DOCSLIB.ORG

Experimentation Through Disguise in Shakespearean Comedies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Experimentation Through Disguise in Shakespearean Comedies EXPERIMENTATION THROUGH DISGUISE IN SHAKESPEAREAN COMEDIES ____________ A Thesis Presented to the Faculty of California State University Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in English ____________ by Melvianne Quarles Andersen Summer 2019 THESIS: EXPERIMENTATION THROUGH DISGUISE IN SHAKESPEAREAN COMEDIES AUTHOR: MELVIANNE QUARLES ANDERSEN APPROVAL PAGE APPROVED: ______________________________ Kimberly Huth, Ph.D. Thesis Committee Chair ______________________________ Debra Best, Ph.D. Committee Member ______________________________ Helen Oesterheld, Ph.D. Committee Member COPYRIGHT PAGE Copyright by MELVIANNE QUARLES ANDERSEN 2019 All Rights Reserved DEDICATION Mike, This… this is for you. iv ACKNOWLEDGEMENTS And let us not be weary in well doing: for in due season we shall reap, if we faint not. —King James Version Gal. 6.9 Unlike any other experience I have had, writing a thesis has been an extremely solitary endeavor. It becomes disheartening to work in the isolation required to complete it. A strong support system makes all the difference in the world. I offer my most heartfelt gratitude to those who supported me during this grueling process. To my mother, Alicia, who always put her children first: thank you for the example you set for me, for the long talks, and for the constant love and support. I always know that you have my back in any situation. You are an amazing woman. Thank you for who you are and for who you helped me become. You made me believe I could do and be anything, and that nothing is impossible. I love you with all my heart. My sister and brother, Akida and Jahid, have always provided a place of safety and laughter. We have had some wonderful experiences together. Being able to reach out to you both has helped me get through some of the toughest times in my life. Just knowing that you are there has made me want to do and be better. My thesis committee became an integral part of my support system: Dr. Kimberly Huth who encouraged me to join the MA program in the first place, then pointed out the kernel of wisdom that eventually became this thesis; Dr. Debra Best who transitioned from the Graduate Coordinator who took a chance on me to a true mentor and friend; and Dr. Helen Oesterheld who throughout the long grueling process remained enthusiastic about my work, even when I didn’t. v My DH Friends became like family and are too numerous to name. Lastly, to my Father God, who has set before me “life and death, blessing and cursing”; I choose life. vi TABLE OF CONTENTS APPROVAL PAGE ........................................................................................................................................ II COPYRIGHT PAGE .................................................................................................................................... III DEDICATION ............................................................................................................................................. IV ACKNOWLEDGEMENTS ........................................................................................................................... V ABSTRACT ...............................................................................................................................................VIII CHAPTER 1 ................................................................................................................................................... 1 INTRODUCTION .......................................................................................................................................... 1 CHAPTER 2 ................................................................................................................................................. 13 LOVE’S LABOUR’S LOST AND KNOWLEDGE IN DISGUISE ............................................................... 13 CHAPTER 3 ................................................................................................................................................. 33 EXPERIMENTING WITH ORLANDO’S LOVE IN AS YOU LIKE IT ..................................................... 33 CHAPTER 4 ................................................................................................................................................. 49 THE VALUE OF PORTIA IN THE MERCHANT OF VENICE .................................................................. 49 CHAPTER 5 ................................................................................................................................................. 68 EPILOGUE ................................................................................................................................................... 68 WORKS CITED ........................................................................................................................................... 72 vii ABSTRACT This study explores Shakespeare’s use of experimentation in three plays: Love’s Labour’s Lost, As You Like It, and The Merchant of Venice. In each play, the female protagonist dons a disguise to experiment with her love interest, testing his suitability as a husband, and developing agency for herself in the relationship. Only in the triangulation of disguise, experimentation, and comedy does this agency become fully realized. The various iterations of the experimentation provide the women an avenue to acquire agency in their romantic relationships. These iterations also illustrate Shakespeare’s engagement with Early Modern scientific discourse. Each play approaches the experiment differently and achieves different results. That difference reveals the true nature of each relationship. 