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Title: REVOLUTIONARY BLACK POETRY, 1960-1970.
Creator: BORNSTEIN, RITA, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: This thesis examines the work of young black poets of the sixties--LeRoi Jones, Don L. Lee, Nikki Giovanni, Sonia Sanchez, and others-- who have played a significant role in the cultural revolution which has accompanied the contemporary black struggle for liberation. It establishes the framework of the black cultural revolution, and explores its rationale and the emerging new black aesthetic. It traces the roots and examines the themes and techniques of the poetry itself. Finally, the...
Show moreThis thesis examines the work of young black poets of the sixties--LeRoi Jones, Don L. Lee, Nikki Giovanni, Sonia Sanchez, and others-- who have played a significant role in the cultural revolution which has accompanied the contemporary black struggle for liberation. It establishes the framework of the black cultural revolution, and explores its rationale and the emerging new black aesthetic. It traces the roots and examines the themes and techniques of the poetry itself. Finally, the response of establishment critics to this poetry is examined along with the new black criticism which is developing as an adjunct to the new black aesthetic.
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Date Issued: 1971
PURL: http://purl.flvc.org/fcla/dt/13445
Subject Headings: Literature, Modern
Format: Document (PDF)

Title: TOWARD THE HUMAN EQUATION: THE ROMANTIC IDEALIST IN THE PLAYS OF ROBERT E. SHERWOOD.
Creator: AVANT, ROBERT JOSEPH, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Four plays by Robert E. Sherwood--The Road to Rome, The Petrified Forest, Idiot's Delight, and There Shall Be No Night--have protagonists who may be identified by the term "romantic idealist." They are "romantic" in that they are typically dissatisfied v1ith the present, nostalgic for the glory of the past, chivalrous in matters of the heart, irrational in their behavior, and intuitive in their judgments. Like the Byronic hero, they are capable of intense feeling. They are "idealistic" in...
Show moreFour plays by Robert E. Sherwood--The Road to Rome, The Petrified Forest, Idiot's Delight, and There Shall Be No Night--have protagonists who may be identified by the term "romantic idealist." They are "romantic" in that they are typically dissatisfied v1ith the present, nostalgic for the glory of the past, chivalrous in matters of the heart, irrational in their behavior, and intuitive in their judgments. Like the Byronic hero, they are capable of intense feeling. They are "idealistic" in that they hold to noble beliefs of a transcendent nature--honor, truth, freedom. Within Sherwood's plays there is a movement toward ever purer manifestations of idealism, culminating in the idealistically pure (but dramatically simplistic) characterization of Dr. Valkonen in There Shall Be No Night.
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Date Issued: 1971
PURL: http://purl.flvc.org/fcla/dt/13441
Subject Headings: Literature, American
Format: Document (PDF)

Title: THE RELATIONSHIP BETWEEN THE NARRATOR AND THE BLACK KNIGHT IN CHAUCER'S "THE BOOK OF THE DUCHESS.".
Creator: BING, LOUISE ADELE, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: An examination of the dream-vision form and the Hiddle English lyric clarifies the role relationship in Chaucer's The Book of the Duchess, a relationship not fully clarified by past scholarship. In the dream vision a conventional pattern establishes the relationship between the narrator and his superior guide and, in the English lyric form, the "chanson d'aventure," the narrator encounters a sorrowing figure who provides enlightenment through the explanation of his sorrow. Chaucer employs the...
Show moreAn examination of the dream-vision form and the Hiddle English lyric clarifies the role relationship in Chaucer's The Book of the Duchess, a relationship not fully clarified by past scholarship. In the dream vision a conventional pattern establishes the relationship between the narrator and his superior guide and, in the English lyric form, the "chanson d'aventure," the narrator encounters a sorrowing figure who provides enlightenment through the explanation of his sorrow. Chaucer employs the dream vision's conventional pattern and, in the dream portion of the poem, he makes use of the "chanson d'aventure" form with the added complexities of his own material. His Narrator has forgotten his nature as man. The sorrowing Knight reminds him of the need to feel this emotion, both over the loss of the Duchess and because of man's own fallen state. The Knight, then, becomes a guide who provides enlightenment for the erring Narrator.
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Date Issued: 1973
PURL: http://purl.flvc.org/fcla/dt/13601
Subject Headings: Literature, Medieval, Literature, English
Format: Document (PDF)

