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Dissertations / Theses on the topic 'Etc Victoria'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Hare, Alison (Alison Grace) 1976. "The stratigraphy and evolution of the late Cenozoic, intra-plate Werribee Plains basaltic lava flow-field, Newer Volcanic Province, Victoria, Australia." Monash University, School of Geosciences, 2002. http://arrow.monash.edu.au/hdl/1959.1/7586.

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2

Newton, Daniel W. "Death in the Royal Family: Victorian Funeral Sermon Techniques in Tennyson's National Poetry." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2480.pdf.

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3

Good, Joseph. "The Dark Circle: Spiritualism in Victorian and Neo-Victorian Fiction." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4053.

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This dissertation offers critical and theoretical approaches for understanding depictions of Spiritualism in Victorian and Neo-Victorian fiction. Spiritualism has fascinated and repelled writers since the movement's inception in Hydesville, New York, in 1848, and continues to haunt writers even today. The conclusion of this dissertation follows Spiritualist fiction as it carries over into the Neo-Victorian genre, by discussing how themes and images of Victorian Spiritualism find "life after death" in contemporary work. Spiritualism, once confined to the realm of the arcane and academically obscure, has begun to attract critical attention as more scholars exhume the body of literature left behind by the Spiritualist movement. This new critical attention has focused on Spiritualism's important relationship with various elements of Victorian culture, particularly its close affiliation with reform movements such as Women's Rights. The changes that occurred in Spiritualist fiction reflect broader shifts in nineteenth-century culture. Over time, literary depictions of Spiritualism became increasingly detached from Spiritualism's original connection with progressive reform. This dissertation argues that a close examination of the trajectory of Spiritualist fiction mirrors broader shifts occurring in Victorian society. An analysis of Spiritualist fiction, from its inception to its final incarnation, offers a new critical perspective for understanding how themes that initially surfaced in progressive midcentury fiction later reemerged--in much different forms--in Gothic fiction of the fin-de-siécle. From this, we can observe how these late Gothic images were later recycled in Neo-Victorian adaptations. In tracing the course of literary depictions of Spiritualism, this analysis ranges from novels written by committed advocates of Spiritualism, such as Florence Marryat's The Dead Man's Message and Elizabeth Phelps's The Gates Ajar, to representations of Spiritualism written in fin-de-siécle Gothic style, including Bram Stoker's Dracula and Henry James's The Turn of the Screw. My analysis also includes the work of Nathaniel Hawthorne, who conceived of Spiritualism as either "the birth of a new science or the revival of an old humbug." Hawthorne's ambivalence represents an important and heretofore completely overlooked aspect of Spiritualist literature. He is poised between the extremes of proselytizing Spiritualists and fin-de-siécle skeptics. Hawthorne wanted to believe in Spiritualism but remained unconvinced. As the century wore on, this brand of skepticism became increasingly common, and the decline of Spiritualism's popularity was hastened by the repudiation of the movement by its founders, the Fox Sisters, in 1888. Ultimately, despite numerous attempts both scientific and metaphysical, the Victorian frame of mind proved unable to successfully reconcile the mystical element of Spiritualism with the increasingly mechanistic materialist worldview emerging as a result of rapid scientific advances and industrialization. The decline and fall of the Spiritualist movement opened the door to the appropriation of Spiritualism as a Gothic literary trope in decadent literature. This late period of Spiritualist fiction cast a long shadow that subsequently led to multiple literary reincarnations of Spiritualism in the Gothic Neo-Victorian vein. Above all, Spiritualist literature is permeated by the theme of loss. In each of the literary epochs covered in this dissertation, Spiritualism is connected with loss or deficit of some variety. Convinced Spiritualist writers depicted Spiritualism as an improved form of consolation for the bereaved, but later writers, particularly those working after the collapse of the Spiritualist movement, perceived Spiritualism as a dangerous form of delusion that could lead to the loss of sanity and self. Fundamentally, Spiritualism was a Victorian attempt to address the existential dilemma of continuing to live in a world where joy is fleeting and the journey of life has but a single inexorable terminus. Writers like Phelps and Marryat admired Spiritualism as it promised immediate and unbroken communion with the beloved dead. The dead and the living existed together perpetually. Thus, the bereaved party had no incentive to progress through normative cycles of grief and mourning, as there was no genuine separation between the living and the dead. In the words of one of Marryat's own works of Spiritualist propaganda, there is no death.

