Master of Arts, The Ohio State University, 1968, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1982, Graduate School

Committee: Not Provided (Other) Subjects:

Doctor of Philosophy, The Ohio State University, 2019, English

The power and intimacy of Wallace's narrative voices allow him to affect his readers powerfully on multiple levels: cognitively, linguistically, and affectively. The Voices of David Foster Wallace: Comic, Encyclopedic, and Sincere offers a systematic analysis of Wallace's poetics of voice, identifying a dominant voice for each, pinpointing its techniques and influences, and casting it in a career arc of Wallace's evolving novelistic purposes. The careful shaping of voice is central to Wallace's distinctive prose and its impact on contemporary American fiction. The project identifies Wallace's three dominant voices—comic, encyclopedic, and sincere—and shows how voice identifies not just the particular agent communicating with the reader but creates a global atmosphere in texts, deeply shaping our experiences and interpretations. Drawing on and refining James Phelan's model of voice for Wallace's fiction, I define voice as the synthesis of values, tone, style, and rhythm, elements that come together in complex ways to create the gestalt effect of narrative voice. I develop tools for examining the micro elements that create the macro quality of the reading experience—helping illuminate how Wallace uses voice to “rewire” the way readers see and feel, changing our relation to language and to the world. Further, I emphasize the sonic dimension of reading whereby Wallace's sentence and paragraph rhythms impact the cognition of readers, thus joining the recent turn in literary studies toward reading with the grain, by advancing and synthesizing approaches to rhetoric, affect, formalism, and literary phenomenology. The picture of Wallace that emerges from my analysis is one of uncertainty (and ambition) regarding his place in the literary world, a restless desire to add more voices to his repertoire. Adopting comedy, knowledge, and finally emotional depth as his purposes, Wallace progressively widens his ideal audience, reaching readers in a variety of ways in his ongoing pr (open full item for complete abstract)

Committee: Brian McHale (Advisor); James Phelan (Committee Member); Sandra Macpherson (Committee Member) Subjects: American Literature; Language; Literature

Doctor of Philosophy, The Ohio State University, 1987, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1983, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1974, Graduate School

Committee: Not Provided (Other) Subjects: Literature

PHD, Kent State University, 2016, College of Arts and Sciences / Department of English

Beginning in 1169 with the Anglo-Norman Invasion, the colonization of the Irish resulted in centuries of violence, the confiscation of lands, resources, and sovereignty, and the near total destruction of Ireland's native culture and language. While many Irish continually fought against this occupation, most rebellions ended in nothing more than failure and stricter colonial rule until the early twentieth century when an organized and determined national effort for independence took hold. During this time Irish authors sought to give Ireland a literary culture that would serve as counterpart to its political, economic, and military campaigns for freedom from English rule. This dissertation examines the ways in which W.B. Yeats and James Joyce consciously participated in creating a national identity to inspire decolonization by engaging in revisionist myth-making in order to create new Irish culture heroes. In Yeats's five Cuchulain plays and Joyce's Ulysses each author manipulated mythic heroes from Irish and Greek tradition in an attempt to define Irish identity during the nation's struggle against colonial rule. Yeats and Joyce shaped their individual culture heroes with the deliberate goal of representing the Irish experience from the Irish perspective with the hope of inspiring and uniting the Irish to reclaim their right to rule their own nation. The Cuchulain plays and Ulysses challenged the colonial narrative that the Irish had no culture to speak of, while also confronting and correcting colonial stereotypes perpetuated and spread by the English. Although Yeats and Joyce are often considered incompatible in terms of their involvement with Ireland's anti-colonial movement, their shared use of revisionist myth and culture heroes suggests something different. This dissertation shows that, despite their opposing beliefs, both authors worked on the same cultural project to promote Irish nationalism in the service of Ireland's fight for independence.

Committee: Claire Culleton (Advisor); Kevin Floyd (Committee Member); Tammy Clewell (Committee Member); Patrick Coy (Committee Member) Subjects: Literature

MA, Kent State University, 2016, College of Arts and Sciences / Department of English

Committee: Babacar M'Baye (Advisor) Subjects: Literature

MA, Kent State University, 2016, College of Arts and Sciences / Department of English