Title: DIANA, HECATE, LUNA: MOON SYMBOLISM IN THREE PLAYS BY BEN JONSON.
Creator: BRADLEY, MARY T., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: The moon as a symbol reflects the social, religious and historical tumult of Ben Jonson's day. In Cynthia's Revels, the moon is a highly mannered, religious symbol with classical overtones. It paid tribute to Elizabeth, another virgin ruler, as well as providing the audience with an ideal of chastity to emulate. In Masque of Queens, the black face of the moon rather than the white appears. Spouting common superstitions of the day, the witches bring to mind the then current religious...
Show moreThe moon as a symbol reflects the social, religious and historical tumult of Ben Jonson's day. In Cynthia's Revels, the moon is a highly mannered, religious symbol with classical overtones. It paid tribute to Elizabeth, another virgin ruler, as well as providing the audience with an ideal of chastity to emulate. In Masque of Queens, the black face of the moon rather than the white appears. Spouting common superstitions of the day, the witches bring to mind the then current religious inquisitions and King James I's fascination with demonology. Last but not least appears Ursula in Bartholomew Fair. Lusty and capricious, she projects the image of the moon promoted by astrologers. Her lunatic influence on her "customers" underlines the impact of the telescope, which by revealing imperfections on the lunar face, brought the moon down to earth. The symbol begins as a transcendant emblem and ends as a mundane caricature.
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Date Issued: 1974
PURL: http://purl.flvc.org/fcla/dt/13644
Subject Headings: Theater, Literature, English
Format: Document (PDF)

Title: PRINCIPLES AND PRISMS: SYMBOLIC STRUCTURE IN THE POETRY OF WALLACE STEVENS.
Creator: PAU-LLOSA, RICARDO MANUEL., Florida Atlantic University, Pearce, Howard D., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: A detailed analysis of Wallace Stevens' rock and statue symbols, as they recur throughout the poet's career, reveals an intricate chronological pattern. Such a pattern is based on Stevens' philosophical commitment to a world of constant change and elusive perceptual assertions. Stevens' symbols operate through a system of meaning which is controlled and variable at the same time. Two concepts of symbolic structure are defined: the prismatic principle, or focal point through which all meanings...
Show moreA detailed analysis of Wallace Stevens' rock and statue symbols, as they recur throughout the poet's career, reveals an intricate chronological pattern. Such a pattern is based on Stevens' philosophical commitment to a world of constant change and elusive perceptual assertions. Stevens' symbols operate through a system of meaning which is controlled and variable at the same time. Two concepts of symbolic structure are defined: the prismatic principle, or focal point through which all meanings are projected, and the spectrum of import, the expansive pattern which shapes and modulates symbolic meaning. Symbols zig-zag from abstract to concrete levels of meaning development. Four major stages are analyzed: The Icon, Stage 1 (1921-1935), The Statue, Stage 2 (1935-1938), The Transitional Levels, Stage 3 (1938-1946), and The Rock, Stage 4 (1946-1950). The paradox of co-existing pattern and flux in Stevens' symbols emerges from his overriding dualistic uncertainties.
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Date Issued: 1976
PURL: http://purl.flvc.org/fcla/dt/13830
Subject Headings: Literature, American
Format: Document (PDF)

Title: A CHANGING OF THE SEASONS: WALLACE STEVENS' POETIC INTERPRETATIONS OF THE CYCLIC CONTINUUM.
Creator: BELTZ, MARY RITA, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: A dominating principle in the poetry of Wallace Stevens is that of mutability - the belief that the universe does and should exist in a process of constant change, His use of the seasonal cycles integrates that process in both their physical appearance and as states of imaginative perception for the poet. Stevens draws a deeply thematic analogy between the relationship of imagination and reality and the flowering and unveiling of the physical world. nis poetics alternate from the first hint...
Show moreA dominating principle in the poetry of Wallace Stevens is that of mutability - the belief that the universe does and should exist in a process of constant change, His use of the seasonal cycles integrates that process in both their physical appearance and as states of imaginative perception for the poet. Stevens draws a deeply thematic analogy between the relationship of imagination and reality and the flowering and unveiling of the physical world. nis poetics alternate from the first hint of string with its hope of new fictions to the wintry bareness of perceiving things exactly as they are. In so doing, the poet's constantly altering perceptions affect each season, bringing new responses and transformations to the natural world. In realizing that the poet discovers his own analogies and resemblances in the desired changes of weather and seasons, the reader is rewarded with a deeper and at once more crystallizing knowledge of his work.
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Date Issued: 1977
PURL: http://purl.flvc.org/fcla/dt/13843
Subject Headings: Literature, American
Format: Document (PDF)