1 CHAPTER 1 INTRODUCTION Recent scholarship in Shakespearean studies has focused on what Shakespeare knew about science. Howard Marchitello argues that Shakespeare includes machinery in his texts, and experimentation produces machinery. Elizabeth Spiller argues that The Tempest was Shakespeare’s acknowledgement of the shift from Aristotelian based knowledge to experimental fact-based epistemology, and B.J. Sokol explores intellectual matters, such as science, that are reflected in Shakespeare’s works. Of course, the term “science” as we know it today was not used during the late sixteenth and early seventeenth centuries. Contrary to popular belief, however, the term was in use in these and previous eras. In fact, the Oxford English Dictionary (OED) indicates that the first use of “science” was in 1350. The OED defines this, science’s first use as “the state or fact of knowing; knowledge or cognizance of something; knowledge as a personal attribute” (“Science, n1a”). This definition provides an understanding of science as it relates to Shakespeare because of its focus on knowledge. A now archaic definition, “particular area of knowledge or study; a recognized branch of learning; spec. (in the Middle Ages) each of the seven subjects forming the trivium (grammar, logic, and rhetoric) and quadrivium (arithmetic, geometry, music, and astronomy)” (“Science, n3a”) proves inappropriate for this research because no branch of scientific study existed during the Early Modern period, and the trivium did not include it amongst its subjects. Of course, today’s more common understanding of science, “the intellectual and practical activity encompassing those branches of study that relate to the phenomena of the physical universe and their laws” (“Science, n5b”) does not apply here either. A more tangible connection between Shakespeare and science is the OED definition, “a branch of study that deals with a connected body of demonstrated truths or with observed 2 facts systematically classified and more or less comprehended by general laws, and incorporating trustworthy methods (now esp. those involving the scientific method and which incorporate falsifiable hypotheses) for the discovery of new truth in its own domain” (“Science, 4b”). This definition, with its focus on observed facts incorporating trustworthy methods for the discovery of new truth, seems to apply most effectively to Shakespeare since he incorporates observation, testing and new discoveries along with the changing nature of knowledge about the natural world in his plays. Shakespeare also included in his plays an understanding of societal norms, which he often circumvented. For example, society place limitations on those who could participate in this new understanding of science, especially women. Women’s lack of agency often limited their ability to participate in cultural activities outside the home. The Early Modern culture excluded women from practicing the general form of science that slowly developed. In her consideration of women and science Kathleen P. Long poses the questions, “what is at stake when women participate in scientific enterprises and discourses? In what contexts do women engage in scientific inquiry, how might that engagement be limited, and how do women bypass or overcome these limitations?” (18). Shakespeare devices a way to do just that. Certainly, Shakespeare has proven masterful at displaying intelligent women. He includes these knowledgeable women in all genres. However, the combination of women’s knowledge and the practices of science by women in disguise becomes more apparent within Shakespeare’s comedy plays. Shakespeare uses the stage convention of disguise to allow women to bypass social limitations and participate in experimentation. This in turn allows women to acquire agency
Load more

Recommended publications
  • Photography As Metaphor and Material Object in Victorian Culture
    "MIRROR WITH A MEMORY": PHOTOGRAPHY AS METAPHOR AND MATERIAL OBJECT IN VICTORIAN CULTURE Sarah Worman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Piya Pal-Lapinski, Advisor Kim Coates © 2017 Sarah Worman All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor In the Victorian period, photography was associated with the ghosts of history, con artists in the streets of London, and cultural anxieties about the future of Victorian society. The Victorian practice of photographing ghosts, or spirit photography, showed how Victorians viewed the past, present, and future. By examining the cultural artifact of Georgiana Houghton’s Chronicles of the Photographs of Spiritual Beings (1882), it becomes clear how photography affected Victorian literature as well as Victorian culture. In the short stories, “Oke of Okehurst” (1886) and “A Wicked Voice” (1887), Vernon Lee compared Victorian produced art to art from history. For Lee, the fast paced and highly commercialized art, which was influenced by photography, was not as powerful as art with historical context. An earlier work, Thomas Hardy’s A Laodicean: A Story of To-Day (1881), also showed the connections between photography, history, and uncertainty. The characters try to use photography to try and preserve a crumbling medieval castle, but their attempts end in failure. While technology like telegraphs gives Paula a sense of power, the novel leaves her wishing she had a more stable connection to the past and the future. These examples of Victorian literature show that photography affected Victorian culture at a deeper level than previously thought.