This thesis argues that modernist authors James Joyce and Virginia Woolf experimented with representing both the passage of time and nonhuman materialities and things in their works in order to present a more accurate and complete vision of life at the beginning of the twentieth century. Their literary experiments in representing quotidian life prompted these authors to thoughtfully consider how nonhuman materialities punctuate and structure the flow of modern life. The works of Joyce and Woolf respond to the historical event of the standardization of time in 1884, as local and private experiences of the passage of time continued to be superseded by global standardized time throughout the beginning of the twentieth century. Joyce and Woolf ultimately structure the the temporality of their works around an ecological temporality of things, effectively subverting a standardized structure of temporality, to demonstrate that the passage of time is not experienced uniformly by all materialities. Their works not only advocate for a continued legitimacy and value of alternate human experiences and understandings of the passage of time, but they also illuminate how nonhuman materialities exist and endure through time. Drawing from the work of new materialist scholars, this thesis investigates how Joyce's Ulysses and Woolf's To the Lighthouse and Between the Acts represent the nonhuman and the material in the modern world, as well as how the nonhuman and the human experience a multiplicity of temporalities.

Committee: Ryan Hediger Ph.D. (Advisor); Kevin Floyd Ph.D. (Committee Member); Tammy Clewell Ph.D. (Committee Member) Subjects: Environmental Philosophy; Literature

Master of Arts, Case Western Reserve University, 2015, World Literature

In a work of fiction, we don't always encounter the contingent in obvious ways. The story is usually told in a way such that interdependencies of events can be easily overlooked. The distinction of contingent events might be taken for granted; however, in Joyce's Ulysses we see an examination of contingency in which the reader is continuously invited to participate. Interpretations of the concept of truth usually indicate a determination by community consensus. The need for an audience to assent to any truth in a fictional work has been identified by most modernist readings of literature, but there is a penumbra, not well---defined, where the author's intention and the assent of his actual audience intersect—in Ulysses, contingencies of language and of plot might help us to identify these intersections of authorial intent and reader assent.

Committee: Florin Berindeanu PhD (Advisor); Chin-Tai Kim PhD (Committee Member); Sarah Gridley MFA (Committee Member) Subjects: Literature; Philosophy

PhD, University of Cincinnati, 2002, Arts and Sciences : English and Comparative Literature

This dissertation consists of two parts: a collection of original poetry entitled Home Truths, and a critical essay entitled "Exploring Technical Difficulties: A Reader's Negotiation with the Stylistic Innovations of Ulysses, Episode 12." Home Truths, a four-part sequence of lyric and narrative poems, is based on people and events in the author's family. Part I records the author's memories of conflict between his father and members of his mother's family. Part II, based on letters and photographs, documents the decisions which led to the conflict, while Parts III and IV attempt an imaginative reconstruction of the events themselves, as well as the central characters' responses to them. The principal theme of the poems is the gap between received cultural roles and lived experience - gaps which are filled, not always successfully, by the improvising of new roles and responses. In addition, since the crucial events took place before the author was born, his effort to posit and examine a web of likely (but never verifiable) circumstances, misunderstandings, and emotions, becomes an important subsidiary theme of the sequence. The article, "Experiencing Technical Difficulties," discusses the technical innovations of Ulysses, Episode 12, specifically exploring the implications for the novel (and for its readers) of the alternation between first-person narration and the numerous parodic set-pieces.

Committee: Dr. Don Bogen (Advisor) Subjects: Fine Arts; Literature, Modern

Doctor of Musical Arts, The Ohio State University, 2009, Music

Seven Poems of James Joyce is a song cycle by British composer Ernest John Moeran. Moeran beautifully sets to music text by the great Irish poet, James Joyce, about a journey of love reflected through the seasons. Each piece depicts one's experiences with love and nature through the various seasons of life. This document provides a brief biography of the composer and poet, and presents important characteristics in each movement of the cycle. It also serves as an introduction to the work of E. J. Moeran.

Committee: Loretta Robinson MM (Advisor); Hilary Apfelstadt PhD (Committee Member); David Horn PhD (Committee Member); C. Patrick Woliver DMA (Committee Member) Subjects: Music