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4

Davis, Dorinda Mari. ""A Blaze of Light and Finery": The Victorian Theater and the Victorian Theatrical Novel." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3065.

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The concept of the Victorian antitheatrical prejudice is both well-established and well-respected. This paper, however, examining the Victorian theatrical novel and the Victorian theater in terms of that prejudice, finds the ready assumption of the prejudice to be problematic at best. A close look at three novels that together span the early to mid-nineteenth century shows that, far from being ubiquitous and unilateral, antitheatricality was in many cases an anomaly; indeed, many of those novelistic elements that have long been assumed to be antitheatrical address different issues altogether. Employing close readings of the novels--Jane Austen's Mansfield Park, Charles Dickens's Life and Adventures of Nicholas Nickleby, and Geraldine Endsor Jewsbury's The Half-Sisters--along with an examination of historical documents, and utilizing as well current scholarship in Victorian theater and theatrical novels, I demonstrate that the Victorians were instead keen appreciators of theater, and that the Victorian "antitheatrical novel" was in many cases far more interested in the authenticity of human interplay than in the inauthenticity of staged role-play.

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5

Janosy, Robert John. "Structural investigations of the early paleozoic Victoria land dike swarm in the Ferrar-Koettlitz glacier region, Southern Victoria Land, Antarctica." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300117001.

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6

Bartlett, Jami Lyn. "The Victorian T.S. Eliot." Honors in the Major Thesis, University of Central Florida, 1998. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/22.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
English; Literature

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7

Schaffer, Shari Dean. "Victorian Maternity and Edna Pontellier's Awakening." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625355.

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8

Hoffman-Reyes, Lisa Michelle. "Subversive Beauty - Victorian Bodies of Expression." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5042.

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Abstract My dissertation seeks to bring aesthetics into conversation with the epistemological concerns of three Victorian texts, in response to the prevalence of beautiful feminine faces and bodies in Victorian texts, their presence amplified through the use of copious description. I examines the ways that Thomas Hardy, Oscar Wilde, and Robert Browning complicate traditional contemporary assumptions regarding behaviors and moralities through their constructions of feminine beauty. These writers challenge and dispute a variety of Victorian social norms imposed upon both men and women, most notably the mandate to adhere to prescribed behaviors that codify in order to regulate gender normativity. My project begins with a historical review cataloging beauty's constructions and uses. Then, in Chapter two, I argue that Thomas Hardy elevates imperfect women through descriptions of their natural beauty in order to question and reject popular constructions of proper femininity. Chapter Three transitions from presentations of subversive feminine beauty offering a fairly straightforward disputation of contemporary values in Hardy, to shedding gender constraints in Oscar Wilde, as the author disputes gender rigidity by crafting beautiful men with "feminine" desires and by reassessing the desirability of women. Finally, Chapter Four notes the ways that Robert Browning artistically subverts Victorian literary conventions by rejecting the typical practice of objectifying women by his near-total absence of descriptions of female features, and by placing his emphasis on the spiritual life of his heroines. My dissertation observes that given that beautiful images are so powerful, they could and did (as they still can and do) serve as a means of social control, and never more so than in Victorian England, when details use, particularly in the construction of feminine bodies, so consistently and pervasively worked to exclude healthy female sexuality, to scorn and shame deviant masculinities, and to annihilate the feminine body. Ultimately, though, the crux of my project is to detour away from traditional observations regarding the potential for objectification beauty allows, and to engage with Foucault's idea of a "reverse-discourse" which employs "the same vocabulary, using the same categories" as the dominant discourse. The central argument of my dissertation is that certain Victorian writers produced subversive texts which appropriated recognizable constructions of physical beauty in order to transform their societies toward a more just, more liberal, more compassionate morality. With each of the three texts I examine, I work toward establishing that claim by situating the text within its historical and cultural context within the long nineteenth century. I also pay attention to how these writers engage and instruct the reader. This is integral to my central argument because if literary narratives offer the mode of transformation aimed at improving societies, then the act of reading, and the actor, the reader, must be the primary recipient of the message that the constructed beautiful body holds. I have worked to illustrate the ways that by constructing characters possessing great physical beauty, and displaying or withholding descriptions of the crafted body, Victorian writers challenged, disputed, and supplanted a variety of nineteenth-century social norms. I claim and then support that beautiful characters functioned within literature as persuasive agents of change, subverting social norms by arousing and then inverting conventional associations between beauty and goodness.