    [Show full text]
  • Inside This Issue Usc Upstate College Of
    USC UPSTATE COLLEGE OF SPRING 2016 Upstate to Introduce New Campus and Academic Program to Downtown Greenville Over the past several years, USC Upstate has demonstrated a Office of Service-Learning and Community Engagement, the steady evolution toward expanding its presence in the region program will utilize the unique “urban laboratory” opportunity and further fulfilling its metropolitan mission. In the upcoming the downtown Greenville location provides and offer students months, this evolution will take another major step forward a hands-on learning experience. with the opening of the university’s downtown Greenville location and the establishment of a new major in urban and “We realized very quickly that the best place for the students regional studies. to begin their studies in a program like this was in a place like Greenville, which is nationally recognized and is studied around USC Upstate’s River Street Campus, located at 501 River St. the country in urban development programs as an example of above Greenville’s Centre Stage theatre, will begin offering urban redevelopment,” McCormick noted. “Its success story is classes this August, with students having the opportunity to take known nationwide, so to position the program in the middle of courses in history, religion, art and other popular areas of study. that couldn’t be more ideal. That’s what we mean by the urban laboratory. You walk out the door and it’s the “We want to have more and more of our “ laboratory.” undergraduates to find this location convenient We see this as an engine and find this location very desirable for their for recruiting more However, the urban and regional studies needs,” Dr.
    [Show full text]
  • Puyallups Occupation of Tacoma Hospital (1)” of the Bradley H
    The original documents are located in Box 5, folder “Puyallups Occupation of Tacoma Hospital (1)” of the Bradley H. Patterson Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 5 of the Bradley H. Patterson Files at the Gerald R. Ford Presidential Library Prlt !MI ~Iff ;~&of /) ra-J- J ~ MEMORANDUM OF CALL I 0 WILL CALL AGAIN 0 IS WAITING TO SEE YOU 0 RETURNED YOUR CALL 0 WISHES AN APPOINTMENT RECEIVED BY IDATE ITIME SfANDARD FORM 63 01'0 : 18811---'8-18-60841-1 882-aO "63-108 REVISED AUGUST 1967 GSA FPMR (41 CFR) 101-11.6 ~ \: <. ~ ~~ . ~-s THE WHITE WAS HOUSE , ,'/ ' . HINGTON lj "!{_;z ~!_~ i /)o r z;;Jh~ 0 4 t (J1.P'-c }iw 4J' liZ~• THE WHITE HOUSE WASHINGTON • THE WHITE HOUSE WASHINGTON ~(/~~~ r // . --v~affi ( ~; - ~ . THE WHITE HOUSE WASHINGTON THE WHITE HOUSE WASHINGTON ~~-~ )// 0<-f ( ~ / • ~ THE WHITE HOUSE WASHINGTON "very accertable" "may lead to Indians vacating the facility" said RB.
