+publisher:"Victoria University of Wellington" +contributor:("Ricketts, Harry")

Victoria University of Wellington

1. Chimirri, Cara Cordelia. "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot.

Degree: 2014, Victoria University of Wellington

URL: http://hdl.handle.net/10063/3571

► T. S Eliot remains a literary giant close to fifty years after his death while David Jones, in contrast, is undeniably a marginal figure in… (more)

Subjects/Keywords: Liminal; Spatiality; Modernism

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APA (6^th Edition):

Chimirri, C. C. (2014). "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/3571

Chicago Manual of Style (16^th Edition):

Chimirri, Cara Cordelia. “"Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot.” 2014. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/3571.

MLA Handbook (7^th Edition):

Chimirri, Cara Cordelia. “"Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot.” 2014. Web. 08 Mar 2021.

Vancouver:

Chimirri CC. "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot. [Internet] [Masters thesis]. Victoria University of Wellington; 2014. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/3571.

Council of Science Editors:

Chimirri CC. "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot. [Masters Thesis]. Victoria University of Wellington; 2014. Available from: http://hdl.handle.net/10063/3571

Victoria University of Wellington

2. Schwass, Margot. All the juicy pastures: Greville Texidor, Frank Sargeson and New Zealand literary culture in the 1940s.

Degree: 2017, Victoria University of Wellington

URL: http://hdl.handle.net/10063/5641

► The cultural nationalist narrative, and the myths of origin and invention associated with it, cast a long shadow over the mid-twentieth century literary landscape. But… (more)

▼ The cultural nationalist narrative, and the myths of origin and invention associated with it, cast a long shadow over the mid-twentieth century literary landscape. But since at least the 1980s, scholars have turned their attention to what was happening at the margins of that dominant narrative, revealing untold stories and evidence of unexpected literary meeting points, disruptions and contradictions. The nationalist frame has thus lost purchase as the only way to understand the era’s literature. The 1940s in particular have emerged as a time of cultural recalibration in which subtle shifts were being nourished by various sources, not least the émigré and exilic artists who came to New Zealand from war-torn Europe. They included not only refugees but also a group of less classifiable wanderers and nomads. Among them was Greville Texidor, the peripatetic Englishwoman who transformed herself into a writer and produced a small body of fiction here, including what Frank Sargeson would call “one of the most beautiful prose works ever achieved in this country” (“Greville Texidor” 135). The Sargeson-Texidor encounter, and the larger exilic-nationalist meeting it signifies, is the focus of this thesis. By the early 1940s, Sargeson was the acknowledged master of the New Zealand short story, feted for his ‘authentic’ vision of local reality and for the vernacular idiom and economical form he had developed to render it. Yet he was at a turning point, increasingly constricted by the very tradition he had created. This thesis proposes that, in Texidor, he found the ideal reader for the writer he wished to become. More than merely a mentor-protégée relationship, this was an exchange that left its imprint on Sargeson’s work as much as Texidor’s. Moreover, their meeting enacted the moment at which international influences and modernist modes of expression collided with the literary nationalist project – refashioning, complicating and enlarging it in the process. Combining literary analysis, cultural and literary history, and biography, this thesis is divided into three parts. The first examines the narrative of invention and indigeneity constructed around the dominant Phoenix-Caxton writers, and the scholarship challenging that narrative and its totalising claims. Turning to the arrival of exilic artists from Europe and elsewhere, it argues that the nationalist and the exilic operated as unexpectedly compatible mentalities in 1940s New Zealand. The second part considers the sources of Sargeson’s literary dilemma in the 1940s, his quest for artistic reinvention, and his problematic role as mentor to a generation of emerging writers. The final part comprises a close reading of Texidor’s published fiction and also (for the first time) her unpublished work. Her fiction is read not only as a record of a writer’s development, but also through the lens of intermodernist theory, suggesting an affinity with writers elsewhere using modernist methods to register the personal and social consequences of political commitment and war. This… Advisors/Committee Members: Ricketts, Harry, Williams, Mark.

Subjects/Keywords: Greville Texidor; Literary nationalism; Frank Sargeson; Exilic artists; Texidor; Sargeson; Cultural nationalism

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APA (6^th Edition):

Schwass, M. (2017). All the juicy pastures: Greville Texidor, Frank Sargeson and New Zealand literary culture in the 1940s. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/5641

Chicago Manual of Style (16^th Edition):

Schwass, Margot. “All the juicy pastures: Greville Texidor, Frank Sargeson and New Zealand literary culture in the 1940s.” 2017. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/5641.

MLA Handbook (7^th Edition):

Schwass, Margot. “All the juicy pastures: Greville Texidor, Frank Sargeson and New Zealand literary culture in the 1940s.” 2017. Web. 08 Mar 2021.

Vancouver:

Schwass M. All the juicy pastures: Greville Texidor, Frank Sargeson and New Zealand literary culture in the 1940s. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2017. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/5641.

Council of Science Editors:

Schwass M. All the juicy pastures: Greville Texidor, Frank Sargeson and New Zealand literary culture in the 1940s. [Doctoral Dissertation]. Victoria University of Wellington; 2017. Available from: http://hdl.handle.net/10063/5641

Victoria University of Wellington

3. Morton, Lindsay Jane. Epistemic Responsibility and the Literary Journalist.

Degree: 2013, Victoria University of Wellington

URL: http://hdl.handle.net/10063/2789

► The primary purpose of this thesis is to examine the role of epistemic responsibility in the practice of book-length literary journalism. Literary journalism offers a… (more)

