Dissertationen zum Thema „Nature stories, american – history and criticism“
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Bell, Lucy Amelia Jane. „Configurations of the fragment : the Latin American short story at its limits“. Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607767.
Der volle Inhalt der QuelleShishkin, Timur. „Marginalized Characters in Contemporary American Short Fiction“. PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
Der volle Inhalt der QuelleYoung, Erin S. „Corporate heroines and utopian individualism: A study of the romance novel in global capitalism“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11460.
Der volle Inhalt der QuelleThis dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome.
Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao
Cleveland, William. „"Why is Everyone So Interested in Texts?": The Shifting Role of the Reader in the Genre of Hard-boiled Fiction“. Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/ClevelandW2007.pdf.
Der volle Inhalt der QuelleStrecker, Geralyn. „Reading prostitution in American fiction, 1893-1917“. Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213148.
Der volle Inhalt der QuelleDepartment of English
Sipley, Tristan Hardy 1980. „Second nature: Literature, capital and the built environment, 1848--1938“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10911.
Der volle Inhalt der QuelleThis dissertation examines transatlantic, and especially American, literary responses to urban and industrial change from the 1840s through the 1930s. It combines cultural materialist theory with environmental history in order to investigate the interrelationship of literature, economy, and biophysical systems. In lieu of a traditional ecocritical focus on wilderness preservation and the accompanying literary mode of nature writing, I bring attention to reforms of the "built environment" and to the related category of social problem fiction, including narratives of documentary realism, urban naturalism, and politically-oriented utopianism. The novels and short stories of Charles Dickens, Herman Melville, Rebecca Harding Davis, Charlotte Perkins Gilman, Upton Sinclair, and Mike Gold offer an alternative history of environmental writing, one that foregrounds the interaction between nature and labor. Through a strategy of "literal reading" I connect the representation of particular environments in the work of these authors to the historical situation of actual spaces, including the western Massachusetts forest of Melville's "Tartarus of Maids," the Virginia factory town of Davis's Iron Mills, the Midwestern hinterland of Sinclair's The Jungle, and the New York City ghetto of Gold's Jews without Money. Even as these texts foreground the class basis of environmental hazard, they simultaneously display an ambivalence toward the physical world, wavering between pastoral celebrations and gothic vilifications of nature, and condemning ecological destruction even as they naturalize the very socio-economic forces responsible for such calamity. Following Raymond Williams, I argue that these contradictory treatments of nature have a basis in the historical relationship between capitalist society and the material world. Fiction struggles to contain or resolve its implication in the very culture that destroys the land base it celebrates. Thus, the formal fissures and the anxious eruptions of nature in fiction relate dialectically to the contradictory position of the ecosystem itself within the regime of industrial capital. However, for all of this ambivalence, transatlantic social reform fiction of the late-nineteenth and early-twentieth century provides a model for an environmentally-oriented critical realist aesthetic, an aesthetic that retains suspicion toward representational transparency, and yet simultaneously asserts the didactic, ethical, and political functions of literature.
Committee in charge: William Rossi, Chairperson, English; Henry Wonham, Member, English; Enrique Lima, Member, English; Louise Westling, Member, English; John Foster, Outside Member, Sociology
Tapley, Lance. „A Universal and Free Human Nature: Montaigne, Thoreau, and the Essay Genre“. Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TapleyL2002.pdf.
Der volle Inhalt der QuellePotts, Dale E. „Woods Voices, Woods Knowledge: Work and Recreation in the Popular Literature of the Northeastern Forest, 1850-1963“. Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/PottsDE2007.pdf.
Der volle Inhalt der QuelleZachik-Smith, Susie. „Romance by the book: A morphological analysis of the popular romance“. CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/810.
Der volle Inhalt der QuelleRobinson, Laura M. „Educating the reader, negotiation in nineteenth-century popular girls' stories“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ27853.pdf.
Der volle Inhalt der QuelleChew, Laureen. „Chinese American images in selected children's fiction for kindergarten through sixth grade“. Scholarly Commons, 1986. https://scholarlycommons.pacific.edu/uop_etds/2131.
Der volle Inhalt der QuelleClarke, Joni Adamson. „A place to see: Ecological literary theory and practice“. Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187115.
Der volle Inhalt der QuelleBatista, Miguel. „Bildung and initiation : interpreting German and American narrative traditions“. Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
Der volle Inhalt der QuelleMolberg, Jenny 1985. „Marvels of the Invisible“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801890/.
Der volle Inhalt der QuelleGriswold, Amy Herring. „Detecting Masculinity: The Positive Masculine Qualities of Fictional Detectives“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3971/.
Der volle Inhalt der QuelleTrainin, Sarah Jean. „The rise of mass culture theory and its effect on golden age detective fiction“. CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.
Der volle Inhalt der QuelleLewis, Darcy Hudelson. „Xenotopia: Death and Displacement in the Landscape of Nineteenth-Century American Authorship“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062864/.
Der volle Inhalt der QuelleChester, Blanca Schorcht. „Storied voices in Native American texts : Harry Robinson, Thomas King, James Welch and Leslie Marmon Silko“. Thesis, 2000. http://hdl.handle.net/2429/11396.
Der volle Inhalt der QuelleBaraban, Elena V. „Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990s“. Thesis, 2003. http://hdl.handle.net/2429/15156.
Der volle Inhalt der QuelleLupfer, Eric Christopher. „The emergence of American nature writing, 1860-1909 John Burroughs, Henry David Thoreau, and Houghton, Mifflin and Company /“. Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116110.
Der volle Inhalt der QuelleErickson, Paul Joseph. „Welcome to Sodom: the cultural work of city-mysteries fiction in antebellum America“. Thesis, 2005. http://hdl.handle.net/2152/1543.
Der volle Inhalt der QuelleAndrews, Chad Michael. „"Minds will grow perplexed": The Labyrinthine Short Fiction of Steven Millhauser“. Thesis, 2014. http://hdl.handle.net/1805/4023.
Der volle Inhalt der QuelleSteven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.