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9

Rodriguez, Mia U. "Medea in Victorian Women's Poetry." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355934808.

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10

Dowe, David S. "Deformational History of the Granjeno Schist Near Ciudad Victoria, Mexico." Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1089910191.

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11

Stojkovic, Marijana. "Redefining the Unrepentant Prostitute in Victorian Poetry." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2532.

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Poets such as Thomas Hardy, Augusta Webster, and Amy Levy portray prostitutes who seem guiltless about their choice of profession. Hardy's Amelia seems to symbolize the mutation of a pure country girl into a soiled disciple of evil; yet in the poem the changes in her life brought on by prostitution are evident in her drastically changed physical appearance and mannerism. Webster's Eulalie is an intelligent and well-spoken woman who undermines the stereotypical generalizations about prostitutes, relocating the source of the Great Social Evil from her profession to the institutionalized educational failure that trains women for nothing better than housekeeping. Levy's unnamed Magdalen, disease ridden and dying, may resemble a fallen woman. However, her lack of regret over the out-of-wedlock relationship with a man would make her an unrepentant prostitute in the eyes of the Victorians and she openly points to the real unmentionable of Victorian prostitution—the male client.

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12

Gingras, Chantale. "Victor Barbeau : un réseau d'influences littéraires /." Montréal [Québec] : l'Héxagone, 2001. http://catalogue.bnf.fr/ark:/12148/cb38854478w.

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13

Scherer, M. A. "Annette Akroyd Beveridge : victorian reformer, Oriental scholar /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487864986608811.

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14

Hulett, Sam Rw. "Detrital Zircon Analysis of Permian Victoria Group Sandstones, Transantarctic Mountains, Antarctica." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1355867143.

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15

Buscemi, Nicole Desiree. "Diagnosing narratives: illness, the case history, and Victorian fiction." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/282.

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“Diagnosing Narratives: Illness, the Case History, and Victorian Fiction” explores how the medical case study competes with patients’ experiential accounts of disease in the development of popular nineteenth-century fictions. During most of the Victorian period, clinical medicine served as the primary producer of medical knowledge. At the same time, its objectification of the sufferer—epitomized by the case narrative, the most prevalent form of nineteenth-century medical writing—led to an increasingly distanced relationship between doctor and patient. I argue that the mid-century novel responds by featuring narrator-sufferers who co-opt aspects of the medical case in order to represent their own subjective experiences and rethink what constitutes medical knowledge. As the century came to a close, however, sciences of the laboratory, rather than the clinic, began to gain epistemological sway. In light of widespread skepticism regarding the possibility of translating discoveries made in the lab into effective bedside practices, I contend that popular novels and short stories now returned full circle to the clinical case approach as a valuable alternative to the laboratory. The result is late-century fiction structurally and thematically driven by the useful yet sometimes callous techniques of the diagnostician and his case method. I chart these shifts through an examination of works by Charles Dickens, Wilkie Collins, Mary Elizabeth Braddon, Robert Louis Stevenson, Bram Stoker, and Arthur Conan Doyle. My project illustrates the responses of these authors to prevailing power dynamics in the world of medicine and offers a new reading of the ways in which the Victorian preoccupation with disease shaped literary narrative.