Title: THE PORTRAYAL OF ADOLESCENCE IN THE NOVELS OF CARSON MCCULLERS.
Creator: BINDAS, SUSAN ANNE, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Adolescents play an integral role in Carson McCullers' work, particularly The Heart Is a Lonely Hunter, The Member of the Wedding, and Clock Without Hands. In these novels the characterizations of Mick, Frankie, Jester, and Sherman are drawn with an intuitive awareness of principles of adolescent psychology. McCullers focuses on the expectations, uncertainties, and contradictions of the adolescent years. However, her novels are much more than stories of troubled teens. Largely because of...
Show moreAdolescents play an integral role in Carson McCullers' work, particularly The Heart Is a Lonely Hunter, The Member of the Wedding, and Clock Without Hands. In these novels the characterizations of Mick, Frankie, Jester, and Sherman are drawn with an intuitive awareness of principles of adolescent psychology. McCullers focuses on the expectations, uncertainties, and contradictions of the adolescent years. However, her novels are much more than stories of troubled teens. Largely because of their adolescent characteristics, Nick, Frankie, Jester, and Sherman serve as fitting symbolic vehicles for McCullers' exploration of such ageless themes as the search for self and the search for love.
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Date Issued: 1977
PURL: http://purl.flvc.org/fcla/dt/13862
Subject Headings: Literature, Modern, Literature, American
Format: Document (PDF)

Title: SOUTH AFRICAN ANALOGUE TO "ABSALOM, ABSALOM|" (FAULKNER, PATON).
Creator: BLANTON, JERRY CAIN, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Literature is influenced by the society in which it is written. Absalom, Absalom! by William Faulkner and Too Late the Phalarope by Alan Paton have many similarities because the societies which produced them have similarities. The Old South and the Afrikaner society of South Africa have many historical occurrences and cultural attitudes in common, among them: former slave societies, wars with aborigenes, an agrarian-industrial conflict in which they were defeated, racial segregation,...
Show moreLiterature is influenced by the society in which it is written. Absalom, Absalom! by William Faulkner and Too Late the Phalarope by Alan Paton have many similarities because the societies which produced them have similarities. The Old South and the Afrikaner society of South Africa have many historical occurrences and cultural attitudes in common, among them: former slave societies, wars with aborigenes, an agrarian-industrial conflict in which they were defeated, racial segregation, Calvinist religion, and an intermingling of the past and the present. Absalom, Absalom! and Too Late the Phalarope have the following in common: tone, titles of despair, character types, function of setting, qualities of Greek tragedy, Biblical allusions and syntax. A sociological literary study may help to understand how a society influences its literature.
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Date Issued: 1977
PURL: http://purl.flvc.org/fcla/dt/13850
Subject Headings: Literature, Modern, Literature, African
Format: Document (PDF)

Title: THE THEMATIC RELEVANCE OF JOHN GARDNER'S "UNRELIABLE NARRATOR.".
Creator: ATWILL, WILLIAM D., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Gardner's use of unreliable and often intrusive narrative voices is a structural key to the world view presented in his novels. All the narrators, whether they be involved central characters or intrusive third-person voices, journey toward knowledge and affirmation in art. In The Wreckage of Ag'athon, the aged seer is driven by the chaos he cannot untangle to create his own rationale. Grendel embraces a nihilistic world view until the monster is finally lifted to a limited sort of vision as a...
Show moreGardner's use of unreliable and often intrusive narrative voices is a structural key to the world view presented in his novels. All the narrators, whether they be involved central characters or intrusive third-person voices, journey toward knowledge and affirmation in art. In The Wreckage of Ag'athon, the aged seer is driven by the chaos he cannot untangle to create his own rationale. Grendel embraces a nihilistic world view until the monster is finally lifted to a limited sort of vision as a shaper of experience. The voice of The Sunlight Dialogues is limited omniscient, yet the narrator intrudes, reminding the reader that he is dependent upon an involved point of view. In the dream-narrative of Jason and Medeia, perhaps the best utilization of an involved, fallible narrator, the journey toward affirmative vision balongs more to the narrator than the hero.
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Date Issued: 1978
PURL: http://purl.flvc.org/fcla/dt/13911
Subject Headings: Literature, Modern, Literature, American
Format: Document (PDF)