Doctor of Philosophy, The Ohio State University, 2008, French and Italian

The avant-garde is an aesthetic movement that spanned the twentieth century. It is made up of writers and artists that rebelled against art and against society in a concerted effort to improve both, and their relationship to one another. Four avant-garde groups, the Futurists, the Surrealists, the Situationists, and the writers of the journal Tel Quel, significantly contributed to the avant-garde movement and provided perspective into whether that movement can exist in the twenty first century. The first Futurist Manifesto, published in the French newspaper Le Figaro in 1909 by Philippo Tommaso Marinetti, instigated the avant-garde wave that would be taken up after the Great War by the Surrealists, whose first 1924 Manifeste du Surrealisme echoed the Futurist message of embracing modern life and change through art. The Surrealists, however, focused more on Marxism and psychoanalysis, developing ideas about life and art that combined these two ideologies in order to link the improvement of society with the unconscious individual experience. The Situationists, whose group formed in 1957, took up the themes of social revolution and freedom of the unconscious, developing a method for creating situations that were conducive to both of these things. The writers of the journal Tel Quel, who published from 1960-1982, claimed to be part of this literary history, and continued the discussions begun by the others, providing insight into how language and its structures, which paralleled those of society, needed to be changed in order to change society. This dissertation aims to define the twentieth century avant-garde and to inquire about its existence in the twenty-first century. The first chapter examines the socio-historic and philosophical context from which these groups emerged and against which they reacted. The second and third chapters analyze the themes of the city and politics in avant-garde works to demonstrate the aims and ambitions of the groups. The fourth chapte (open full item for complete abstract)

Committee: Jean-François Fourny Phd (Advisor); Karlis Racevskis PhD (Committee Member); Judith Mayne PhD (Committee Member); Charles Klopp PhD (Committee Member) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 2006, Germanic Languages and Literatures

While the “space” of modernism is traditionally associated with the metropolis, this approach leaves unaddressed a significant body of work that stresses non-urban settings. Rather than simply assuming these spaces to be the opposite of the modern city, my project rejects the empty term space and instead examines topographies, literally meaning the writing of place. Less an examination of passive settings, the study of topography in modernism explores the action of creating spaces—either real or fictional which intersect with a variety of cultural, social, historical, and often political reverberations. The combination of charged elements coalesce and form a strong visual, corporeal, and sensory-filled topography that becomes integral to understanding not only the text and its importance beyond literary studies. My study pairs four modernists—two writing in German and two in English: Joseph Conrad and Anna Seghers and James Joyce and Uwe Johnson. All writers, having experienced displacement through exile, used topographies in their narratives to illustrate not only their understanding of history and humanity, but they also wrote narratives which concerned a larger global culture. Conrad's Heart of Darkness (1900) and his Lord Jim (1904) compare to Seghers' Transit (1944) and Revolt of the Fisherman from St. Barbara (1928) in that each explores crises of modernity. Instead of using the city, Conrad and Seghers utilize the sea, the harbor, and marginalized communities to illustrate thresholds of historical crises. The topographies echo a world affected by imperialism and particularly for Seghers, fascism. In my analysis of Joyce's Ulysses (1921) and Johnson's Anniversaries (1970-83), I steer away from a traditional examination of the classic modernist city narrative. I show how the texts provide a broader and more encompassing look of the modern world through the memory of imperialism and fascism as it is reflected from outside the city limits, most notably on the coa (open full item for complete abstract)

Committee: Helen Fehervary (Advisor) Subjects:

Master of Arts (MA), Ohio University, 2009, English (Arts and Sciences)

By examining the texts of female Beat generation writers Joyce Johnson and Hettie Jones, this project explores space and movement as potential avenues for reaction against a society for whom conformity is a virtue. Johnson's Minor Characters as well as Jones's How I Became Hettie Jones arise out of a culture of containment – the domestic repercussions of US-America's efforts during the Cold War to quell communism. Through literal movement and the recodification of space, Johnson and Jones engage in resistance to physical and ideological containment that is experienced both spatially and psychically.

Committee: George Hartley (Committee Chair); Johnnie Wilcox (Committee Member); Ayesha Hardison (Committee Member) Subjects: American History; American Literature; American Studies; Gender; Literature; Womens Studies

BA, Kent State University, 2012, College of Arts and Sciences / Department of English

James Joyce wrote Ulysses during a period when time and history carried political importance, especially in Ireland. This study examines the imposition of Greenwich Mean Time on Dublin, Ireland, and the forces that have controlled Ireland's history, namely England and the Catholic Church. By studying Stephen Dedalus and Leopold Bloom, one witnesses the temporal and historical struggles taking place within individual characters in Joyce's 1904 Dublin. While time and history create obstacles for Joyce's characters, Stephen and Bloom use their active memories as creative forces to help regain their autonomy and identity.

