Ionic liquids: fact and fiction

Ionic liquid literature is increasingly plagued by unfounded mythologies that have arisen due to the burgeoning interest in these neoteric materials. This short polemic is designed to bring attention to some of the key problems in the current ionic liquid literature; this is an exciting new field, and we want to see it blossom in the fertile ground of academic and industrial excellence.

Joanna E. Wood short stories, 1898-1900

Joanna Ellen Wood (1867-1927) was an acclaimed Canadian author who wrote several novels and short stories. Wood was born in Scotland, but emigrated to Canada with her family in 1869. In 1874 her father purchased a farm overlooking the Niagara River at Queenston. It is believed she was supported by her brother William, who encouraged her writing. She was based in New York City from 1887-1901, using William’s business address there to receive correspondence while she traveled or spent time in Queenston. Around 1906, Wood moved with her mother to Niagara-on-the-Lake, where she joined the Niagara Historical Society. By 1914, she was living in Buffalo, but later spent time at her sisters’ homes. It was at her sister’s home in Detroit where she suffered a stroke and died in 1927. Wood’s literary career was short-lived. She published her first novel, The Untempered Wind , in 1894, and a second novel, Judith Moore …, in 1898. Both novels received critical acclaim, and a third novel, Farden Ha', followed in 1902. Unfortunately the majority of Wood’s numerous and award-winning writings cannot be found. Her career peaked in 1901, when she was the highest paid Canadian fiction writer. For unknown reasons, her career abruptly ceased in 1902, with no further publications or mention made of her in the Canadian Magazine.

La fiction est-elle un outil adapté pour transmettre l’Évangile? : réflexion à partir de ma pratique d’auteure

L’objectif de ce mémoire est d’analyser une praxis, la mienne, au moyen des techniques de la praxéologie, en tentant ainsi de réaffirmer le bien-fondé de mon travail d’auteure au service de la foi. En effet, la rédaction de Saffia, femme de Smyrne, débutée après une quinzaine d’années de vie professionnelle active en tant qu’écrivaine, me laisse croire que ce roman historique et sa présentation sont des outils adaptés pour transmettre l’Évangile. Ma recherche débute par une présentation générale de l’œuvre de fiction Saffia, femme de Smyrne ainsi que des conférences qui en découlent. Je mettrai ensuite en mots l’observation du discours secondaire, composé des appréciations ou des impressions de lecteurs. Mon interprétation ou mon hypothèse surgiront de ma problématisation par la question praxéologique Pourquoi est-ce que je fais ce que je fais et seront formulées au moyen des cinq fonctions d’élaboration. La partie ayant trait à la transmission de l’Évangile sera évaluée par des lectures en théologie, qui mettent en exergue les études d’auteurs : Jean-Guy Nadeau, Pierre Vadeboncœur, et Norbert Greinacher tandis que celle référant aux sciences humaines sera étudiée au moyen des œuvres de spécialistes Gérard Delteil, Régis Debray, Félix Moser et Antoine Compagnon. Soutenue par ces différentes études, je serai en mesure de mieux définir ce que la fiction en général peut apporter à la transmission de l’Évangile en m’appuyant sur l’étude de la fiction en théologie faite par des auteurs comme Paul Ricœur et Joseph Moingt. Je conclurai par une réflexion sur le mode de transmission de Saffia, femme de Smyrne et, je l’espère, par une explication de la raison pour laquelle je continuerai à utiliser la fiction pour transmettre l’Évangile. Une courte nouvelle me permettra d’appliquer mon étude et ainsi d’ouvrir ma réflexion dans une praxis.

