sculpture, Andre's visually oriented poetry, however, has yet to receive the same rigor of attention as his sculpture. His inventive use of poetic and visual form, which he described as poetry mapped onto the visual arts, provides a compelling example of the interrelationship of word and image, a practice, although often overlooked, that suffuses twentieth-century visual art and poetry. Whereas Andre produced approximately 1,500 poems over many decades, this project focuses on his Words installation, the largest permanently installed collection of Andre's poems in the world. In 1995, Andre gifted 465 pages of poetry to the Chinati Foundation in Marfa, Texas. Andre's experiments with genre, including lyrics, autobiographies, novels, odes, and operas, push literary convention to the edge of irreconcilability. Despite the array of genres, I argue that all of the disparate kinds of writing found in Words demonstrate Andre's poetic sensibility. Until recently the critical discussion of Andre's poems proceeded as a one-sided discourse, which advanced the notion that this large body of work was best suited to enhancing the understanding of Andre's sculptural practice. To redress the one-sidedness of the discourse requires approaching Andre not only as a sculptor who made poems, but also as a poet deeply engaged in the visual qualities of his poetics. Engaging the spirit of the "make it new" sensibility of modernist poetics, Andre developed his own practice by "mapping language on the conventions and usages of 20thcentury abstract art."¹ Andre's poetry operates in the space between art and language. In this space we find Andre's engagement with poetic history, particularly the innovations of Ezra Pound, his relationship to important poetic developments such as fragmentation and quotation, and his experimentation with poetry as a visual medium. An examination of Andre's poetic oeuvre, the publication and exhibition history of his poems, and the manner of critical attention given to the poems from the 1960s onward contextualizes Andre's practice of mapping poetry onto the visual arts, while also bridging the gap in discourse between the fields of art and poetry. / text

This essay sets out to illustrate the evolution of horror in ghost stories through a literary analysis of M.R. James’s “The Mezzotint” (1904) and Susan Hill’s The Man in the Picture (2007). It is shown that despite many similarities, The Man in the Picture is a more frightening story than “The Mezzotint” mainly because of five major differences in the narrator, the haunted picture, the build-up of suspense, the relationship between the ghost and its victims, and the resolution of the mystery. Many critics have dealt with the ghost story genre before but no one seems to have analysed James’s and Hill’s stories in the way that is presented in this essay. In addition to the analysis, the essay also includes a pedagogical chapter, showing how a ghost-story project in upper-secondary school can improve the students’ language, their knowledge of literature and their critical thinking.

This essay is a literary analysis of two ghost stories, Elizabeth Gaskell’s “The Old Nurse’s Story” (1852) and Susan Hill’s The Man in the Picture (2007). The main focus of the essay is the theme of revenge, which is explored on the basis of similarities and differences in the mentioned ghost stories. It is shown that, in spite of many similarities, The Man in the Picture is a more developed and less conventional ghost story than “The Old Nurse’s Story”. This development is seen in the setting, the narrators and the structure of the story, all of which contain more layers in Susan Hill’s story. The essay also includes a didactic chapter which shows how a teacher can use the two ghost stories in the classroom to teach students in upper secondary school about literary analysis and the Gothic genre.

Zugl.: Potsdam, Univ., Habil.-Schr., 2001 u.d.T.: Freitag, Kornelia: Cultural criticism in contemporary women's experimental writing in the U.S.A.

Doct. thesis--Deprtment of English--Uppsala, 1993.