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16

Bindslev, Anne M. "Mrs. Humphry Ward a study in late-Victorian feminine consciousness and creative expression /." Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1985. http://books.google.com/books?id=l3ZbAAAAMAAJ.

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17

Green, Katie Noelle. "Victorian Governesses : A Look at Education and Professionalization." University of Toledo / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1240932232.

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18

Morrissey, Colleen. "Struck: The Victorian Female Novelist and Male Pain." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524145187359308.

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19

Green, Katie. "Victorian governesses : a look at education and professionalization /." Connect to full text in OhioLINK ETD Center, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=toledo1240932232.

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Thesis (M.A.)--University of Toledo, 2009.
Typescript. "Submitted as partial fulfillment of the requirements for The Master of Arts in History." "A thesis entitled"--at head of title. Bibliography: leaves 87-93.

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20

Booton, Gregory Charles Bonner. "Molecular genetic analysis of the phylogenetic relationships of Lake Victoria Cichlid fish /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487861796817821.

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21

Cunningham, Lisa J. "Correcting Arthur Munby philanthropy and disfigurement in Victorian England /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244328016.

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22

Keebaugh, Aaron C. "Victorian and musician Charles Villiers Stanford's symphonies in context /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0007003.

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23

Snodgrass, Samuel Thomas. "Something Serious." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1342029341.

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24

McLeod, Melissa. "Sounds of terror hearing ghosts in Victorian fiction /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11282007-112908/.

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Thesis (Ph. D.)--Georgia State University, 2007.
Title from file title page. Michael Galchinsky, committee chair; Calvin Thomas, Lee Anne Richardson, committee members. Electronic text (181 p.) : digital, PDF file. Description based on contents viewed Feb. 7, 2008. Includes bibliographical references (p. 174-181).

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25

Wright, Benjamin Jude. ""Of That Transfigured World" : Realism and Fantasy in Victorian Literature." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4617.

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"Of That Transfigured World" identifies a generally unremarked upon mode of nineteenth-century literature that intermingles realism and fantasy in order to address epistemological problems. I contend that works of Charles Dickens, Charlotte and Emily Brontë, Walter Pater, and Oscar Wilde maintain a realist core overlaid by fantastic elements that come from the language used to characterize the core narrative or from metatexts or paratexts (such as stories that characters tell). The fantastic in this way becomes a mode of interpretation in texts concerned with the problems of representation and the ability of literature to produce knowledge. Paradoxically, each of these authors relies on the fantastic in order to reach the kinds of meaning nineteenth-century realism strives for. My critical framework is derived from the two interrelated discourses of sacred space theology and cultural geography, focusing primarily on the terms topos and chora which I figure as parallel to realism and fantasy. These terms, gleaned from Aristotle and Plato, function to express two interweaving concepts of space that together construct our sense of place. Topos, as defined by Belden C. Lane, refers to "a mere location, a measurable, quantifiable point, neutral and indifferent" whereas chora refers to place as "an energizing force, suggestive to the imagination, drawing intimate connections to everything else in our lives." In the narratives I examine, meaning is constructed via the fantastic interpretations (chora) of realistically portrayed events (topos). The writers I engage with use this dynamic to strategically address pressing epistemological concerns relating to the purpose of art and its relationship to truth. My dissertation examines the works of Dickens, the Brontës, Pater, and Wilde through the lens of this conceptual framework, focusing on how the language that each of these writers uses overlays chora on top of topos. In essence each of these writers uses imaginative language to transfigure the worlds they describe for specific purposes. For Dickens these fantastic hermeneutics allow him to transfigure world into one where the "familiar" becomes "romantic," where moral connections are clear, and which encourages the moral imagination necessary for empathy to take root. Charlotte and Emily Brontës's transfigurations highlight the subjectivity inherent in representation. For Pater, that transfigured world is aesthetic experience and the way our understanding of the "actual world" of topos is shaped by it. Oscar Wilde's transfigured world is by far the most radical, for in the end that transfigured world ceases to be artificial, as Wilde disrupts the separation between reality and artifice. "Of That Transfigured World" argues for a closer understanding of the hermeneutic and epistemological workings of several major British authors. My dissertation offers a paradigm through which to view these writers that connects them to the on-going Victorian discourses of realism while also pointing to the critical sophistication of their positions in seeking to relate truth to art. My identification of the tensions between what I term topos and chora in these works illuminates the relationship between the creation of meaning and the hermeneutics used to direct the reader to that particular meaning. It further points to the important, yet sometimes troubling, role that imagination plays in the epistemologies at the center of that crowning Victorian achievement, the Realist novel.