▼ The primary purpose of this thesis is to examine the role of epistemic responsibility in the practice of book-length literary journalism. Literary journalism offers a powerful alternative to mainstream journalism. Its narrative mode and storytelling techniques open possibilities of representation often closed by traditional reporting practices. Subsequently, literary journalists have attracted criticism for unorthodox modes of representation and attendant “truth claims” in many texts. In this thesis I draw on the work of epistemologist Lorraine Code to highlight the tension between the branches of ethics and epistemology, and argue that holding them apart for the purposes of explication yields important insights into the practice of literary journalism. I argue that criticism of literary journalism has at times conflated ethical and epistemic concerns, resulting in censure of the practitioner on primarily moral grounds. While such a critique is often valid, I propose that it can mislabel problematic cognitive processes as moral deficiencies. A re-examination of significant controversies raised by literary journalism shows disputed areas stemming from epistemic “blind spots”. These “blind spots” are often characterised as ethical lapses, but I argue that framing criticism in this way inhibits progress in sound practice. Recurring controversies over works by practitioners such as Janet Malcolm and Australia’s Helen Garner bear this out. I also offer close readings of three works of contemporary US literary journalism through their paratextual frames. The limits of transparency are demonstrated here, including the fact that disclosure can hide more than it illuminates. Code’s “epistemic responsibilist” approach is subsequently presented as an important addition to literary journalism scholarship, as it offers a sound foundation for reflexive practice—for both writers and critics. Using this approach, I offer critical readings of the “truth claims” in three contemporary US texts: Adrian Nicole LeBlanc’s Random Family (2003), Dave Cullen’s Columbine (2009) and Rebecca Skloot’s The Immortal Life of Henrietta Lacks (2010). A secondary aim of this thesis is to characterise contemporary Australian book-length literary journalism. Using Code’s concept of an “epistemic community”, I propose that the nature of national discourse influences the voice of the Australian literary journalist, as revealed by anxiety over representation in the texts under analysis. These texts highlight the pressures of subjectivity on truth, which results in a destabilisation of “truth claims”. In comparison with the US practitioners analysed, their three Australian counterparts analysed place less emphasis on disclosure transparency, and rely more heavily upon self-presentation as seekers, rather than discoverers, of knowledge and truth. I further maintain that these three texts represent a dominant national function of book-length literary journalism. Issues of national identity are bound up in the relationship between the land and its people, and… Advisors/Committee Members: Ricketts, Harry, Hessell, Nikki.

Subjects/Keywords: Literary journalism; Epistemic responsibility

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APA (6^th Edition):

Morton, L. J. (2013). Epistemic Responsibility and the Literary Journalist. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/2789

Chicago Manual of Style (16^th Edition):

Morton, Lindsay Jane. “Epistemic Responsibility and the Literary Journalist.” 2013. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/2789.

MLA Handbook (7^th Edition):

Morton, Lindsay Jane. “Epistemic Responsibility and the Literary Journalist.” 2013. Web. 08 Mar 2021.

Vancouver:

Morton LJ. Epistemic Responsibility and the Literary Journalist. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2013. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/2789.

Council of Science Editors:

Morton LJ. Epistemic Responsibility and the Literary Journalist. [Doctoral Dissertation]. Victoria University of Wellington; 2013. Available from: http://hdl.handle.net/10063/2789

Victoria University of Wellington

4. Armitage, Andrew Derek. The Birthday Letters Myth.

Degree: 2010, Victoria University of Wellington

URL: http://hdl.handle.net/10063/1565

► Ted Hughes's Birthday Letters (1998) has, for the most part, been judged in terms of its autobiographical content rather than for its poetic achievement. The… (more)

▼ Ted Hughes's Birthday Letters (1998) has, for the most part, been judged in terms of its autobiographical content rather than for its poetic achievement. The poems are addressed to Hughes's first wife Sylvia Plath, who committed suicide in 1963 shortly after they separated. The poems describe their relationship and deal with the aftermath of her suicide and Hughes's role in managing and promoting her writings, in many of which he was characterised as a villain. Hughes has been criticised for his subjective treatment of these events in Birthday Letters. Furthermore, the drama of the poems takes place in an apparently fatalistic universe which has led to accusations that Hughes uses fatalism in order to create a deterministic explanation for Plath's suicide and absolve himself. In The Birthday Letters Myth I will be arguing that Hughes's mythopoeia in Birthday Letters is part of his overtly subjective challenge to the discourses that have hitherto provided the "story" of his life. In Birthday Letters, there are two versions of Hughes: the younger Hughes who is character involved in the drama, and the older Hughes, looking back on his life, interpreting 'omens' and 'portents' and creating a meaningful narrative from the chaos. By his own method, Hughes highlights the subjectivity and retrospective determinism of those narratives (or 'myths') about his life that often uncritically adopt the dramatic dialectic of' victim' and 'villain' in Plath's poems. In Birthday Letters, Hughes adopts the symbols and drama from Plath's writings in order to create his own dramatic "myth" that resists contamination from the other discourses that have perpetuated the drama within her poems. The underlying myth of Birthday Letters is the shamanic myth of Orpheus and Eurydice. Hughes believed the role of the poet and that of the shaman were analogous and in Birthday Letters, as Orpheus, he goes on an imaginary journey to recover his private assumptions and conclusions about his relationship with Plath. In doing so, he achieves a redemptive, cathartic healing image for himself and the reader. Advisors/Committee Members: Ricketts, Harry, Jackson, Anna.

Subjects/Keywords: Sylvia Plath; Ted Hughes; Poems

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APA (6^th Edition):

Armitage, A. D. (2010). The Birthday Letters Myth. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/1565

Chicago Manual of Style (16^th Edition):

Armitage, Andrew Derek. “The Birthday Letters Myth.” 2010. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/1565.

MLA Handbook (7^th Edition):

Armitage, Andrew Derek. “The Birthday Letters Myth.” 2010. Web. 08 Mar 2021.

Vancouver:

Armitage AD. The Birthday Letters Myth. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2010. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/1565.

Council of Science Editors:

Armitage AD. The Birthday Letters Myth. [Doctoral Dissertation]. Victoria University of Wellington; 2010. Available from: http://hdl.handle.net/10063/1565

Victoria University of Wellington

5. Beautrais, Airini Jane. Narrativity and segmentivity in contemporary Australian and New Zealand long poems and poem sequences.

Degree: 2016, Victoria University of Wellington

URL: http://hdl.handle.net/10063/5244

► The PhD in creative writing comprises a critical and a creative component. This thesis explores how poets utilise verse form in order to support and/or… (more)

