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The term "Southern Gothic literature" is frequently used in discussions of works of fiction and plays, but poetry is often left out of the conversation. The critical introduction takes into consideration the established definition and traditional elements of Southern Gothic literature as they are applied to fiction and plays in order to find the elements of poetry that constitute the Gothic in American poetry of the South. I discuss the works of Natasha Trethewey and Andrew Hudgins and show how they can be considered modern-day Southern Gothic poets since their poetry contains freakish characters, an obsession with the unchangeable, and violent imagery. Then, I consider how my own work shares with Natasha Trethewey's and Andrew Hudgins's poetry some of these same attributes found in Southern Gothic fiction, thus belonging to the same tradition.

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Existing containment models for a loss of coolant accident at many nuclear power plants were created in the 1970s using older computer technology and thermal hydraulic models which were available at that time. While conservative, these models may not present the detail necessary to identify conditions which may be used to produce additional design margin for the plant. After exploring containment and critical flow modeling, the basis for the use of GOTHIC in this analysis was established. A GOTHIC model was then created to simulate the loss of coolant accident results shown in an Updated Final Safety Analysis Report analysis for the North Anna Power Station. This model was used to examine the effects of increased nodalization in a subcompartment on the existing containment model. It is shown that adding multidimensional sub-nodes to areas of interest can provide valuable detail which was absent in the UFSAR model. Simulations are able to show the localized pressure spike around a LOCA pipe break that quickly dissipates, leaving significantly lower pressures in what was once an averaged, single, lumped-parameter node. This suggests that additional design margin may exist depending on where the pipe break is assumed to occur. / Master of Science

At the beginnings of the Gothic, in the eighteenth century, there was an anxiety or taboo surrounding consumption and appetite for the Gothic text itself and for the excessive and sensational themes that the Gothic discussed. The female body, becoming a commodity in society, was objectified within the texts and consumed by the villain (both metaphorically and literally) who represented the perils of gluttony and indulgence and the horrors of cannibalistic desire. The female was the object of consumption and thus was denied appetite and was depicted as starved and starving. This also communicated the taboo of female appetite, a taboo that persists and changes within the Gothic as the female assumes the status of subject and the power to devour; she moves from being ethereal to bestial in the nineteenth century. With her renewed hunger, she becomes the consumer, devouring the villain who would eat her alive. The two sections of this study discuss the extremes of appetite and the extremes of bodily representations: starvation and cannibalism.

In February 1997, the concept of the clone, previously confined to the pages of fiction, became reality when Dolly the sheep was introduced to the world. The response to this was unprecedented, initiating a discourse on cloning that permeated a range of cultural forms, including literature, film and television. My thesis examines and evaluates this discourse through analysis of contemporary fiction, including Kazuo Ishiguro's Never Let Me Go (2005), Stefan Brijs's The Angel Maker (2008), Duncan Jones's Moon (2009), and BBC America's current television series Orphan Black, which first aired in 2013. Such texts are placed in their cultural and historical setting, drawing comparisons between pre- and post-Dolly texts. The thesis traces the progression of the clone from an inhuman science fiction monster, to more of a tragic "human" creature. The clone has, however, retained its fictional portrayal as "other," be that double, copy or manufactured being, and the thesis argues that the clone is a Gothic trope for our times. The roots of the cloning discourse often lie in Gothic narratives, particularly Mary Shelley's Frankenstein (1818), which is analysed as a canonical cloning text. Each chapter focuses on a source of fascination and fear within the cloning discourse: the influence of Gothic paternity on the figure of scientist; the notion of the clone as manufactured product, victim and monster; and the ethical and social implications of cloning. There is a dearth of critical analysis on the contemporary literary clone, with the most comprehensive study to date neither acknowledging the alignment of cloning and the Gothic nor demonstrating the impact of Dolly on fictional portrayals. My thesis addresses this, interweaving fiction, science and culture to present a monster which simultaneously embodies difference and sameness: a new monster for the twenty-first century.