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26

Sanders, Elizabeth Mildred. "Enchanting Belief: Religion and Secularism in the Victorian Supernatural Novel." Diss., University of Iowa, 2015. http://ir.uiowa.edu/etd/5186.

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27

Curran, Timothy M. "The Medievalizing Process: Religious Medievalism in Romantic and Victorian Literature." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7491.

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The Medievalizing Process: Religious Medievalism in Romantic and Victorian Literature posits religious medievalism as one among many critical paradigms through which we might better understand literary efforts to bring notions of sanctity back into the modern world. As a cultural and artistic practice, medievalism processes the loss of medieval forms of understanding in the modern imagination and resuscitates these lost forms in new and imaginative ways to serve the purposes of the present. My dissertation proposes religious medievalism as a critical method that decodes modern texts’ lamentations over a perceived loss of the sacred. My project locates textual moments in select works of John Keats, Lord Byron, Charles Dickens, and Oscar Wilde that reveal concern over the consequences of modern dualism. It examines the ways in which these texts participate in a process of rejoining to enchant a rationalistic epistemology that stymies transcendental unity. I identify the body of Christ, the central organizing principle of medieval devotion, as the cynosure of nineteenth-century religious medievalism. This body offers a non-dualistic alternative that retroactively undermines and heals Cartesian divisions of mind and body and Kantian distinctions between noumenal and knowable realities. Inscribing the dynamic contours of the medieval religious body into a text’s linguistic structure, a method I call the “medievalizing process,” underscores the spiritual dimensions of its reform efforts and throws into relief a distinctly religious, collective agenda that undergirds many nineteenth-century texts.

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28

Manion, Deborah Maria. "The ekphrastic fantastic: gazing at magic portraits in Victorian fiction." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/1360.

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While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction. Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.

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29

Lokina, Razack Bakari. "Efficiency, risk and regulation compliance : applications to Lake Victoria fisheries in Tanzania /." Göteborg : Department of Economics, School of Economics and Commercial Law, Göteborg University, 2005. http://www.handels.gu.se/epc/archive/00004188/01/Lokina%5Ftitel.pdf.

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30

Sowards, Heather M. "Mad, Bad, and Well Read: An Examination of Women Readers and Education in the Novels of Mary Elizabeth Braddon." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1377080923.

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31

Wu, Lizhao. "Molecular population genetic analyses of Lake Victoria Cichlid Fishes using microsatellite DNA markers /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190595940009.

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32

Corey, Emily. "Beyond Sex: Arotic Desire in the Victorian Realist Novel." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587666198069013.

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Jarvis, Katie Maurine. "The Queen of Aquatics:The 1849 Display of the Victoria regia Water Lily as Imperial Theatre." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7321.