▼ The PhD in creative writing comprises a critical and a creative component. This thesis explores how poets utilise verse form in order to support and/or undermine narrativity in long poems or poem sequences, and asks the question: what possibilities are offered by verse form that distinguish poetry from other literary narrative genres? Using Rachel Blau DuPlessis’s concept of segmentivity, I consider how segmentation at various formal levels, including sections within a book, poems within a sequence, stanzas, line-breaks, and metre, can affect the narrativity of a text. I also consider segmentivity in relation to the ways in which a text may be narrativized, and to the interactions between narrative and other text types such as lyric and argument. The theoretical framework for the critical component involves a synthesis of approaches from within the fields of narrative theory and literary criticism. The methodology used is a close reading and analysis of case study texts by six New Zealand and Australian poets, written in the period 1990-2010: Dorothy Porter’s The Monkey’s Mask (1994) and What a Piece of Work (1999); Alan Wearne’s The Lovemakers (2008); Tusiata Avia’s Bloodclot (2009); Bill Sewell’s Erebus: A Poem (1999) and The Ballad of Fifty-One (2003); Anna Jackson’s The Gas Leak (2006) and John Kinsella’s Divine Comedy: Journeys Through a Regional Geography (2008). These texts range in their degree of narrativity from verse novels through narrative sequences to lyric sequences. The local and contemporary context has been chosen for several reasons, including the strong history of narrative poetry in both countries, recent trends towards long narrative poems and poem sequences, a relative lack of scholarship on the poetry of this region and time period, and because of the relevance to my own creative work. This thesis argues that segmentivity can be used with or against narrativity in a long poem or poem sequence, with a range of possible results: from strongly narrative texts such as verse novels through to antinarrative texts and lyric sequences. Different levels of segmentation have different effects on narrativity, the division of a text into individual poems being the most important in the texts under consideration here. It is demonstrated that narrative as a text type can exist alongside other text types, and that segmentivity is important to this interaction, with a bearing on the overall narrativity of a text. The creative component tests and extends the findings of the critical component. It consists of a poem sequence in three parts entitled Flow, on the subject of the Whanganui river. The sequence takes a discontinuous approach to narrative, varies in its approach to temporality, features interplay between narrative and lyric modes, and incorporates underlying arguments on environmental and social themes. Advisors/Committee Members: Ricketts, Harry, Brown, James.

Subjects/Keywords: Narrative; Poetry; Verse form

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APA (6^th Edition):

Beautrais, A. J. (2016). Narrativity and segmentivity in contemporary Australian and New Zealand long poems and poem sequences. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/5244

Chicago Manual of Style (16^th Edition):

Beautrais, Airini Jane. “Narrativity and segmentivity in contemporary Australian and New Zealand long poems and poem sequences.” 2016. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/5244.

MLA Handbook (7^th Edition):

Beautrais, Airini Jane. “Narrativity and segmentivity in contemporary Australian and New Zealand long poems and poem sequences.” 2016. Web. 08 Mar 2021.

Vancouver:

Beautrais AJ. Narrativity and segmentivity in contemporary Australian and New Zealand long poems and poem sequences. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2016. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/5244.

Council of Science Editors:

Beautrais AJ. Narrativity and segmentivity in contemporary Australian and New Zealand long poems and poem sequences. [Doctoral Dissertation]. Victoria University of Wellington; 2016. Available from: http://hdl.handle.net/10063/5244

Victoria University of Wellington

6. Hight, Georgia. “Making Nonsense of the Little Categories”: Slaughterhouse-Five and The Memoirs of a Survivor as autobiographical science fiction.

Degree: 2017, Victoria University of Wellington

URL: http://hdl.handle.net/10063/6718

► Kurt Vonnegut’s Slaughterhouse-Five (1969) and Doris Lessing’s The Memoirs of a Survivor (1974) are both novels that blend autobiography with science fiction. In a review… (more)

▼ Kurt Vonnegut’s Slaughterhouse-Five (1969) and Doris Lessing’s The Memoirs of a Survivor (1974) are both novels that blend autobiography with science fiction. In a review of Vonnegut’s Mother Night, Lessing writes that he “makes nonsense of the little categories”. The same applies to Lessing. These two novels live in the porous borders between genre—between fiction and non-fiction. Vonnegut writes that he can’t remember much of his experiences in the firebombing of Dresden in the Second World War. The war novel he writes about them has a protagonist who is “unstuck in time”. I frame my discussion of Slaughterhouse around problems of temporal and narrative ordering. Through use of fractured time, repetitions, and the chronotope, Vonnegut finds a way to express his missing and traumatic memories of the war. Lessing’s memories are of her early childhood in Persia and Southern Rhodesia. These memories are warped, claustrophobic, and difficult to articulate. Like Slaughterhouse, Memoirs fractures time and space. I organise my discussion of Lessing’s novel around the latter, focusing on a literalised porous border: her dissolving living room wall. Borders and portals between spaces in Memoirs blend the dystopian, science-fiction world of the city with the world of Lessing’s memories; dreams with reality; and the static with the dynamic. I pose several answers to the question of why science fiction and autobiography. A shared occupation of the two authors was a concern for the madness and dissolution of society, and science fiction engages in a tradition of expressing these concerns. Additionally, Vonnegut and Lessing use the tools of a genre in which it is acceptable for time and space to be warped or fractured. These tools not only allow for the expression of memories that are fragmented, difficult, and half forgotten, but produce worlds that mirror the form of these personal memories. Advisors/Committee Members: Ricketts, Harry, McNeill, Dougal.

Subjects/Keywords: Autobiography; Science fiction; Trauma; Kurt Vonnegut; Doris Lessing

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APA (6^th Edition):

Hight, G. (2017). “Making Nonsense of the Little Categories”: Slaughterhouse-Five and The Memoirs of a Survivor as autobiographical science fiction. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/6718

Chicago Manual of Style (16^th Edition):

Hight, Georgia. ““Making Nonsense of the Little Categories”: Slaughterhouse-Five and The Memoirs of a Survivor as autobiographical science fiction.” 2017. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/6718.

MLA Handbook (7^th Edition):

Hight, Georgia. ““Making Nonsense of the Little Categories”: Slaughterhouse-Five and The Memoirs of a Survivor as autobiographical science fiction.” 2017. Web. 08 Mar 2021.

Vancouver:

Hight G. “Making Nonsense of the Little Categories”: Slaughterhouse-Five and The Memoirs of a Survivor as autobiographical science fiction. [Internet] [Masters thesis]. Victoria University of Wellington; 2017. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/6718.

Council of Science Editors:

Hight G. “Making Nonsense of the Little Categories”: Slaughterhouse-Five and The Memoirs of a Survivor as autobiographical science fiction. [Masters Thesis]. Victoria University of Wellington; 2017. Available from: http://hdl.handle.net/10063/6718

Victoria University of Wellington

7. Buchanan, Andi C. R. Countries of the Blind: Blindness and the Creation of Other Worlds in “The Country of the Blind”, “The Black Grippe” and The Day of the Triffids.