    [Show full text]
  • Chronological Table of Productions at the Theatre Royal
    1 CHRONOLOGICAL TABLE OF PRODUCTIONS AT THE THEATRE ROYAL 1884 17 - 20 December Richelieu 22 - 24 December Belphegor The Loan of a Lover 26 December-9 Jan Proof 1885 10 January The Lady of Lyons 12 - 17 January The Duke’s Motto 19 - 21 January East Lynne 22 - 23 January Leah 24 - 30 January Richard III 31 January The Stranger Robert Macaire 2 - 6 February Ambition (Catherine Howard) 7 February William Tell East Lynne 9 - 21 February Never Too Late to Mend 23 - 28 February Drink 2 - 4 March Macbeth 5-7 March Hamlet 9 - 14 March The Danites 16 - 20 March Streets of London 21 March Don Caezar de Bazan Black Eyed Susan 23 - 25 March The Octoroo 26 - 27 March The Merchant of Venice The Royalist and the Republican 28 March The Bells Black Eyed Susan 30 March - 1 April The Colleen Bawn 2 April Ingomar The Watermen 3 April CLOSED (GOOD FRIDAY) 4 April Othello 6 - 11 April Mazeppa The Little Pest 13 - 14 April Othello 15 - 16 April Belphegor 17 April Ingomar 18 April Pizarro Cartouche 20 - 22 April Ticket of Leave Man 23 April The Honeymoon Withered Leaves 24 April Ticket of Leave Man 25 April - 1 May Forsaken 2 May The Beggar’s Petition Forsaken (two acts) 4 - 5 May Rob Roy 2 6 May The Shaughraun 7 May Don Caesar de Bazan 8 May The Shaughraun 9 May The Devil in Paris Poor Joe 11 May Chevalier St George 12 May Richelieu 13 May Hamlet 14 May Romeo and Juliet 15 May Richard III 16 May Romeo and Juliet 18 - 20 May My Comrade 21 May Arra-na-pogue 22 May My Comrade 23 - 30 May Uncle Tom’s Cabin 1 - 13 June My Sweetheart 15 - 20 June Mardo 22 June -
    [Show full text]
  • Index All Names Are Arranged Last Name, First Name, Or Last Name
    Index All names are arranged last name, first name, or last name, nickname/title, so Old Sleuth is indexed as “Sleuth, Old.” All pseudonyms and story and novel titles are indexed according to their most famous and well-known arrangement, so Les Miserables is put in the L section—it would be an act of mulish perversity and unfriendliness to the reader to put Les Miserables in the Ms—but The Adrets Inn is put in the A section. Generally, I’ve indexed names and titles where readers are most likely to look for them. Abällino the Great Bandit, The Abbess: A Romance, Abbott, Edwin Abbott, Flatland, The Abbott of Montserrat, or, The Pool of Blood, Abdallah or the Horrible Sacrifice, About, Edmond, Abrams, M.H., Across the Zodiac (1880), Across the Zodiac (1896), “The Actress Detective,” Adams, H.C., Schoolboy Honour, Adams, Sir John, Adee, Alvey, “The Life Magnet,” Adler, Irene, Admiral Tom, King of the Boy Buccaneers, The Adrets Inn, adventure fiction, “The Adventure of a Scandal in Bohemia,” “The Adventure of the Final Problem,” The Adventures of a Micro-Man, The Adventures of a Mounted Trooper in the Australian Constabulary, The Adventures of Hajji Baba, of Ispahan, The Adventures of Hajji Baba of Ispahan in England, “The Adventures of John Bell—Ghost-Exposer,” The Adventures of Pinocchio, Adventures of Susan Hopley, adventuress, aerial bombardment, Aesop’s Fables, “Affairs of a State Detective,” Afghanistan, Anglo-Afghanistan wars, An African Millionaire: Episodes in the Life of the Illustrious Colonel Clay, – African-Americans, The Age of Storytellers, “Ahez the Pale,” Aiken, Albert W., Aimard, Gustav, see Oliver Gloux.
    [Show full text]
  • Carleton-Willard Villager
    CARLETON-WILLARD VILLAGER MARCH 2016 ❀ VOLUME 34 ❁ Number 1 T HE C ARLE T ON -W ILLARD Co-Editors’ Corner ILLAGER V Anticipation is the mood of March, expressed in Published quarterly by and for the residents and Mary Devoe’s cover of bright blossom to come, as well as administration of Carleton-Willard Village, an ac- the theme of this issue. Writers have variously antici- pated a first child, a walking holiday in Tuscany, a new credited continuing care retirement community at bride from a far country and a bride-to-be sailing to a far 100 Old Billerica Road, Bedford, Massachusetts 01730. country. Giving the theme a twist, one story tells of an anticipated journey which fails to pan out as planned. As always, we are pleased to publish articles and CO-EDITORS poems on topics quite unrelated to the chosen theme. Alice Morrish and Peggy McKibben You will find peanut butter cookies, a dog named Pat and an heirloom dining room table among these. We EDITORIAL BOARD hope that the range of subjects and styles which you Mary Cowham • Edwin Cox find in these pages will inspire you to write your Henry Hoover • Stephanie Rolfe thoughts and experiences and submit them for pub- Anne Schmalz • Nancy Smith lication. Trouble getting started? Any member of the Cornelia (Neela) Zinsser Editorial Board would be pleased to chat with you to start you on your way! In tune with our theme, Carleton-Willard as a PRODUCTION DESIGNER community is anticipating a massive construction Kathy Copeland, Allegra project: the new Village Centre and Bistro.
