The miscellaneous works.

Mode of access: Internet.

The works of the Rev. Sydney Smith.

Microfiche (negative). Louisville, Ky. : Lost Cause Press, 1979.--7 sheets ; 11 x 15 cm.--(New Cambridge bibliography of English literature ; group 16)

Reade's novels.

Mode of access: Internet.

Black Medicine

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

Writing Prose Like A Poet: An Exploration of Poetic Technique in Very Short Prose

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

Comics Explosion: Representations of Persecution in Graphic Narrative, 1995-2015

Thesis (Ph.D.)--University of Washington, 2016-06

Original Intentions

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

"I Know Who I Am: Self-constitution and the Unreliable Narrator"

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

Breaking (Down) the Sound Barrier: Explorations of Sound Patterning as a Distinct and Disparate Layer of Meaning

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

Female Exiles in Language: Reading for New Poetic Subjects in Modern and Contemporary Feminist Experimental Poetry

Thesis (Ph.D.)--University of Washington, 2016-06

The Role of Geometry in Wordsworth's "Science of Feelings"

Thesis (Ph.D.)--University of Washington, 2016-06

Brain and mind in the 'long' eighteenth century

How should the 'long' eighteenth century be defined? January 1, 1700 and December 31, 1799 are quite arbitrary dates. Why should they be chosen to segment our history rather than more significant periods of time, periods which have a coherent content, or are marked, perhaps, by the working out of a theme? Students of English literature sometimes take the long eighteenth century to extend from John Milton (Paradise Lost, 1667) to the passing of the first generation of Romantics (Keats (d. 1821), Shelley (d. 1822), Byron (d. 1824), Coleridge (d. 1834)). Students of British political history often take it to start with the accession of Charles II (the Restoration) in 1660 or, alternatively, the so-called Glorious Revolution of 1688 and to end with the great Reform Act of 1832. Others might choose different book ends. In the history of science and philosophy the terminus a quo is sometimes taken as the publication of Descartes' scientific philosophy or, in more Anglophone zones, the 1687 publication of Newton's Principia with its vision of a 'clockwork universe'. 'Nature and Nature's laws' as Alexander Pope enthused, 'lay hid in Night: God said, Let Newton be! and all was light!'.

Die Behandlung englischen Kulturgutes im Wiener fin de siècle:am Beispiel von Hugo von Hofmannsthal, Hermann Bahr und Peter Altenberg

This study explores the fascination which English culture represented in turn-of-the-century Vienna. The writers that are going to be discussed are the renowned Anglophile Hugo von Hofmannsthal, the more ambivalent Hermann Bahr and the idealizing, but Janus-faced Peter Altenberg. With the more widely known poet, prose writer and playwright, Hofmannsthal, individual aspects of his engagement with English culture have already been well researched; the same, however, cannot be said in the case of Hermann Bahr, whose extensive literary oeuvre has now largely been forgotten, and who has, instead, come to be valued as a prominent figure in the culture life of modernist Vienna, and Peter Altenberg, whose literary fame rests mainly on his prose poems and who, a legend in his life-time, has in recent years also increasingly attracted research interest as a phenomenon and ‘embodiment’ of the culture of his time: while their engagement with French literature, for example, has long received its due share of attention, their debt to English culture has, until now, been neglected. This thesis, therefore, sets out to explore Hofmannsthal’s, Bahr’s and Altenberg’s perception and portrayal of English civilization – ranging from English character and stereotypes, to what they saw as the principles of British society; it goes on to investigate the impulses they derive from Pre-Raphaelite art (Rossetti, Burne-Jones, Whistler) and the art and crafts-movement centred around William Morris, as well as their inspiration by the art criticism of John Ruskin and Walter Horatio Pater. In English literature one of the focal points will be their reading and evaluation of aestheticism as it was reflected in the life and writings of the Dubliner Oscar Wilde, who was perceived, by these Austrian authors, as a predominant figure of London’s cultural life. Similarly, they regarded his compatriot George Bernard Shaw as a key player in turn-of-the-century English (and European) culture. Hermann Bhar largely identified with him. Hofmannsthal, on the other hand, while having some reservations, acknowledged his importance and achievements, whereas Peter Altenberg saw in Shaw a model to reassure him, as his writings were becoming more openly didactic and even more miniaturistic than they had already been. He turned to Shaw, too, to explain and justify his new goal of making his texts more intelligent to a wider circle of readers.

Spaces of Order: An African Poetics of Space

“Spaces of Order” argues that the African novel should be studied as a revolutionary form characterized by aesthetic innovations that are not comprehensible in terms of the novel’s European archive of forms. It does this by mapping an African spatial order that undermines the spatial problematic at the formal and ideological core of the novel—the split between a private, subjective interior, and an abstract, impersonal outside. The project opens with an examination of spatial fragmentation as figured in the “endless forest” of Amos Tutuola’s The Palmwine Drinkard (1952). The second chapter studies Chinua Achebe’s Things Fall Apart (1958) as a fictional world built around a peculiar category of space, the “evil forest,” which constitutes an African principle of order and modality of power. Chapter three returns to Tutuola via Ben Okri’s The Famished Road (1991) and shows how the dispersal of fragmentary spaces of exclusion and terror within the colonial African city helps us conceive of political imaginaries outside the nation and other forms of liberal political communities. The fourth chapter shows Nnedi Okorafor—in her 2014 science-fiction novel Lagoon—rewriting Things Fall Apart as an alien-encounter narrative in which Africa is center-stage of a planetary, multi-species drama. Spaces of Order is a study of the African novel as a new logic of world making altogether.

Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"

The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.