Degree: 2014, Victoria University of Wellington

URL: http://hdl.handle.net/10063/3762

► This thesis examines the depiction of mass blindness in three works: H.G. Wells’s “The Country of the Blind”, Edgar Wallace’s “The Black Grippe” and John… (more)

Subjects/Keywords: Speculative fiction; Disability; Blindness

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APA (6^th Edition):

Buchanan, A. C. R. (2014). Countries of the Blind: Blindness and the Creation of Other Worlds in “The Country of the Blind”, “The Black Grippe” and The Day of the Triffids. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/3762

Chicago Manual of Style (16^th Edition):

Buchanan, Andi C R. “Countries of the Blind: Blindness and the Creation of Other Worlds in “The Country of the Blind”, “The Black Grippe” and The Day of the Triffids.” 2014. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/3762.

MLA Handbook (7^th Edition):

Buchanan, Andi C R. “Countries of the Blind: Blindness and the Creation of Other Worlds in “The Country of the Blind”, “The Black Grippe” and The Day of the Triffids.” 2014. Web. 08 Mar 2021.

Vancouver:

Buchanan ACR. Countries of the Blind: Blindness and the Creation of Other Worlds in “The Country of the Blind”, “The Black Grippe” and The Day of the Triffids. [Internet] [Masters thesis]. Victoria University of Wellington; 2014. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/3762.

Council of Science Editors:

Buchanan ACR. Countries of the Blind: Blindness and the Creation of Other Worlds in “The Country of the Blind”, “The Black Grippe” and The Day of the Triffids. [Masters Thesis]. Victoria University of Wellington; 2014. Available from: http://hdl.handle.net/10063/3762

Victoria University of Wellington

8. Galbraith, Rebekah. The Female Künstlerroman in the Writing of Virginia Woolf.

Degree: 2016, Victoria University of Wellington

URL: http://hdl.handle.net/10063/6254

► The defining features of the female Künstlerroman in Virginia Woolf’s writing suggest a revision of the narrative form to accommodate, navigate, and interrogate the artist’s… (more)

▼ The defining features of the female Künstlerroman in Virginia Woolf’s writing suggest a revision of the narrative form to accommodate, navigate, and interrogate the artist’s gender and origins of her creativity. This thesis plots the birth of the female artist and the conditions of her artistic development within Woolf’s writing by first examining the construction of Rachel Vinrace, the rudimentary artist of the equally embryonic text, Melymbrosia (1912-1982). Rachel’s failure to privately self-identify as an artist is contrasted with her reluctance to accept her future potential as a wife and mother, suggesting that “woman” and “artist” are two mutually exclusive identities. For this reason, Woolf’s use of the female Künstlerroman examines the complexities of the female artist’s ability and, indeed, inability to acknowledge and inhabit her creative identity. But how, exactly, the narrative form develops in Woolf’s writing relies upon a reading of the relationship between the figure of the artist and the novel she occupies: Rachel Vinrace in Melymbrosia; Lily Briscoe and Mrs. Ramsay in To the Lighthouse (1927); Orlando in Orlando: A Biography (1928); Miss La Trobe and Isa Oliver in Between the Acts (1941). Each of these works present a modification of the female Künstlerroman, and, in doing so, a markedly different artist-as-heroine. Moreover, in Woolf’s later writing, the narrative development of the female artist incorporates aspects of historical non-fiction, the biographical and autobiographical, and epistolary and essayistic fictions. An analysis of the intertextual relationship between A Room of One’s Own (1929) and Orlando: A Biography, and Three Guineas (1938) and Between the Acts, is therefore critical to the argument of this thesis. The following is an exploration of how a variety of female artist-figures are constructed within Woolf’s writing: a musician, a painter, a social artist, a poet, and a pageant-writer-director. Through Woolf’s diverse expositions on the creative process, her heroines embody the personal difficulties women encounter as they attempt to realise their artistic potential. In this way, the female Künstlerroman is used by Woolf to examine, often simultaneously, the aesthetics of failure, as well as the conditions of success. But that a multitude of creative mediums appear in Woolf’s writing suggests there are universal obstacles when the artist in question is a woman, an implication in the narrative of the female Künstlerroman that the gender of a protagonist is the primary source of complication. Therefore, the degree to which each heroine achieves a sense of creative fulfilment is dependent on her ability to recalibrate her identity as a woman with her self-authorisation as an artist. Advisors/Committee Members: Ross, Sarah, Ricketts, Harry.

Subjects/Keywords: Virginia Woolf; Künstlerroman; Gender

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Galbraith, R. (2016). The Female Künstlerroman in the Writing of Virginia Woolf. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/6254

Chicago Manual of Style (16^th Edition):

Galbraith, Rebekah. “The Female Künstlerroman in the Writing of Virginia Woolf.” 2016. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/6254.

MLA Handbook (7^th Edition):

Galbraith, Rebekah. “The Female Künstlerroman in the Writing of Virginia Woolf.” 2016. Web. 08 Mar 2021.

Vancouver:

Galbraith R. The Female Künstlerroman in the Writing of Virginia Woolf. [Internet] [Masters thesis]. Victoria University of Wellington; 2016. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/6254.

Council of Science Editors:

Galbraith R. The Female Künstlerroman in the Writing of Virginia Woolf. [Masters Thesis]. Victoria University of Wellington; 2016. Available from: http://hdl.handle.net/10063/6254

Victoria University of Wellington

9. Manker, Tina. New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age.

Degree: 2020, Victoria University of Wellington

URL: http://hdl.handle.net/10063/8887

► Tara, the 17-year-old narrator of Dear Vincent by Mandy Hager, struggles in the relationship with her mother and learns about her family’s past on a… (more)

▼ Tara, the 17-year-old narrator of Dear Vincent by Mandy Hager, struggles in the relationship with her mother and learns about her family’s past on a trip to Ireland. She must decide whether she follows in the footsteps of her sister who died by suicide or whether she chooses life for herself and what her life will look like. Whiti Hereaka’s Bugs follows the development of Bugs, who turns 17 about half-way through the novel. She faces low expectations and institutional discrimination at school and must make decisions about her future. While Bugs chooses to stay; her personal growth is like that of Tara who leaves. In Kate De Goldi’s The 10PM Question, we engage with 12-year-old Frankie, who struggles with anxiety and a permanently house-bound mother. Like the protagonists of the other novels, Frankie must determine who he is by forming his first strong friendship with a teenager of the opposite sex and by questioning the adults around him. He, too, must make decisions which contradict the actions of his family. All three, Tara, Bugs and Frankie, are supported in this process by friends and extended family, and, as we will see, these characters come to play crucial roles in each protagonist’s identity formation. What this thesis shows is that their stories are both universal and local. All three novels include common elements of Young Adult fiction about identity formation and coming-of-age and they are firmly located in New Zealand by way of incorporating uniquely New Zealand national myths. These myths shape our collective identities and adolescence is a time when teenagers form theirs. It is during this time that they explicitly notice and, at times, question the myths that they have been raised to believe in. This thesis is concerned with Overseas Experience (OE) as a way to develop one’s sense of self and broadening one’s horizons, the egalitarian myth or the belief that ‘we are all equal here’, and the ‘she’ll be right’ myth, the assumption that things will somehow right themselves. It seeks to explore what these novels suggest about the three different national myths of New Zealand and their role in identity formation. It will also discuss whether different views are presented. Advisors/Committee Members: Ricketts, Harry, Walls, Kathryn.