Title: "JULIA" CHARACTERIZATION IN THE PLAYS OF LILLIAN HELLMAN.
Creator: BELL, KATHLEEN T., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: The Julia character, as depicted in the essay in Pentimento, provides a character model for Lillian Hellman's plays. Julia's strength of personal responsibility provides Hellman a measure by which her characters succeed or fail, a criterion upon which personal worth is judged. Julia's strength, compassion, and personal responsibility are depicted in varying degrees in the characters created in Watch on the Rhine, The Children's Hour, The Little Foxes, Another Part of the Forest, The Searching...
Show moreThe Julia character, as depicted in the essay in Pentimento, provides a character model for Lillian Hellman's plays. Julia's strength of personal responsibility provides Hellman a measure by which her characters succeed or fail, a criterion upon which personal worth is judged. Julia's strength, compassion, and personal responsibility are depicted in varying degrees in the characters created in Watch on the Rhine, The Children's Hour, The Little Foxes, Another Part of the Forest, The Searching Wind, and The Autumn Garden. As reflected in the plays, Julia is Hellman's model, her ideal; she is the vehicle for Hellman's strong personal and social statements.
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Date Issued: 1980
PURL: http://purl.flvc.org/fcla/dt/14044
Subject Headings: Literature, Modern, Theater, Literature, American
Format: Document (PDF)

Title: WILLIAM FAULKNER AND AVIATION: THE MAN AND THE MYTH.
Creator: BOSTWICK, WALTER INGERSOLL, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: In the years following World War I, William Faulkner implied to his family and acquaintances that he had been a pilot in the RAF. Some people even thought that he had flown combat missions in France and had been wounded. He maintained this fictitious persona throughout his life, and it was accepted by most scholars and biographers. Several of Faulkner's early works featured aviators as central characters, and he treated them as romanticized, tragic heroes as he did Confederate cavalry...
Show moreIn the years following World War I, William Faulkner implied to his family and acquaintances that he had been a pilot in the RAF. Some people even thought that he had flown combat missions in France and had been wounded. He maintained this fictitious persona throughout his life, and it was accepted by most scholars and biographers. Several of Faulkner's early works featured aviators as central characters, and he treated them as romanticized, tragic heroes as he did Confederate cavalry officers. Pylon, which was written after he had actually started flying, reflects an awareness of the psychology of flying not seen in his earlier works. Faulkner's "wounded pilot" persona was only one facet of his imaginative and creative personality, but knowledge of this persona is necessary to the understanding of the man and thus his art.
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Date Issued: 1981
PURL: http://purl.flvc.org/fcla/dt/14075
Subject Headings: Literature, American
Format: Document (PDF)

Title: EXISTENTIALISM IN SHIRLEY JACKSON'S LAST NOVELS.
Creator: ARGENZIANO, GUY A., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: The existential philosophy of the post-war period is reflected in Shirley Jackson's last novels. The Sundial mirrors the anguish and intellectual alienation of a family trying to come to terms with the annihilation of their world. The Hunting of Hill House deals with the forlornness and emotional alienation that result from the discovery that man is completely alone because there is no God. We Have Always Lived in a Castle is concerned with the psychological alienation and despair that arise...
Show moreThe existential philosophy of the post-war period is reflected in Shirley Jackson's last novels. The Sundial mirrors the anguish and intellectual alienation of a family trying to come to terms with the annihilation of their world. The Hunting of Hill House deals with the forlornness and emotional alienation that result from the discovery that man is completely alone because there is no God. We Have Always Lived in a Castle is concerned with the psychological alienation and despair that arise from the realization that the potential for happiness is limited by man's self-destructive tendencies. Examined together, these novels present an existential viewpoint that corresponds to the turmoil of the post-war world.
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Date Issued: 1983
PURL: http://purl.flvc.org/fcla/dt/14178
Subject Headings: Literature, American
Format: Document (PDF)

