Arts and Humanities Commons^™

The Gendered Soul: Victorian Women Autobiographers And The Novel, Robbie E Spivey

Doctoral Dissertations

This project considers ways mid-Victorian fictional autobiographies created new models for women's spiritual formation, testing Nancy Armstrong's theory that novels are antecedent to the cultural conditions they describe. I pair three mid-Victorian fictional texts Jane Eyre, Aurora Leigh, and The Mill on the Floss with three later non-fictional autobiographies written by women near the end of the Victorian Era: Annie Besant (1847- 1933), Mary Anne Hearn (1834-1909) and Frances Power Cobbe (1822-1904). These women came to spiritual maturity during the same time period in which the fictional heroines Jane Eyre, Aurora Leigh and Maggie Tulliver became prominent in the popular …

Saint Oswald, Christ And The Dream Of The Rood: Mutable Signs At A Cultural Crossroad, Scott Hutcheson Mac Kenzie

Doctoral Dissertations

The first decades following a country’s conversion to Christianity are sometimes marked by experimentation with native expressions of piety. Out of the multicultural environment of early Christian Northumbria such experiments created an insular Germanic version of sanctity. In the mid-seventh century, Oswiu of Northumbria (642-670), the younger brother and successor to King Oswald, constructed an elaborate narrative of God’s plan for England (without consent or guidance from the Roman Church). His narrative would weave his family into the sacred fabric of his nascent, Christian kingdom. Through skillful manipulation of oral tradition, material culture and sacri loci he crafted a unique …

Archaism, Or Textual Literalism In The Historical Novel, Linell B Wisner

Doctoral Dissertations

This dissertation examines the technique of archaism as it has been practiced in the historical novel since that genre’s origins. By “archaism,” I refer to a variation of the strategy that Jerome McGann calls textual “literalism,” whereby literary texts use “thickly materialized” language and bibliographic forms to foreground their own “textuality as such” (Black Riders 74). Archaism is distinguished from Blake’s, Pound’s, or Robert Carlton Brown’s literalism by its imitation of older literary idioms, yet the specifically historical quality of its intertextuality also seems different from primarily formal imitations such as pastiche and parody.

Although archaism appears to have originated …

"Not For An Age, But For All Time": Shakespeare's Romantic Comedies On Film, Kelly A. Rivers

Doctoral Dissertations

From Sam Taylor’s 1929 Taming of the Shrew to Kenneth Branagh’s 2000 Love’s Labour’s Lost, nine comedies have been filmed and released for the mainstream film market. Over the course of the twentieth century a filmic cycle developed. By the late 1990s, the films of Shakespeare’s romantic comedies included cinematic allusions to films produced and distributed in the 1930s. This cycle indicates an awareness of and appreciation for the earlier films. Such awareness proves that the contemporary films’ meaning and entertainment value are derived in part from the consciousness of belonging to a larger tradition of Shakespeare comedy on film. …

Becoming A Creatrix: Women’S Religious Roles In W. B. Yeats And Olivia Shakespear, Elaine Kathyryn Childs

Doctoral Dissertations

This project is the biography of a symbol: that of the holy woman motif in William Butler Yeats’s oeuvre. For most of Yeats’s writing life, beautiful women have a place of spurious privilege in his spiritual imagination because they have an intrinsic connection with the divine otherworld. In chapters on Yeats’s beauty-worship in his long fin de siecle, Olivia Shakespear’s critique of that beauty-worship in her fiction, and the role of A Vision in The Winding Stair and Other Poems, I argue that Yeats revised the holy woman motif from a limited and limiting goddess or helpmeet role in …

“The Last Dear Drop Of Blood”: Revenge In Restoration Tragic Drama, Misty Sabrina Krueger

Doctoral Dissertations

Revenge on the English stage has long been associated with Elizabethan and Renaissance revenge tragedies, and has been all but ignored in Restoration theater history. While the shortage of scholarly work on revenge in Restoration drama might seem to indicate that revenge is not a vital part of Restoration drama, I argue that revenge on stage in the Restoration is connected with important late seventeenth-century anxieties about monarchy and political subjecthood in the period. This dissertation examines how Restoration tragic drama staged during Charles II’s reign (1660-1685) depicts revenge as a representation of an unrestrained passion that contributes to the …