Subjects/Keywords: national myths; New Zealand young adult fiction; national attitudes

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APA (6^th Edition):

Manker, T. (2020). New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/8887

Chicago Manual of Style (16^th Edition):

Manker, Tina. “New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age.” 2020. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/8887.

MLA Handbook (7^th Edition):

Manker, Tina. “New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age.” 2020. Web. 08 Mar 2021.

Vancouver:

Manker T. New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age. [Internet] [Masters thesis]. Victoria University of Wellington; 2020. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/8887.

Council of Science Editors:

Manker T. New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age. [Masters Thesis]. Victoria University of Wellington; 2020. Available from: http://hdl.handle.net/10063/8887

Victoria University of Wellington

10. Abbiss, Will. Heritage and Post-Heritage: Investigating the Style, Form and Genre of Period Drama in 2010s British Television.

Degree: 2020, Victoria University of Wellington

URL: http://hdl.handle.net/10063/9400

► This project analyses six period drama productions in British television of the 2010s, expanding Claire Monk’s term of ‘post-heritage’ into a critical framework. Its case… (more)

▼ This project analyses six period drama productions in British television of the 2010s, expanding Claire Monk’s term of ‘post-heritage’ into a critical framework. Its case studies establish a cycle of progressive representations of the past in recent television drama, which operate against the assumptions of ‘heritage’ nostalgia forwarded by earlier scholars. The post-heritage framework consists of five guiding elements: interrogation, subversion, subjectivity, self-consciousness and ambiguity. These inform the analysis of the project’s case studies, while also allowing the existence of post-heritage elements to be recognised in earlier period drama productions. The thesis is split into three distinct parts, which allow the heritage and post-heritage elements of the case studies to be associated with the characteristics and theoretical concepts of television drama. The first chapter of each part evaluates the institutional context of its case study, identifying its impact upon production through textual examples from the programme. The second chapter of each part focuses on close analysis, demonstrating the extent to which post-heritage elements can assist innovation in television drama. Part I focuses on televisual style, identifying the naturalist, realist and modernist aesthetics of television drama. Scholarly sources are used to connect these with periods of British television history. This aesthetic discussion leads to theoretical concepts of identity and culture, which informs the case study analyses that follow in chapters 1 and 2. Chapter 1 concerns the BBC/Masterpiece revival of Upstairs Downstairs (2010-12), identifying its more developed post-heritage point of view in comparison to Downton Abbey (ITV/Masterpiece, 2010-15) and the original Upstairs, Downstairs (ITV, 1971-75). It also considers the circumstances that hindered the production of the BBC series’ second season and contributed to its cancellation, establishing the impact of these on the programme’s representation of the past. Chapter 2’s case study is Dancing on the Edge (BBC, 2013), the interwar narrative of which allows the part’s themes of identity and culture to be explored. The project’s second part analyses televisual form, assessing the increasing hybridity between series and serial forms in twenty-first century television. The theoretical focus of part II is narratives of trauma, influenced by the dichotomy between Cathy Caruth and Dominick LaCapra’s concepts of the traumatic experience. Chapter 3’s analysis of The Crown (Netflix, 2016-present) reveals a Caruthian approach to trauma, its narrative impact recurring endlessly and allowing the British monarchy’s tenuous position from the 1950s to reflect upon the present day. Chapter 4, meanwhile, considers the LaCaprian trauma expressed in The Living and the Dead (BBC/BBC America, 2016), suggesting a process of ‘working through’ that can find a resolution. These diverse approaches to trauma are connected to The Crown and The Living and the Dead’s grounding in serial and series form… Advisors/Committee Members: Dunleavy, Trisha, Ricketts, Harry.

Subjects/Keywords: television; British; heritage; period drama; culture; identity; trauma; genre

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APA (6^th Edition):

Abbiss, W. (2020). Heritage and Post-Heritage: Investigating the Style, Form and Genre of Period Drama in 2010s British Television. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/9400

Chicago Manual of Style (16^th Edition):

Abbiss, Will. “Heritage and Post-Heritage: Investigating the Style, Form and Genre of Period Drama in 2010s British Television.” 2020. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/9400.

MLA Handbook (7^th Edition):

Abbiss, Will. “Heritage and Post-Heritage: Investigating the Style, Form and Genre of Period Drama in 2010s British Television.” 2020. Web. 08 Mar 2021.

Vancouver:

Abbiss W. Heritage and Post-Heritage: Investigating the Style, Form and Genre of Period Drama in 2010s British Television. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2020. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/9400.

Council of Science Editors:

Abbiss W. Heritage and Post-Heritage: Investigating the Style, Form and Genre of Period Drama in 2010s British Television. [Doctoral Dissertation]. Victoria University of Wellington; 2020. Available from: http://hdl.handle.net/10063/9400

11. Parry, Hannah. The Aeneid with Rabbits: Children's Fantasy as Modern Epic.

Degree: 2016, Victoria University of Wellington

URL: http://hdl.handle.net/10063/5222

► Despite their apparent dissimilarity, children's literature and the epic tradition are often intertwined. This is seen perhaps most clearly in the frequent retelling and repackaging… (more)