Title: TWO WISE MEN IN QUARTET. ELIOT AND SANTAYANA: THE SEARCH FOR FAITH.
Creator: BARNES, JACKIE WARD, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Santayana's thought underlies much of Eliot's poetry. Both Eliot and Santayana were skeptics, and Eliot's skepticism is documented in the quartets, a work that is a personal journal of his search for faith. That search was to be an unsuccessful one, for Eliot realized the impossibility of union with the Absolute. The symbolism of the rosegarden, the bedded axle-tree, the still point, and the clematis, when analyzed, demonstrates Eliot's concept of a clockwork universe, a universe that is...
Show moreSantayana's thought underlies much of Eliot's poetry. Both Eliot and Santayana were skeptics, and Eliot's skepticism is documented in the quartets, a work that is a personal journal of his search for faith. That search was to be an unsuccessful one, for Eliot realized the impossibility of union with the Absolute. The symbolism of the rosegarden, the bedded axle-tree, the still point, and the clematis, when analyzed, demonstrates Eliot's concept of a clockwork universe, a universe that is unknowing and uncaring. Eliot reaches that concept, basically, because of Santayana's influence.
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Date Issued: 1983
PURL: http://purl.flvc.org/fcla/dt/14152
Subject Headings: Literature, American, Literature, English
Format: Document (PDF)

Title: BITTERSWEET BLEND: A STUDY OF FAMILY STRIFE AND COMIC RELIEF IN SELECTEDSTORIES OF FRANK O'CONNOR.
Creator: BIAYS, JOHN SHERIDAN, JR., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Frank O'Connor's stories of family strife effectively incorporate comic relief to underscore the essential tragedy and frustration in his protagonists' lives. Through a myriad of Irish idiosyncracies and traditions, O'Connor examines the conflicts that emerge when attempts are made to reconcile impulsive instincts with the bittersweet bonds of family heritage. The first chapter, "The Marriage Trap," explores the dilemma facing couples who seek to escape stagnation; the second chapter, "Role...
Show moreFrank O'Connor's stories of family strife effectively incorporate comic relief to underscore the essential tragedy and frustration in his protagonists' lives. Through a myriad of Irish idiosyncracies and traditions, O'Connor examines the conflicts that emerge when attempts are made to reconcile impulsive instincts with the bittersweet bonds of family heritage. The first chapter, "The Marriage Trap," explores the dilemma facing couples who seek to escape stagnation; the second chapter, "Role Confusian," deals with the tragicomic aspects of assuming different identities; the final chapter, "The Substitute Family," depicts lonely characters' desperate search for warmth in a family of their own invention. For O'Connor's families, seeking fulfillment becomes an anguished search. The author's use of comic relief temporarily offsets, occasionally balances, and ultimately underscores their strife.
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Date Issued: 1984
PURL: http://purl.flvc.org/fcla/dt/14217
Subject Headings: Literature, English
Format: Document (PDF)

Title: IN THE TRADITION OF POE: JOHN BARTH'S SABBATICAL: A ROMANCE.
Creator: ARKIN, SONDRA N., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: John Barth's Sabbatical: A Romance parodies both Poe's The Narrative of Arthur Gordon Pym of Nantucket and the genre of sea fiction. Through careful attention to the sea fiction tradition, its metaphors of sea, ship, and voyage as microcosm, Barth examines the function of myth in life. Parallels in form, structure, content, and theme establish the use of contemporary anxieties as symbols for the universal forces opposing humanity. Sabbatical illustrates the correlated dualities of the mundane...
Show moreJohn Barth's Sabbatical: A Romance parodies both Poe's The Narrative of Arthur Gordon Pym of Nantucket and the genre of sea fiction. Through careful attention to the sea fiction tradition, its metaphors of sea, ship, and voyage as microcosm, Barth examines the function of myth in life. Parallels in form, structure, content, and theme establish the use of contemporary anxieties as symbols for the universal forces opposing humanity. Sabbatical illustrates the correlated dualities of the mundane and fantastic, reality and the imagination, and society and the individual. Allusions to Poe, and to Pym, substantiate this re generation of myth. Both wandering hero myths apply the fantastic, the doppelganger, and gothic romance in elevating the artist to immortality throu g h the narrator's act of articulation. The voyage of the protagonists is illustrative of their passage through life. Therefore, Barth's cyclic regeneration attempts to explore the convergence of polarities inherent in all literature.
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Date Issued: 1984
PURL: http://purl.flvc.org/fcla/dt/14191
Subject Headings: Literature, American
Format: Document (PDF)

