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Serpent and dragon symbolism are ubiquitous in the art and mythology of premodern cultures around the world. Over the centuries, conflicting hypotheses have been proposed to interpret this symbolism which, while illuminating, have proved insufficient to the task of revealing a singular meaning for the vast majority of examples. In this dissertation I argue that, in what the symbolist Rene Guenon and the historian of religions Mircea Eliade have called ‘traditional' or ‘archaic' societies, the serpent/dragon transculturally symbolizes what I term ‘matter,' a state of being that is constituted by the perception of the physical world as ‘chaotic' in comparison to what traditional peoples believed to be the ‘higher' meta-physical source of the physical world or ‘nature.' What is called ‘nature,' I argue, is also considered in ‘Tradition' to be a perception of, from a certain state of consciousness, that aspect of existence that is called samsara in the Hindu philosophy of Vedanta, which Guenon equivalently describes, from a broadly traditional perspective in The Symbolism of the Cross, as "the indefinite series of cycles of manifestation." ‘Chaos,' according to Eliade in The Sacred and the Profane, is "the amorphous and virtual…everything that has not yet acquired a ‘form.'" The following elements have been useful in discerning the specified meaning of the serpent/dragon symbol: 1) Guenon's interpretation of the terminology of the ‘Hindu Doctrines,' as well as his interpretation of the ‘language' of traditional symbolism and the metaphysics that underlies it; 2) Eliade's interpretation of ‘traditional'/‘archaic' societies by means of his concepts of ‘chaos,' ‘creation,' Axis Mundi (‘World Axis'), and ‘Sacred and Profane'; and 3) the insights of various other researchers of serpent/dragon symbolism. Beyond purporting to resolve some of the mystery of the ancient and varied symbolism of the serpent/dragon, my dissertation strives, to a lesser degree, to serve two related functions: 1) informing the interpretation of the symbolic meanings of a wide variety of premodern artifacts and narratives and 2) providing a rough outline for a proposed prolegomenon to the study of the origination, and ancient human awareness, of the mentioned state of ‘matter.'

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Written in different time periods but set in the time of imperial expansion, E. M. Forster’s Howards End (1910) and Chinua Achebe’s Things Fall Apart (1958) offer a critical exploration of British imperialism and its aftermath. What similarities and what differences do these novels have in portraying imperialism? More specifically, do they portray modern imperialism in radically different and mutually exclusive ways since one is set in the center of the British Empire and the other in a peripheral colony? The essay draws on Frederic Jameson’s argument about modernism, and Howards End in particular, that the center representatively excludes the periphery in its literary works. By comparing the two novels, the essay explores these issues and asks whether the British Empire is structurally incomplete in its representation in early twentieth century canonical modernist novels? Moreover, does this theory of exclusivity extend to include modern canonical African novels written a few decades later? By analyzing Howards End and Things Fall Apart, the essay examines the hypothesis that the center and the periphery are indeed mutually exclusive in their literary productions. The conclusions reached require some significant modifications to Jameson’s theory. It was found that Howards End does indeed structurally exclude the periphery. However, the same cannot be said for Things Fall Apart, which structurally incorporates the center. Thus, Jameson’s theory does not extend beyond early twentieth century modernist novels. Moreover, Forster’s novel, although it does suffer from Jameson’s criticism, shows critical awareness of this disabling disconnection from the periphery.

He spoke and galaxies whirled into place, stars burned the heavens, and planets began orbiting their suns – words of awesome, unlimited, unleashed power. He spoke again and the waters and lands were filled with plants and creatures, running, swimming, growing, and multiplying – words of animating, breathing, pulsing life. Again He spoke and man and woman were formed, thinking, speaking, and loving – words of personal and creative glory. Eternal, infinite, unlimited – He was, is, and always will be the Maker and Lord of all that exists. And then He came in the flesh to a speck in the universe called planet earth. The mighty Creator became a part of the creation, limited by time and space and susceptible to age, sickness, and death. But love propelled Him, and so He came to rescue and save those who were lost and to give them the gift of eternity. He is the Word (John 1:1); He is the Bread of Life (6:35); He is the Way, the Truth, and the Life (14:6); He is the Giver of Living Water (4:13-14); He is Jesus, the Christ. Without light, water, and food there could be no life. It is exactly these elements that John uses as symbols in his Gospel to present Jesus as the Light, Water and Food to the reader. Each of these symbols is a vital part of the context of eternal life though for this study the focus will be on water, and its symbolism in the book of John. We will firstly consider the meaning of Johannine symbolism, Following, the significance of the water motif in the Old and New Testament, the characteristics of John’s use of the Old Testament and the Johannine writings. We will end our study with the eschatology and the symbolic meaning of water in John 4. / Prof. J.A. du Rand

The Eulogist hastens along two structural/narrative approaches: the narrative sequence form and how it relays a poetic narrative in newer and more unique ways, and a dialogic approach I've termed a perpetual tense, where a variety of voices representing a variety of temporal realities are given agency to perform within the same space at the same time. Both approaches stem from my own philosophical views in response to such grandiose ideas as "language," "life," "moments," "love," etc., and how reversible they seem. I respond by offering a common denominator that appears to exist amongst these ideas: the presence of desperation that feels to be the only tangible element perpetually moving forward, represented within the narratives of the manuscript's four main characters: Hero, Heroine, Marvelous Swab (The Eulogist) and myself (The Eulogist). Ultimately, the resolution is found within each character's response to their desperation as well as their rationalizations behind each response. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / FAU Electronic Theses and Dissertations Collection

These are collected short stories all dealing to varying extents with the theme of being stuck or captured in an experience or in a moment gone past, often events of hardship or trauma. Some characters explore this territory in desperation, and some seem to become stoic reminders of these pasts, unable to accept the responsibility to move on and allow the experience to mature them and help them grow. I have concentrated on this theme as an aspect of suburbia, the kind of place in which I have grown up and where my characters spend the most time. This collection has been a personal journey for me as well as an exploration in character motivation through imagery depicting the key influential moments in these characters' lives. / by Kelly De Stefano. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Electronic reproduction. Boca Raton, Fla., 2011.

This is a collection of short stories that flirt with non-traditional forms. They are character-driven pieces, in which plot is of secondary importance to the relationships created and established. Ambiguity and abstraction are valued, as is the balance between mood and humor. Scientific principles fuel some of the pieces here, most of which do not attempt to take place in reality, but rather create their own arena to contain the events that follow. / by George A. Christakis. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Electronic reproduction. Boca Raton, Fla., 2011. / Content restricted to abstract and citation at the authors request

Unearthing is a hybrid of nonfiction genres, and follows a narrator as she attempts to piece together past and present memories and meditations about family history, travel, and the idea of home. Using an orchid as a metaphor for someone who is searching for home, Unearthing attempts to expose in the author what might also be found in the reader, an exploration of what is meant by home. By following a trail of biography, personal narrative, and memoir, the reader is given every opportunity to identify with the narrator's struggle with the idea of rootlessness and rootedness, travel and home. / by Erin Hobbie. / Thesis (M.F.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.