▼ Despite their apparent dissimilarity, children's literature and the epic tradition are often intertwined. This is seen perhaps most clearly in the frequent retelling and repackaging of epics such as Beowulf and the Odyssey as children's books. If there is potential for epic to become children's stories, however, there is also potential for children's stories to become epic, and a number of important works of children's fantasy have been discussed as epics in their own right. In this thesis, I examine the extent to which writers of children's fantasy can be viewed as working in an epic tradition, drawing on and adapting epic texts for the modern age as Virgil and Milton did for their own times. Looking specifically at key works of British fantasy written post-WWI, I argue that children's literature and epic serve similar social and cultural functions, including the ability to mythologise communal experience and explore codes of heroism that are absorbed by their intended audience. Rosemary Sutcliff's retellings of epic texts for children suggest the ways in which epic can be reworked to create new heroic codes that are a combination of their source material, the values of their new cultural context, and the author's own personal worldview. This potential is further explored through Richard Adams's Watership Down, an animal story that functions in part as a retelling of Virgil’s Aeneid with rabbits. J.R.R. Tolkien's The Hobbit uses the tension between epic and children's fairy-tale to examine the codes at the heart of Norse and Anglo-Saxon epic, and suggest an alternative that nonetheless allows for the glory of an epic worldview. Both T.H. White and Sutcliff engage with the Arthurian myth and the Matter of Britain in ways that use children's literature as a starting point for national epic. Finally, C.S. Lewis and Philip Pullman each make use of Milton's Paradise Lost (and, in Pullman's case, of Lewis's earlier work) to produce very different fantasies that each look ahead to the end of epic. Cumulatively, these books illustrate the manner in which children's texts provide a home for the epic in a postmodern age in which many critics suggest the epic in its pure form can no longer survive. The rise of scientific empiricism, combined with national disillusionment following WWI, has been argued to have left epic's traditional worldview of myth, religion and the supernatural impossible to be used without irony. Children's fantasy, ostensibly addressed to “an audience that is still innocent” (Gillian Adams 109), allows authors to eschew irony in favour of story-telling, and explore ideas such as courage, honour and transcendence that lie at the heart of epic. Advisors/Committee Members: Miles, Geoff, Ricketts, Harry.

Subjects/Keywords: Fantasy; Epic; Children's literature

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APA (6^th Edition):

Parry, H. (2016). The Aeneid with Rabbits: Children's Fantasy as Modern Epic. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/5222

Chicago Manual of Style (16^th Edition):

Parry, Hannah. “The Aeneid with Rabbits: Children's Fantasy as Modern Epic.” 2016. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/5222.

MLA Handbook (7^th Edition):

Parry, Hannah. “The Aeneid with Rabbits: Children's Fantasy as Modern Epic.” 2016. Web. 08 Mar 2021.

Vancouver:

Parry H. The Aeneid with Rabbits: Children's Fantasy as Modern Epic. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2016. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/5222.

Council of Science Editors:

Parry H. The Aeneid with Rabbits: Children's Fantasy as Modern Epic. [Doctoral Dissertation]. Victoria University of Wellington; 2016. Available from: http://hdl.handle.net/10063/5222

12. Nelson, Ashlee Amanda. Personal frameworks and subjective truth: New Journalism and the 1972 U.S. presidential election.

Degree: 2017, Victoria University of Wellington

URL: http://hdl.handle.net/10063/6703

► This thesis examines the reportage of the New Journalists who covered the United States 1972 presidential campaign. Nineteen seventy-two was a key year in the… (more)

▼ This thesis examines the reportage of the New Journalists who covered the United States 1972 presidential campaign. Nineteen seventy-two was a key year in the development of New Journalism, marking a peak in output from successful writers, as well as in the critical attention paid to debates about the mode. Nineteen seventy-two was also an important year in the development of campaign journalism, a system which only occurred every four years and had not changed significantly since the time of Theodore Roosevelt. The system was not equipped to deal with the socio-political chaos of the time, or the attempts by Richard Nixon at manipulating how the campaign was covered. New Journalism was a mode founded in part on the idea that old methods of journalism needed to change to meet the needs of contemporary society, and in their coverage of the 1972 campaign the New Journalists were able to apply their arguments for change to their campaign reportage. Thus the convergence of the campaign reportage cycle with the peak of New Journalism’s development represents a key moment in the development of both New Journalism and campaign journalism. I use the campaign reportage of Timothy Crouse in The Boys on the Bus, Norman Mailer in St. George and the Godfather, Hunter S. Thompson in Fear and Loathing: On the Campaign Trail ’72, and Gloria Steinem in “Coming of Age with McGovern” as case studies for the role of New Journalism at this moment in literary journalism history. As writers who rejected the mainstream press’s requirement for objectivity, the New Journalists occupied a unique role in the campaign coverage by offering different agendas and more personal frameworks than the mainstream media. I examine the framework of each of these writers’ reportage, and how their secondary agendas shaped their consciously personal narratives of the campaign. These secondary agendas and personal narratives give the New Journalists’ reportage a lasting meaning and cultural significance beyond the initial context of reporting on the campaign, and beyond the victory of Nixon, whom all four of the New Journalists analysed in this thesis opposed. As my examination of Crouse’s, Mailer’s, Thompson’s, and Steinem’s New Journalism about the 1972 campaign establishes, this microcosm represents a key point in the development of New Journalism. The research and analysis in this thesis argues that the field of study devoted to New Journalism needs to re-think some of the ways the mode has been written about. There are assumptions in the critical discourse that have been consistently accepted but which should be questioned further. It is crucial to an in-depth understanding of the mode that New Journalism scholarship reassess some of the ideas that we have become certain about and make sure they actually fit the aims and output of the New Journalists at the time. The importance of understanding the role of personal frameworks and secondary agendas in campaign journalism reaches beyond New Journalism and, as I argue in the conclusion to this thesis, has… Advisors/Committee Members: Hessell, Nikki, Ricketts, Harry.

Subjects/Keywords: New Journalism; Literary journalism; Campaign journalism

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APA (6^th Edition):

Nelson, A. A. (2017). Personal frameworks and subjective truth: New Journalism and the 1972 U.S. presidential election. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/6703

Chicago Manual of Style (16^th Edition):

Nelson, Ashlee Amanda. “Personal frameworks and subjective truth: New Journalism and the 1972 U.S. presidential election.” 2017. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/6703.

MLA Handbook (7^th Edition):

Nelson, Ashlee Amanda. “Personal frameworks and subjective truth: New Journalism and the 1972 U.S. presidential election.” 2017. Web. 08 Mar 2021.

Vancouver:

Nelson AA. Personal frameworks and subjective truth: New Journalism and the 1972 U.S. presidential election. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2017. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/6703.

Council of Science Editors:

Nelson AA. Personal frameworks and subjective truth: New Journalism and the 1972 U.S. presidential election. [Doctoral Dissertation]. Victoria University of Wellington; 2017. Available from: http://hdl.handle.net/10063/6703

13. Clayton, Hamish. "Where the Nightmares End and Real-Life Begins": Radical Unreliability in Sydney Bridge Upside Down.