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The Victoria regia was discovered in British Guiana in 1837, and for over ten years explorers and scientists tried different methods to transport viable seeds back to England. When the seeds were finally on British soil, no one could grow them successfully except Joseph Paxton, the head gardener for the Duke of Devonshire. Paxton built a special glass house at Chatsworth estate to mimic the tropical climate the Amazonian lily required, and created an innovative tank that was heated with coal and fitted with an apparatus to gently keep the water moving, replicating freshwater rivers. The <&hyphen>œvegetable wonder,<&hyphen> as it came to be known, had floating leaves measuring up to 6 feet in diameter and was considered truly magnificent. To reveal the successful growth of the <&hyphen>œqueen of aquatics<&hyphen> to the public, Paxton dressed his seven-year-old daughter Annie in a fairy costume, dimmed the lights, and set her on the largest of the floating leaves. She stood there and created a theatrical tableau that transfixed all who saw it. This performance, which I am calling a <&hyphen>œbotanical-theatrical event,<&hyphen> is the site of my examination. Drawing on ecocritical perspectives and performance studies, I argue that this presentation was coded with social and political messaging that reinforced English national identity and imperial intentions. The lily was a signifier of the exotic, while the child was a signifier of the domestic. This botanical-theatrical event was deeply significant because it embodied the social and political views of the time, acting out the British Empire being <&hyphen>œon top<&hyphen> of, and supported by, the <&hyphen>œuncivilized<&hyphen> world. The water lily had been taken from its natural habitat, transported across the ocean and grown in a manipulated environment. It became a specimen/spectacle. The little girl had been taken out of her natural habitat, dressed as another creature and displayed on the floating leaf. She also became a specimen/spectacle. The interaction between these two organisms in this theatrical exhibition synthesized a physical representation of Imperialism that was powerful to the people of the time because of the social and political system in which they lived.

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34

Cadwallader, Jen Taylor Beverly. "Spirits of the age ghost stories and the Victorian psyche /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2278.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.

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35

Norcia, Megan A. "'X' marks the spot Victorian women writers map the empire /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0003640.

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36

Luff, Jennifer D. "A Parlor in the Penitentiary: Prisons and Reading in Victorian America." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626024.

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37

Celestrin, Yannel. "Re-Imagining the Victorian Classics: Postcolonial Feminist Rewritings of Emily Brontë." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3665.

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ABSTRACT OF THE THESIS RE-IMAGINING THE VICTORIAN CLASSICS: POSTCOLONIAL FEMINIST REWRITINGS OF EMILY BRONTË by Yannel M. Celestrin Florida International University, 2018 Miami, Florida Professor Martha Schoolman, Major Professor Through a post-structural lens, I will focus on the Caribbean, specifically Cuba, Guadeloupe, Marie-Galante, and Roseau, and how the history of colonialism impacted these islands. As the primary text of my thesis begins during the Cuban War of Independence of the 1890s, I will use this timeframe as the starting point of my analysis. In my thesis, I will compare Emily Brontë’s Wuthering Heightsand Maryse Condé’s Windward Heights. Specifically, I will examine Condé’s processes of reimagining and rewriting Brontë’s narrative by deconstructing the notions of history, race, gender, and class. I will also explore ways in which Condé disrupts the hegemonic and linear notions of narrative temporality in an attempt to unsilence the voices of colonized subjects. I argue that Condé’s work is a significant contribution to the practice of rewriting as well as to the canon of Caribbean literary history. I argue that the very process of rewriting is a powerful mode of resistance against colonizing powers and hegemonic discourse.

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Gooch, Joshua Aaron. "Novel multitudes: credit, capital, and collective subjects in the Victorian novel." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/2878.

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This dissertation uses the works of Joseph Conrad, George Eliot, Charles Dickens, Wilkie Collins, and Anthony Trollope to examine how the financial developments of the mid to late Victorian period led authors to consider the potential social productivity of labor that both political economists and its critics had labeled "unproductive." These novels, as part of an emerging mass culture, express a fascination with how different kinds of labor--including the labor of narration--can increase a society's productive power by creating new collective subjects, whether economic collectives like the joint-stock company, rhetorical communities premised on modes of address or forms of language, or character systems like the interlocked narrative roles of minor characters in the multiplot novel. These novels serve as an entry point for an archaeology of immaterial labor--that is to say, labor that does not produce an alienable commodity but rather ideas, signs, and affects. In the twenty-first century, immaterial labor marks the increased dominance of intellectual and service labor to post-industrial economies. In the nineteenth century, such labor was economically productive not just in authorship but in the burgeoning service sector of the post-1850 British economy, which included the British imperial project, international finance, corporate administration, shipping and insurance work. Moreover, although classical economics excluded domestic service and so-called women's work excluded from economic productivity, the British novel implicitly recognized the role of such labor in social production, albeit not in economic terms. This work considers the thematic intersection of these different modes of unproductive labor, and their frequent portrayal as forms of criminal or fraudulent action, as an awareness and rethinking of a world marked by a highly socialized mode of production. On the one hand, it examines what qualifies as productive labor in political economy, marginal utility theory, and Marxist economics. On the other hand, it examines changes in narrative form and rhetorical construction within the novels themselves in light of such economic work to describe the proliferation of minor characters in these novels as well as their reliance on sentimental modes of recognition within narrative construction.