Title: AMORY BLAINE AND THE "PURGATORIO" ("THIS SIDE OF PARADISE", "DIVINE COMEDY", FITZGERALD, DANTE).
Creator: ARNONE, EUGENE M., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Fitzgerald's first novel, This Side of Paradise, is a well organized and intricately detailed work which uses as its basic metaphor the middle poem of the Divine Comedy by Dante Al ighieri. Thematically, structurally, and symbolically, Fitzgerald's novel parallels Dante's poem, incorporating the philosophy of St. Thomas Aquinas, the Mirrors of Narcissus motif, Dante's idea of Amore, and the symbolic figure of Beatrice. Critics have overlooked Dante as a source for Fitzgerald's work and...
Show moreFitzgerald's first novel, This Side of Paradise, is a well organized and intricately detailed work which uses as its basic metaphor the middle poem of the Divine Comedy by Dante Al ighieri. Thematically, structurally, and symbolically, Fitzgerald's novel parallels Dante's poem, incorporating the philosophy of St. Thomas Aquinas, the Mirrors of Narcissus motif, Dante's idea of Amore, and the symbolic figure of Beatrice. Critics have overlooked Dante as a source for Fitzgerald's work and therefore have not adequately explained the thematic concerns of this novel.
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Date Issued: 1986
PURL: http://purl.flvc.org/fcla/dt/14331
Subject Headings: Literature, Comparative, Literature, American
Format: Document (PDF)

Title: THE COMIC SPIRIT OF RENART, THE TRICKSTER, IN CHAUCER'S "NUN'S PRIEST'S TALE".
Creator: BAUDOUIN, JOELLE RENEE, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: The Renart cycle, which originated in France in the last years of the twelfth century in a series of "branches," am o ng them in particular Branch II-Va of Pierre de Saint-Cloud, eventually appeared in England in Chaucer's "Nun's Priest's Tale." Nineteenth-century criticism of the Roman de Renart, emphasizing true-to-life detail, has been rejected by twentieth-century critics who defend especially the satiric elements in the story. There is, however, another dimension to the Renart cycle,...
Show moreThe Renart cycle, which originated in France in the last years of the twelfth century in a series of "branches," am o ng them in particular Branch II-Va of Pierre de Saint-Cloud, eventually appeared in England in Chaucer's "Nun's Priest's Tale." Nineteenth-century criticism of the Roman de Renart, emphasizing true-to-life detail, has been rejected by twentieth-century critics who defend especially the satiric elements in the story. There is, however, another dimension to the Renart cycle, that is, the disruptive yet attractive force of the fox, which Chaucer allows to emerge in the "Nun's Priest's Tale," although Chaucer criticism has generally neglected the importance of daun Russell in the tale. He is glorified throughout the "fable section," and his presence is felt indirectly throughout the whole tale. The fox-trickster represents the comic and "accidental" view of life developed by Chaucer in his Canterbury Tales.
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Date Issued: 1986
PURL: http://purl.flvc.org/fcla/dt/14290
Subject Headings: Literature, Medieval
Format: Document (PDF)