Spinoza/space/speed/sublime: Problems of philosophy and politics in the post-colonial fiction of Gerald Murnane

This article takes account of the ‘spontaneity’ of the post-colonial fiction of Gerald Murnane within the ‘dominating space’ of the philosophy of Spinoza. My use of Paul Carter’s terms here is strategic. The compact of fiction and philosophy in Murnane corresponds with the relationship of spontaneity to the dominating organization of desire in Carter’s rendering of an Aboriginal hunter. Carter’s phrase “‘a figure at once spontaneous and wholly dominated by the space of his desire’” worries Ken Gelder and Jane M. Jacobs, who suggest that it subjugates the formation of Aboriginal desire (incorporating spontaneity) to impulses of imperialism. The captivating immanence of Spinoza’s philosophy in Murnane’s fiction, which I will demonstrate with various examples, puts pressure on the fiction to occupy the same space as the space of the philosophy. Here is a clue to why Murnane’s post-colonial thematics have been little explored by critics with an interest in post-colonial politics. The desire of Spinoza’s philosophy creates a spatial textuality within which the spontaneity of Murnane’s fiction, to the degree that it maximizes or fills the philosophy, is minimized in its political effects. That is to say, the fiction shifts politics into an external space of what Roland Barthes calls “resistance or condemnation”. However, the different speeds (or timings) of Murnane and Spinoza, within the one space, mitigate this resistance of the outside, at least in respect of certain circumstances of post-coloniality. It is especially productive, I suggest, to engage Carter’s representation of an Aboriginal hunter through the compact of coincidental spaces and differential speeds created by Murnane’s fiction in Spinoza’s philosophy. This produces a ceaseless activation of desire and domination, evidenced in Murnane’s short story ‘Land Deal’, and indexed by a post-Romantic sublime. What limits the value of Murnane’s fiction in most contexts of post-colonial politics, is precisely what makes it useful in the matter of Carter’s Aboriginal hunter.

"My blarsted greenstone throne!" Māori princesses and nationhood in New Zealand fiction for girls

This chapter focuses on Isabel Peacocke’s The Runaway Princess (1929) and Mona Tracy’s short story collection, Piriki’s Princess and Other Stories of New Zealand (1925), which incorporates a swathe of princesses, Māori and Pākehā. The princesses to be discussed in this chapter occupy liminal states: between Māori and Pākehā, child and adult, individual and collective subjects. Whether Māori and Pākehā, they figure in narratives of identity-formation that implicitly or explicitly incorporated comparisons between Māori and Pākehā. This chapter tracks this continuum of representations working from Māori to Pākehā and beginning with two Māori princesses who feature in Tracy’s stories ‘A Deserted Settlement’ and ‘Four Tons of Flax’.

Uncanny suburbia and Australian fiction

 The thesis consisted of both short stories and analysis of Patrick White, Peter Carey and Helen Hodgman. Researching how everyday life can be rendered unhomely and unsettling; and focusing on the representation of women, particularly mothers, resulted in new insights into Australia’s literary relationship with suburbia.

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.

"Fact versus Fiction – How paratextual information shapes our reading processes"

Our life is full of stories: some of them depict real-life events and were reported, e.g. in the daily news or in autobiographies, whereas other stories, as often presented to us in movies and novels, are fictional. However, we have only little insights in the neurocognitive processes underlying the reading of factual as compared to fictional contents. We investigated the neurocognitive effects of reading short narratives, labeled to be either factual or fictional. Reading in a factual mode engaged an activation pattern suggesting an action-based reconstruction of the events depicted in a story. This process seems to be past-oriented and leads to shorter reaction times at the behavioral level. In contrast, the brain activation patterns corresponding to reading fiction seem to reflect a constructive simulation of what might have happened. This is in line with studies on imagination of possible past or future events.

Melodrama and Narrative Fiction: Towards a Typology

Recent research on melodrama has stressed its versatility and ubiquity by approaching it as a mode of expression rather than a theatrical genre. A variety of contexts in which melodrama is at work have been explored, but only little scholarly attention has been paid to the relationship between melodrama and novels, short stories and novellas. This article proposes a typology of melodrama in narrative prose fiction, examining four different categories: Melodrama and Sentimentalism, Depiction of Melodramatic Performances in Narrative Prose Fiction, Theatrical Antics and Aesthetics in Narrative Prose Fiction and Meta-Melodrama. Its aim is to clarify the ways in which melodrama, ever since its early days on the stages of late eighteenth-century Europe, has interacted with fictional prose narratives, thereby shaping the literary imagination in the Anglophone world.

The English novel; being a short sketch of its history from the earliest times to the appearance of Waverley,

Mode of access: Internet.

Collected Short Stories

Thesis (Master's)--University of Washington, 2016-06