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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.

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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.

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Teachout, Jeffrey Frank. "The importance of Charles Dickens in Victorian social reform." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t035.pdf.

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Schaechterle, Inez L. "Speaking of Sex: The Rhetorical Strategies of Frances Willard, Victoria Woodhull, and Ida Craddock." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1119623833.

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Ryan, Anne E. "Victorian Fiction and the Psychology of Self-Control, 1855-1885." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1307669988.

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Jacobson, Karin Kay. "Unsettling Questions, Hysterical Answers: The Woman Detective in Victorian Fiction." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392764399.

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Connolly, Matthew C. "Reading as Forgetting: Sympathetic Transport and the Victorian Literary Marketplace." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531503253619764.

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McCollum, Jonathon C. "Carlyle, Fascism, and Frederick : from victorian prophet to Fascist ideologue /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2044.pdf.

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Jackson, Victoria S. "The production and fate of picoplankton and protozoa in the pelagic food web of Napoleon Gulf, Lake Victoria, East Africa." Thesis, Waterloo, Ont. : University of Waterloo, 2004. http://etd.uwaterloo.ca/etd/vsjackso2004.pdf.

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Thesis (Ph.D.)--University of Waterloo, 2004.
"A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Science in Biology." Includes bibliographical references.

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Cooper, Patrick A. McGowan John. "A vision of human claims George Eliot's challenge to Victorian selfishness /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,838.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.

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Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.

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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.

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Dolan, Thomas Michael Jr. "Declaring Victory and Admitting Defeat." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245285414.

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Baker, Tagen Towsley. "The Farm as Place in a Changing Climate: Capturing Women Farmers' Experiences in Idaho, United States and Victoria, Australia." DigitalCommons@USU, 2019. https://digitalcommons.usu.edu/etd/7675.

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In Australia and the US, women play a vital role in the agricultural sector. However, historically farmwomen’s contributions to agriculture as well as their individual knowledge and social resilience to stressors like climate and climate change have been unrecognized and rendered invisible. Drawing on interdisciplinary scholarship from geography and the humanities, this dissertation explores the farm as place in a changing climate, drawing on women farmers’ experiences, under three distinct themes: identity, place, and photography. The dissertation research includes three distinct parts. First, incorporating non-fiction writing and photography, I explore my agricultural and religious heritage, as well as familial connections to the landscape of rural Idaho. Second, and in conjunction with The Invisible Farmer Project, the largest ever study of Australian women on the land, I analyze women’s photo voices, relying primarily on interview and Facebook data, as well as photographs, to understand women’s emotive connections to the farm as place, farmer identities, and roles in the agricultural sector. Analysis of the Facebook posts revealed how women are establishing a new dialog about what it means to be a woman farmer and how emotion is the foundation for establishing community and connection. Women's posted photo voices allow us to gain new insights into the women farmers' connections to the farm as place as well as their diversified perspectives and identities. Third, using integrative methods, I study women farmers and ranchers in Idaho, United States and Victoria, Australia through an environmental history lens. Examining the history of water in each region, and how the layering of social and environmental factors shapes the farm as place, resilience, and women’s work, I study how the identities of the women farmers and the farm as place cannot be separated. In both the second and third parts, I seek to redefine "farmer" by revealing experiences that have been invisible in the traditional agricultural sector. Rural women farmers have diverse identities and experiences, and their contributions to the agricultural sector are significant. They perceive and adapt to climate impacts and they are resilient. Their experiences with the farm as place is at the center of their identities, resilience, day-to-day work, and shapes their adaptation strategies and emotional well-being.

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