Degree: 2017, Victoria University of Wellington

URL: http://hdl.handle.net/10063/6614

► The unreliable narrator is one of the most contested concepts in narrative theory. While critical debates have been heated, they have tended to foreground that… (more)

▼ The unreliable narrator is one of the most contested concepts in narrative theory. While critical debates have been heated, they have tended to foreground that the problem of the unreliable narrator is epistemological rather than ontological: it is agreed that narrators can be unreliable in their accounts, but not how the unreliable narrator ought to be defined, nor even how readers can be expected in all certainty to find a narration unreliable. As the wider critical discourse has looked to tighten its collective understanding of what constitutes unreliability and how readers understand and negotiate unreliable narration, previously divided views have begun to be reconciled on the understanding that, rather than deferring to either an implied author or reader, textual signals themselves might be better understood as the most fundamental markers of unreliability. Consequently, taxonomies of unreliable narration based on exacting textual evidence have been developed and are now widely held as indispensable. This thesis argues that while such taxonomies do indeed bring greater interpretive clarity to instances of unreliable narration, they also risk the assumption that with the right critical apparatus in place, even the most challenging unreliable narrators can, in the end, be reliably read. Countering the assumption are rare but telling examples of narrators whose reliability the reader might have reason to suspect, but whose unreliability cannot be reliably or precisely ascertained. With recourse to David Ballantyne’s Sydney Bridge Upside Down, this thesis proposes new terminological distinctions to account for instances of such radical unreliability: namely the ‘unsecured narrator’, whose account is therefore an ‘insecure narration’. Ballantyne’s novel, published in 1968, has not received sustained critical attention to date, though it has been acclaimed by a small number of influential critics and writers in Ballantyne’s native New Zealand. This thesis argues that the novel’s long history of neglect is tied to the complexities of its radically unreliable narration. With social realism the dominant mode in New Zealand literature from the 1930s to the 60s, the obligation of the writer to accurately render—and critique—local conditions with mimetic accuracy was considered paramount. Even those critics to have argued the novel’s importance often maintain, largely or in part, a social realist view of the book’s significance. Doing so, however, fundamentally elides the complexity of the novel’s narrative machinery and to deeply ironic ends: for, this thesis argues, Sydney Bridge Upside Down deploys its insecure narration as a complaint against the limits of social realism practised in New Zealand. Its unsecured narrator, Harry Baird, slyly overhauls realist reference points with overtly Gothic markers and cunning temporal dislocations to thus turn social realism’s desire for social critique back on itself via radical unreliability. Advisors/Committee Members: Williams, Mark, Ricketts, Harry, Grener, Adam.

Subjects/Keywords: New Zealand literature; David Ballantyne; Narrative theory

1 more image…

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APA (6^th Edition):

Clayton, H. (2017). "Where the Nightmares End and Real-Life Begins": Radical Unreliability in Sydney Bridge Upside Down. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/6614

Chicago Manual of Style (16^th Edition):

Clayton, Hamish. “"Where the Nightmares End and Real-Life Begins": Radical Unreliability in Sydney Bridge Upside Down.” 2017. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/6614.

MLA Handbook (7^th Edition):

Clayton, Hamish. “"Where the Nightmares End and Real-Life Begins": Radical Unreliability in Sydney Bridge Upside Down.” 2017. Web. 08 Mar 2021.

Vancouver:

Clayton H. "Where the Nightmares End and Real-Life Begins": Radical Unreliability in Sydney Bridge Upside Down. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2017. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/6614.

Council of Science Editors:

Clayton H. "Where the Nightmares End and Real-Life Begins": Radical Unreliability in Sydney Bridge Upside Down. [Doctoral Dissertation]. Victoria University of Wellington; 2017. Available from: http://hdl.handle.net/10063/6614

Victoria University of Wellington

14. Beauchamp, Jeannie. Bridging the Gulf, Taking the Risk: an Exploration of "Relationships" in Katherine Mansfield's 'Juliet', 'Brave Love', and 'Prelude'.

Degree: 2007, Victoria University of Wellington

URL: http://hdl.handle.net/10063/223

► The introduction of this thesis examines Katherine Mansfield’s belief that elements of a fictional work should be “related”. Passages in her literary reviews, journals, and… (more)

▼ The introduction of this thesis examines Katherine Mansfield’s belief that elements of a fictional work should be “related”. Passages in her literary reviews, journals, and letters state or imply her conviction that such related elements demonstrate the thinking, exploring author’s control of the text and express the author’s ideas and vision. The introduction also suggests that Mansfield’s actual “relationship” methods (as shown in the examined texts) are typical of modernist practice. The thesis then explores such methods in three of Mansfield’s earlier episodic fictions: ‘Juliet’ (written 1906–1907), ‘Brave Love’ (completed early 1915); and ‘Prelude’ (written 1915 to 1917). Chapter one introduces the “relationship” methods by a reading of the 1907 vignette ‘In the Botanical Gardens’; it then explores the techniques used in ‘Juliet’ and ‘Brave Love’, finding some similarity in the approaches. Chapter two is a section-by-section reading of ‘Prelude’, based on developments of some techniques established in chapter one. The thesis’s primary focus on each work’s ways of relating textual elements continues an approach begun by the New Critics but without their tendency to single out a main character, central symbol, and fixed meaning. Here, the argument recognises critical discussions highlighting the binary and the fluid in Mansfield’s works and the works’ alignment with both expressionism and impressionism. The resulting readings of the three works demonstrate Mansfield’s increasingly skilful techniques of “bridging the gulf” between disparate aspects of experience to achieve the modernist aim of variety and unity. The texts set up standard oppositions (such as conventionality/unconventionality, naivety/cynicism, master/servant, adult/child) and subvert them ironically. Characters on either side are associated with symbols and myths of vulnerability and power to depict how those characters both exercise and are shaped by forces, which may be social, biological, creative, or others more mysterious. These three stories of Mansfield’s adolescence and early adulthood implicitly question (given the pervasiveness of such forces) whether free choice and clear vision are possible, which potentials of identity can be realised, and what is the nature of existence itself. These readings demonstrate the achievement of Mansfield’s own requirements that fiction should be exploratory: the texts appear in the last resort to be philosophical in intent, “adventures of the soul”. Advisors/Committee Members: Ricketts, Harry.

Subjects/Keywords: Modernism; Self-discovery; Writing fiction; Writing methodology; Leitmotifs; Motifs; Associative patterns; Narrative patterns; Allusion; Mythology; Symbolism; Irony; Satire; Katherine Mansfield; Brave Love; Prelude; Juliet

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APA (6^th Edition):

Beauchamp, J. (2007). Bridging the Gulf, Taking the Risk: an Exploration of "Relationships" in Katherine Mansfield's 'Juliet', 'Brave Love', and 'Prelude'. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/223

Chicago Manual of Style (16^th Edition):

Beauchamp, Jeannie. “Bridging the Gulf, Taking the Risk: an Exploration of "Relationships" in Katherine Mansfield's 'Juliet', 'Brave Love', and 'Prelude'.” 2007. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/223.