    [Show full text]
  • The Music of Samuel Coleridge-Taylor (1875-1912): a Critical and Analytical Study
    Durham E-Theses The music of Samuel Coleridge-Taylor (1875-1912): a critical and analytical study Carr, Catherine How to cite: Carr, Catherine (2005) The music of Samuel Coleridge-Taylor (1875-1912): a critical and analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2964/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. The Music of Samuel Coleridge-Taylor (1875 - 1912): A Critical and Analytical Study Catherine Carr A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) University of Durham Music Department
    [Show full text]
  • A Study of Xu Xu's Ghost Love and Its Three Film Adaptations THESIS
    Allegories and Appropriations of the ―Ghost‖: A Study of Xu Xu‘s Ghost Love and Its Three Film Adaptations THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Qin Chen Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Master's Examination Committee: Kirk Denton, Advisor Patricia Sieber Copyright by Qin Chen 2010 Abstract This thesis is a comparative study of Xu Xu‘s (1908-1980) novella Ghost Love (1937) and three film adaptations made in 1941, 1956 and 1995. As one of the most popular writers during the Republican period, Xu Xu is famous for fiction characterized by a cosmopolitan atmosphere, exoticism, and recounting fantastic encounters. Ghost Love, his first well-known work, presents the traditional narrative of ―a man encountering a female ghost,‖ but also embodies serious psychological, philosophical, and even political meanings. The approach applied to this thesis is semiotic and focuses on how each text reflects the particular reality and ethos of its time. In other words, in analyzing how Xu‘s original text and the three film adaptations present the same ―ghost story,‖ as well as different allegories hidden behind their appropriations of the image of the ―ghost,‖ the thesis seeks to broaden our understanding of the history, society, and culture of some eventful periods in twentieth-century China—prewar Shanghai (Chapter 1), wartime Shanghai (Chapter 2), post-war Hong Kong (Chapter 3) and post-Mao mainland (Chapter 4). ii Dedication To my parents and my husband, Zhang Boying iii Acknowledgments This thesis owes a good deal to the DEALL teachers and mentors who have taught and helped me during the past two years at The Ohio State University, particularly my advisor, Dr.
    [Show full text]
  • Volume 1, No. 2
    Kippis! A Literary Journal, Volume 1 No. 2, Summer 2009 1 Welcome from the Editor by Beth L. Virtanen In this our second issue of Kippis! We provide a synopsis below, with A Literary Journal, we are pleased to the full version available on the FinNALA publish the second place winners in the website: Kippis welcomes submissions of Creative Writing Contest sponsored by the fiction, poetry, and creative nonfiction Finnish North American Literature from both emerging and unpublished Association and judged by Sheila Packa writers as well as more experienced from Duluth, Minnesota. Ms. Packa was writers. While we are open to any style awarded two Loft McKnight awards for and subject matter of material sent to us, poetry and has received two Arrowhead we do have a strong bias in favor of work Regional Arts Council fellowships also for that stresses the increasingly cross-cultural poetry. We really appreciate her work on nature of the human experience. The our behalf, and we believe she has done an immigrant/emigrant experience, strangers excellent job in selecting our winners in strange lands, language barriers, unique whose work is presented here. foods, music, social practices – all of these This issue also begins the work of and more are part of the forces that can presenting the literary products of a broad either unite us or divide us as a species, and multicultural authorship. We include and these kinds of themes are what we pieces from authors and poets across the love to present in Kippis. Regardless of US, from Asia Minor, the Korean subject matter, however, make sure the Peninsula, Canada and across the US.
