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The Fragility Of White Masculinity: An Exploration Of The White, Heterosexual Male Fantasy Of Gender In Horror, Allison D. Clark
The Fragility Of White Masculinity: An Exploration Of The White, Heterosexual Male Fantasy Of Gender In Horror, Allison D. Clark
Chancellor’s Honors Program Projects
No abstract provided.
"Deceptive Intimacy": Narration And Machismo In The Works Of Junot Díaz, Ellen Elizabeth Hill
"Deceptive Intimacy": Narration And Machismo In The Works Of Junot Díaz, Ellen Elizabeth Hill
Chancellor’s Honors Program Projects
No abstract provided.
Queer Affect In T.S. Eliot's Early Poetry, Michael Houle
Queer Affect In T.S. Eliot's Early Poetry, Michael Houle
Chancellor’s Honors Program Projects
No abstract provided.
Female Warriors: Judith, Grendel's Mother, And Gender In Anglo-Saxon England, Honor Lundt
Female Warriors: Judith, Grendel's Mother, And Gender In Anglo-Saxon England, Honor Lundt
Chancellor’s Honors Program Projects
No abstract provided.
The Liminal Mirror: The Impact Of Mirror Images And Reflections On Identity In The Bloody Chamber And Coraline, Staci Poston Conner
The Liminal Mirror: The Impact Of Mirror Images And Reflections On Identity In The Bloody Chamber And Coraline, Staci Poston Conner
Masters Theses
In Angela Carter’s The Bloody Chamber (1979) and Neil Gaiman’s Coraline (2002), mirrors play a large role in the development of the female protagonist’s identity. Tracing the motif of physical mirrors and mirrored realities in these texts offers a deeper understanding of each protagonist’s coming of age and coming to terms with her own identity. Though Angela Carter’s short stories are for an adult audience, they are remakes of fairy tales, which are often viewed as children’s literature, or at least literature about the child. Though the appropriate reading age for Coraline is debatable, it can tentatively be categorized as …
Lizard Girl And Other Girl Stories, Melinda Beth Keefauver
Lizard Girl And Other Girl Stories, Melinda Beth Keefauver
Doctoral Dissertations
This dissertation addresses the notable lack of the comic mode in contemporary ecofiction and aims to integrate humor and ecological inflection through the female narrative voice. Comedy and ecology rarely intersect in literary fiction. Ecofiction tends to be unfunny because the category grows out of the nonfiction tradition of nature writing, a genre that yields solemn, reverent, meditative essays that lack humor. Also, works of ecofiction can seem didactic, lacking the complexity, richness, and ambiguity that characterize literary fiction. Furthermore, literary critics often view comedic stories as lacking in literary quality. However, comedy has an intensifying effect on narrative, imbuing …