Title: CHAUCER'S USE OF DOUBLE AND MULTIPLE NEGATIVE CONSTRUCTIONS FOR THE DEVELOPMENT OF EMPHATIC DEVICES IN "THE CANTERBURY TALES".
Creator: BLAISE, GORDON ROBERT, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Multiple negation is a grammatical construction that can be found in the prose and poetry of Old and Middle English. There is much evidence to support the premise that Chaucer, in the Canterbury Tales, elevated the poetic use of such negative constructions to levels yet unsurpassed in English literature. Primarily used to emphasize or create ambiguity, Chaucer's negation often reveals more about a character than one would attain under normal circumstances. The General Prologue and The Nun's...
Show moreMultiple negation is a grammatical construction that can be found in the prose and poetry of Old and Middle English. There is much evidence to support the premise that Chaucer, in the Canterbury Tales, elevated the poetic use of such negative constructions to levels yet unsurpassed in English literature. Primarily used to emphasize or create ambiguity, Chaucer's negation often reveals more about a character than one would attain under normal circumstances. The General Prologue and The Nun's Priest's Tale both provide numerous examples of a phenomenon in which the application of multiple negation appears to be somewhat selective, adding to the complexity of certain characters, while other, "less interesting," characters remain relatively simple. Such grammatical selectivity developed into an emphatic device signaling that a great deal is going on beneath the negation.
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Date Issued: 1987
PURL: http://purl.flvc.org/fcla/dt/14389
Subject Headings: Literature, Medieval
Format: Document (PDF)

Title: The morality theme in "A Room With a View": A study of E. M. Forster's novel and the film adaptation by James Ivory.
Creator: Benghiat, Monique, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: In A Room With A View Forster's allusions to the "mediaeval," the pattern of chapter headings which describes the action, the particular use of names and the way the narrative follows the evolving nature of Lucy Honeychurch's soul reveal a structural similarity to a morality play. In addition, the vivid contrasting elements of Light and Darkness and of Art and Nature establish the morality's opposing framework of Good versus Evil. The overtly visual style of Forster's narrative as well as the...
Show moreIn A Room With A View Forster's allusions to the "mediaeval," the pattern of chapter headings which describes the action, the particular use of names and the way the narrative follows the evolving nature of Lucy Honeychurch's soul reveal a structural similarity to a morality play. In addition, the vivid contrasting elements of Light and Darkness and of Art and Nature establish the morality's opposing framework of Good versus Evil. The overtly visual style of Forster's narrative as well as the essentially dramatic structure of the novel provides director James Ivory a means to successfully adapt Forster's thematic structure to film. Ivory does so by translating the use of literary symbols and motifs into their visual counterparts rather than by merely concentrating on the achievement of narrative fidelity to the novel.
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Date Issued: 1988
PURL: http://purl.flvc.org/fcla/dt/14453
Subject Headings: Literature, English
Format: Document (PDF)

Title: Evelyn Waugh and the Jews.
Creator: Bittner, David Jonathan, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: The anti-Semitism of Evelyn Waugh went beyond mere literary characterization. A study of Waugh's attitudes toward Nazism, Zionism, and World War II provides evidence that the Jewish characterizations in Waugh's work were underlined by stable and settled negative convictions regarding the Jewish people. Waugh's anti-Semitism had surprisingly little to do with Christian religious teaching but may almost entirely be attributed to upper-class British snobbism and his view that Jews were agents of...
Show moreThe anti-Semitism of Evelyn Waugh went beyond mere literary characterization. A study of Waugh's attitudes toward Nazism, Zionism, and World War II provides evidence that the Jewish characterizations in Waugh's work were underlined by stable and settled negative convictions regarding the Jewish people. Waugh's anti-Semitism had surprisingly little to do with Christian religious teaching but may almost entirely be attributed to upper-class British snobbism and his view that Jews were agents of capitalism, democracy, and secularism. Before the Holocaust Waugh gave his anti-Semitism free and unrestrained rein in his novels. After the Holocaust Waugh tried to blunt anti-Semitism in his novels, but the anti-Semitic outlook was so ingrained in him that he was not entirely successful. There are ample signs of old prejudices at play in his post-war writings. Waugh also denied many of his Jewish characters an authentic Jewish voice.
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Date Issued: 1989
PURL: http://purl.flvc.org/fcla/dt/14504
Subject Headings: Religion, General, Literature, English, Sociology, Ethnic and Racial Studies
Format: Document (PDF)

FAU Theses and Dissertations (369)	+ -
FAU College Collections (8)	+ -

Criticism and interpretation (73)	+ -
Symbolism in literature (57)	+ -
Creative writing (37)	+ -
Literature, American (31)	+ -
Literature, English (21)	+ -

Literature, Modern (17)	+ -
Fiction (14)	+ -
Short stories (12)	+ -
Poetry (11)	+ -
Short stories, American (11)	+ -
Essays (8)	+ -
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