Coping With a Family Member's Death: Parenting, Religiosity, and Parent-Child Communication

The present study had three major aims. First, this study was a basic descriptive exploration of the frequency and nature of parent-child communication about death. Second, this study conducted a quantitative analysis to identify predictors of communication and bereaved children¿s emotional and behavioral problems. Third, this study was also a qualitative analysis of parents¿ descriptions of how religious views shape conversations about death and how conversations are beneficial. Based on prior research, it was predicted that positive child outcomes would be associated with parental warmth, religiosity, adaptive coping, positive religious coping, and frequent parent-child communication about death. Conversely, it was predicted that negative child outcomes would be associated with parental psychological control, maladaptive coping, negative religious coping, and less frequent parent-child communication about death. Additionally, it was hypothesized that parents¿ religious and spiritual views would shape parent-child communication about death, and parents would describe numerous benefits of discussing death with children. Parents completed a series of survey measures assessing their religiosity, coping strategies, parent-child communication about death, and their children¿s emotional and behavioral symptoms. Almost 80% of parent-child dyads discussed death at least once a week, and children initiated approximately half of these conversations. Parent-child communication about death was predicted by parents¿ warmth toward and acceptance of their children and inversely predicted by children¿s hyperactivity and social problem solving. Higher levels of children¿s social problem solving could predict lower frequency of parent-child communication about death if children were holding frequent, meaningful, and comforting conversations with friends and other adults. Higher levels of parents¿ psychological control predicted more emotional and behavioral problems in the child. Parents¿ adaptive coping had significant relationships with all of the dimensions of parent-child communication about death. Qualitative analyses revealed that parents perceived their religious beliefs as shaping conversations about death and grief as an individualized journey. A majority of parents described the emotional, social, and intellectual benefits of holding parent-child conversations about death. This study contributes to the literature by further describing parent-child communication about death, identifying its predictors, and investigating parents¿ religiosity and coping strategies in relation to child well-being. Overall, this study revealed the importance of assessing global parenting characteristics (i.e., warmth/acceptance and psychological control) when examining parent-child relationships and communication about death. Furthermore, this unique study illustrates the value of qualitative data when examining parent-child communication about death and religiosity.

Kinora and Double Kinora (Mutoscope)

The mutoscope is a cylindrical container ranging in size from a large, standing viewing station down to a smaller, more transportable unit. These machines hold hundreds of small cards with images printed on them attached to a circular core. This core is attached to an external crank which is turned by the viewer. The booklet turns, and the cards are held tensely bent into viewing position by a small metal piece. As the cards flip by, the rapid frame rate produces the illusion of a moving image (Rossell,Living Pictures, 96).

The Insufficient Void": The Problem of an Earthly Paradise in Wuthering Heights and Dracula"

The aim of my thesis is to chart how death and the spirit world - what might be defined as our living essence - becomes the sites of a new and remarkably subversive Victorian exploration of the supernatural.

Where Stories Collide : Montage and the Short Story Cycle

This thesis uses Sergei Eisenstein’s filmic theories of montage to examine the modernist American short story cycle, a genre of independent short stories that work together to create a larger and interrelated whole. Similar to the shot-by-shot editing process of montage, the story cycle builds its intertextual meaning story-by-story from an aggregate of abrupt narrative transitions and juxtapositions. Eisenstein famously felt that montage, the editing together of film fragments, was not a process of linkage, but of collision –each radically different shot in a film should crash into the next shot, until audience members were intellectually provoked into synthesizing these collisions through dialectical processes. I offer montage as an interpretive strategy for negotiating the narrative collisions in story cycles such as Sherwood Anderson’s Winesburg, Ohio, William Faulkner’s Go Down, Moses, and Eudora Welty’s The Golden Apples. For Go Down, Moses, I argue that Eisenstein’s politically rendered “montage of attractions” provides a template for investigating the shock tactics behind Faulkner’s chronologically and racially entangled stories of whites and African Americans. For The Golden Apples, I consider the opposites and doubles in Welty’s fiction with Eisenstein’s similar belief in the “opposing passions” of the world. Not only, then, do I suggest that the modernist story cycle bears a cinematic influence, but I also offer Eisenstein’s theories of montage and collision as a heuristic for formal, thematic, and even political patterns in a genre infamous for its resistance to definition and classification.

Harry Potter and the Theory of Things

This thesis investigates the boundaries between body and object in J.K. Rowling’s Harry Potter series, seven children’s literature novels published between 1997 and 2007. Lord Voldemort, Rowling’s villain, creates Horcruxes—objects that contain fragments of his soul—in order to ensure his immortality. As vessels for human soul, these objects rupture the boundaries between body and object and become “things.” Using contemporary thing theorists including John Plotz and materialists Jean Baudrillard and Walter Benjamin, I look at Voldemort’s Horcruxes as transgressive, liminal, unclassifiable entities in the first chapter. If objects can occupy the juncture between body and object, then bodies can as well. Dementors and Inferi, dark creatures that Rowling introduces throughout the series, live devoid of soul. Voldemort, too, becomes a thing as he splits his soul and creates Horcruxes. These soulless bodies are uncanny entities, provoking fear, revulsion, nausea, and the loss of language. In the second chapter, I use Sigmund Freud’s theorization of the uncanny as well as literary critic Kelly Hurley to investigate how Dementors, Inferi, and Voldemort exist as body-turned-object things at the juncture between life and death. As Voldemort increasingly invests his immaterial soul into material objects, he physically and spiritually degenerates, transforming from the young, handsome Tom Marvolo Riddle into the snake-like villain that murdered Harry’s parents and countless others. During his quest to find and destroy Voldemort’s Horcruxes, Harry encounters a different type of object, the Deathly Hallows. Although similarly accessing boundaries between body/object, life/death, and materiality/immateriality, the three Deathly Hallows do not transgress these boundaries. Through the Deathly Hallows, Rowling provides an alternative to thingification: objects that enable boundaries to fluctuate, but not breakdown. In the third chapter, I return to thing theorists, Baudrillard, and Benjamin to study how the Deathly Hallows resist thingification by not transgressing the boundaries between body and object.