MLA Handbook (7^th Edition):

Beauchamp, Jeannie. “Bridging the Gulf, Taking the Risk: an Exploration of "Relationships" in Katherine Mansfield's 'Juliet', 'Brave Love', and 'Prelude'.” 2007. Web. 08 Mar 2021.

Vancouver:

Beauchamp J. Bridging the Gulf, Taking the Risk: an Exploration of "Relationships" in Katherine Mansfield's 'Juliet', 'Brave Love', and 'Prelude'. [Internet] [Masters thesis]. Victoria University of Wellington; 2007. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/223.

Council of Science Editors:

Beauchamp J. Bridging the Gulf, Taking the Risk: an Exploration of "Relationships" in Katherine Mansfield's 'Juliet', 'Brave Love', and 'Prelude'. [Masters Thesis]. Victoria University of Wellington; 2007. Available from: http://hdl.handle.net/10063/223

Victoria University of Wellington

15. Ross, Isabel Walker. "Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials.

Degree: 2010, Victoria University of Wellington

URL: http://hdl.handle.net/10063/1366

► This thesis aims to identify and analyse the most prominent influences on Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials trilogy. It looks… (more)

Subjects/Keywords: Literary influence; Precursor; Acknowledgement

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APA (6^th Edition):

Ross, I. W. (2010). "Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/1366

Chicago Manual of Style (16^th Edition):

Ross, Isabel Walker. “"Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials.” 2010. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/1366.

MLA Handbook (7^th Edition):

Ross, Isabel Walker. “"Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials.” 2010. Web. 08 Mar 2021.

Vancouver:

Ross IW. "Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials. [Internet] [Masters thesis]. Victoria University of Wellington; 2010. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/1366.

Council of Science Editors:

Ross IW. "Shaping and Cutting and Improving and Adding": Acknowledged and Hidden Influences in Scott Westerfeld's Uglies series and Philip Pullman's His Dark Materials. [Masters Thesis]. Victoria University of Wellington; 2010. Available from: http://hdl.handle.net/10063/1366

Victoria University of Wellington

16. Van Rij, Vivien Jean. The Pursuit of Wholeness in Maurice Gee's Fiction for Children.

Degree: 2008, Victoria University of Wellington

URL: http://hdl.handle.net/10063/875

► Towards the end of Maurice Gee's Prowlers Noel Papps comments: "A morning on my sundeck passes like the turning of a wheel. Time present and… (more)

Subjects/Keywords: Gee; Children's literature; Historical realism

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APA (6^th Edition):

Van Rij, V. J. (2008). The Pursuit of Wholeness in Maurice Gee's Fiction for Children. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/875

Chicago Manual of Style (16^th Edition):

Van Rij, Vivien Jean. “The Pursuit of Wholeness in Maurice Gee's Fiction for Children.” 2008. Doctoral Dissertation, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/875.

MLA Handbook (7^th Edition):

Van Rij, Vivien Jean. “The Pursuit of Wholeness in Maurice Gee's Fiction for Children.” 2008. Web. 08 Mar 2021.

Vancouver:

Van Rij VJ. The Pursuit of Wholeness in Maurice Gee's Fiction for Children. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2008. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/875.

Council of Science Editors:

Van Rij VJ. The Pursuit of Wholeness in Maurice Gee's Fiction for Children. [Doctoral Dissertation]. Victoria University of Wellington; 2008. Available from: http://hdl.handle.net/10063/875

Victoria University of Wellington

17. Turner, Beatrice. "You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child.

Degree: 2009, Victoria University of Wellington

URL: http://hdl.handle.net/10063/1274

► This thesis examines eight "Golden Age"children's fantasy narratives and uncovers their engagement with the "impossibility" of writing the child. Only recently has children's literature criticism… (more)

▼ This thesis examines eight "Golden Age"children's fantasy narratives and uncovers their engagement with the "impossibility" of writing the child. Only recently has children's literature criticism recognised that the child in the text and the implied child reader cannot stand in for the "real" child reader. This is an issue which other literary criticism has been at pains to acknowledge, but which children's literature critics have neglected. I have based my reading on critics such as Karin Lesnik-Oberstein, Jacqueline Rose and Perry Nodelman, all of whom are concerned to expose the term "child" as an adult cultural construction, one which becomes problematic when it is made to stand in for real children. I read the child in the text as an entity which contains and is tainted by the trace of the adult who writes it; it is therefore impossible for a pure, innocent child to exist in language, the province of the adult. Using Derrida's conception of the trace and his famous statement that "there is nothing outside of the text," I demonstrate that the idea of the innocent child, which was central to Rousseau's Emile and the Romantic Child which is supposed to have been authored by Wordsworth and inherited wholesale by his Victorian audience, is possible only as a theory beyond language. The Victorian texts I read, which include Lewis Carroll's Alice texts, George MacDonald's At the Back of the North Wind and the Princess texts, Kingsley's The Water Babies and Mrs. Molesworth's The Cuckoo Clock and The Tapestry Room, all explore different ways in which the child might be successfully articulated: in language, in death, and through the return journey into fantasy. While all the texts attempt to reach the child, all ultimately foreground the failure of this enterprise. When a language is created which is child-authored, it fails as communication and meaning breaks down; when the adult ceases to write the narrative, the child within it ceases to exist. Advisors/Committee Members: Ricketts, Harry, Jackson, Anna.

Subjects/Keywords: Childhood; Innocence

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APA (6^th Edition):

Turner, B. (2009). "You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/1274

Chicago Manual of Style (16^th Edition):

Turner, Beatrice. “"You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child.” 2009. Masters Thesis, Victoria University of Wellington. Accessed March 08, 2021. http://hdl.handle.net/10063/1274.

MLA Handbook (7^th Edition):

Turner, Beatrice. “"You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child.” 2009. Web. 08 Mar 2021.

Vancouver:

Turner B. "You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child. [Internet] [Masters thesis]. Victoria University of Wellington; 2009. [cited 2021 Mar 08]. Available from: http://hdl.handle.net/10063/1274.

Council of Science Editors:

Turner B. "You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child. [Masters Thesis]. Victoria University of Wellington; 2009. Available from: http://hdl.handle.net/10063/1274

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Open Access Theses and Dissertations