    [Show full text]
  • HKFA Newsletter 38
    Editorial@ChatRoom 3 The Cold War Factor in Hong Kong Cinema, 1950s to1970s 9 How Are You, Uncle Sek Kin? 13 Fong Yim-fun and Josephine Siao 15 Moving Spaces–Production Design + Film © www.filmarchive.gov.hk Hong Kong Film Archive Head Angela Tong Section Heads Venue Mgt Rebecca Lam IT Systems Lawrence Hui Acquisition Mable Ho Conservation Edward Tse Resource Centre Chau Yu-ching [[email protected]] Research Wong Ain-ling Editorial Kwok Ching-ling At the ‘Cold War Factor in Hong Kong Cinema’ conference, participants let their thoughts run wild in the Programming Sam Ho intricate web of ideas woven by scholars from various disciplines. It’s indeed a fulfilling experience. What comes Winnie Fu next to the fruitful exchange is, however, more exchange on the way ahead for further exploration of the Newsletter Issue 38 (November 2006) subject—Discussions all packed within two to three days proved way too intensive. Taking into account the Editorial Kwok Ching-ling experience this time, we look forward to other possible ways to proceed with our research efforts. Elbe Lau Lee Pui-tak, Wong Ain-ling, Sam Ho and Mable Ho all ‘made it their calling’ to share their views. A string of Edith Chiu ‘unresolved’ problems have surfaced while we are savouring what we achieved yesterday—All are nonetheless Wong Ching Wong Wing-ki interesting lead-ins to uncontested terrains waiting to be tapped. It is none other than the Archive to plough, sow, fertilise and water the soil, yet success would never be 50 Lei King Road, Sai Wan Ho, Hong Kong possible without the support of academics and researchers to probe into it and make full use of what it offers.
    [Show full text]
  • The University of Hong Kong
    The University of Hong Kong The Phantom on Film A Roundtable Gaston Leroux's Le Fantôme de l’Opéra (The Phantom of the Opera, 1909-1910) may not be great literature, but it is a unique record of the most important social and artistic institution in the 'capital of the nineteenth century', Paris. More significant still, since the novel's publication it has radically transcended that historical-geographical specificity and become the object of constant creative re- interpretation all over the world. Nowhere is this more compellingly illustrated than in the fifty-plus screen adaptations - silent films and talkies, horror films and musicals, cartoons and telenovelas and more - that have been made in places as far apart as Hollywood, Brazil and China between 1916 and today. Take, for instance, the enormously influential 1925 Hollywood adaptation, complete with a full score and color tinted footage, or such 'quasi-musicals' as Brian De Palma's Phantom of the Paradise (1974), and The Phantom Lover (1995), starring Leslie Cheung. The latter may well be said to be a remake of an older, Chinese-language adaptation: Ma-xu Weibang's Song at Midnight (Yebang gesheng, 1937), arguably the first Chinese horror and billed as "the most fascinating and creative of all interpretations of Gaston Leroux's horrid tale" (David Robinson). Long thought to be lost, Yebang gesheng resurfaced in the West in the late 1990s along with its sequel, Yebang gesheng xuji, made in 1941 at the height of the Sino-Japanese war. This roundtable will examine these and other film as well as television adaptations, fan art and last but not least Lloyd Webber's legendary musical.
    [Show full text]
  • Anxieties at the End: Exploring the Figure of the Literary Ghost and Threatened Social Order at the Victorian Fin De Siecle
    Lakehead University Knowledge Commons,http://knowledgecommons.lakeheadu.ca Electronic Theses and Dissertations Electronic Theses and Dissertations from 2009 2015 Anxieties at the end: exploring the figure of the literary ghost and threatened social order at the Victorian fin de siecle Dumont, Terri https://knowledgecommons.lakeheadu.ca/handle/2453/4148 Downloaded from Lakehead University, KnowledgeCommons Anxieties at the End: Exploring the Figure of the Literary Ghost and Threatened Social Order at the Victorian fin de siecle by Terri Dumont A thesis submitted to the Department of English at Lakehead University in Thunder Bay, Ontario in partial fulfillment of the requirements for the degree of Master of Arts in English. Submitted: 1 May, 2015 ProQuest Number: 10611969 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest ProQuest 10611969 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition ® ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 - 1346 Dumont ii TABLE OF CONTENTS TABLE OF CONTENTS ii ACKNOWLEDGEMENTS iii ABSTRACT 1 INTRODUCTION 2 CHAPTER ONE 15 CHAPTER TWO 35 CHAPTER THREE 65 CONCLUSION 90 WORKS CITED 96 Dumont iii Acknowledgements This thesis is dedicated to my two tiny Wonder Women, Peyton and Quinn.
    [Show full text]