Committee: Claire Culleton PhD (Advisor); Kevin Floyd PhD (Committee Member); Valerie McGowan-Doyle PhD (Committee Member); Elizabeth Howard PhD (Committee Member); Victoria Bocchicchio (Other) Subjects: European History; History; Literature; Modern Literature

Master of Arts (M.A.), University of Dayton, 2012, English

The “Cyclops” and “Nestor” episodes in James Joyce‟s novel Ulysses are filled with allusions to the First World War. Written shortly after the war ended in 1918, Joyce‟s satiric portrait of Irish society serves as a microcosm of the entire western world before the outbreak of war in 1914. The references to nationalism, militarism, and racism foreshadow how historians would interpret the period. The chapter is a conflict between the irrational forces of society (the citizen) and the rational (Bloom). The debate between the rationale and irrational is an ongoing theme in Ulysses that first appears in "Nestor" in the discussion between Stephen Dedalus and Mr. Deasley. My thesis will go deeper into the text and make connections between the historical allusions in the chapter and later scholarship on the time period. My primary argument is that “Cyclops” is a remarkably accurate window into Europe before the First World War.

Committee: Katy Marre PhD (Committee Chair); John McCombe PhD (Committee Member); Andrew Slade PhD (Committee Member) Subjects: Literature

Doctor of Philosophy, Case Western Reserve University, 1993, English

Recent Joyce criticism makes clear that the richness and variety of his parody stems from traditional methods adapted to meet the needs of a modernist sensibility. On the one hand, criticism confirms Joyce's continued use of traditional parodic comparisons. On the other, recent criticism consistently reveals Joyce's departures from traditional parody and his explorations of new parameters of parody as a theory of language itself. The premise for this dissertation is that the “Telemachiad” of Ulysses serves as a turning point in Joyce's attitude toward, and use of parody. In each episode, Joyce steps away from tradition and suggests new parodic possibilities. The three episodes become a didactic introduction to the balance of Ulysses and the entirety of Finnegans Wake. The impetus toward a Joycean parody emerges indirectly in Dubliners and A Portrait of the Artist as a Young Man. In these works, Joyce already minimizes traditional parodic associations, rendering them largely into allusive suggestions. More strikingly, Joyce brings the parodic model into the text, creating parodies within individual stories as well as throughout the series of stories themselves. In “Telemachus,” Joyce subverts the tradition of the single parodic model by employi ng multiple models in the formation of his characters. Buck Mulligan becomes a trickster-protean figure, his whole composed of segments of multiple identities. Similarly, Joyce creates the character of the milkwoman, who possesses no single identity but, like Buck, is a composite of parodic inferences. In “Nestor” Joyce systematically breaks parody away from history. For the Joycean text the positivistic premise of history has outworn its usefulness. It is replaced by Joyce, in “Proteus,” with a parody that exists vertically in layers of the text – a parody that no longer looks to the historic paradigm but to the present parameters of the text. The text Joyce creates is, a text where the language act self-consciously predomina (open full item for complete abstract)

Committee: Roger Salomon (Advisor) Subjects:

Master of Music (MM), Bowling Green State University, 2009, Music Theory

In 1952, Luciano Berio studied with Luigi Dallapiccola for six weeks at Tanglewood; it was his first experience studying under a composer of serial works. Reacting to his study, he composed a number of works, among them, Chamber Music.Composed in 1953, Chamber Music is a setting of three poems by James Joyce, an author whose work was a favorite of both Dallapiccola and Berio. Notable in that it is Berio's first work composed using twelve-tone technique, Chamber Music predates his study of serialism at Darmstadt. The piece is freely serial, and offers a rare chance to see how Berio treated the concepts of twelve-tone organization before his more intense study of serialism. Though there is a cursory analysis of the first movement of Chamber Music in David Osmond-Smith's Berio, to date there has not been a comprehensive analysis of the work. In this thesis, I examine the ways in which Berio alters and transmutes the serial structure of Chamber Music to create ambiguities and associations between row forms – which helps to reflect the “associative epiphanies” and “phantasmagoric entanglement of different forms” that he believes are the hallmarks of Joyce's work. His treatments of serialism within the work range from the conventional (unaltered row statements that make up parts of the first and third movements), to the unconventional (the dominance of a single note in the second movement, followed by half-step motion that is not immediately identifiable as being based in the row), to a synthesis of the two (large parts of the third movement, which synthesize material from the previous two movements). Whereas Berio claims that Dallapiccola represents Joyce's literary style using a static formal structure, Berio uses every aspect of his composition as source material to be changed, transformed, and developed. In this way, Berio is able to better represent his view of the nature of Joyce's writing style.

Committee: Nora Engebretsen (Committee Chair); Per Broman (Committee Member) Subjects: Music