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This thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.

This paper focuses on the forms of narration that do not fit the traditional definition and deserve more profound study. These types of narration have marked influences from British Imperialism that have made lasting effects on their structures. Beginning in the age of Old Imperialism and continuing throughout the present day, many groups of narrators were viewed as “less appealing” because they are not rich enough, white, or male. However, because of these power structures, atypical forms of narration become more significant as they allow these “less desirable” narrators to tell their story through the use of frames or assumed personas. Through close reading and research, connections can be made between atypical narrators and the cultural ideas of a society. These ideas result in the development of or lack of empathy when a group considers those they view as “others.”

Abstract This essay explores the techniques that contemporary authors use in order to make dishonest or unlikeable characters--often known as tricksters--compelling and believable. Many of fiction's most memorable characters have been tricksters. By examining novels by three contemporary authors--Michael Chabon's Wonder Boys, Jonathan Franzen's Freedom, and Zadie Smith's On Beauty--we find that specific literary tools must be employed by the author in order to make these characters understandable, and even identifiable, to the reader. Authors who use these techniques can successfully create what Chabon himself calls a "genuine rogue." These rogues often lie, cheat, and make life difficult for other main characters in the novel. Still, they go on to expose deep truths about the people and worlds they inhabit. The characters examined in this essay are Grady Tripp from Wonder Boys, Howard Belsey from On Beauty, and Richard Katz from Freedom. In looking closely at these characters, we find that Chabon, Smith, and Franzen employ a variety of tools in order to make these characters multi-dimensional and even relatable. In Wonder Boys, Chabon relies heavily on metaphor. When Grady talks about August Van Zorn, his first major literary hero, we discover that August's misfortunes mirror Grady's. In On Beauty, Smith makes effective use of dialogue to show how Howard's actions affect the lives of those around him. In Freedom, Franzen gives Richard the pivotal act of exposing a private diary--an act that leads to the breakup of the novel's lead characters. In using these techniques successfully, Chabon, Smith, and Franzen have created characters who audaciously expose important truths, even if they have to lie and cheat in the process. These techniques are of major interest to me, because the protagonist in my novel (which accompanies this essay), could very well be classified as a "genuine rogue." Andy lies and cheats constantly. He hurts the people in his life, yet he also makes them see things about themselves that they might never have seen otherwise. He does bad things to people, but he is not a villain. As a writer, I am using the techniques employed so successfully by Chabon, Smith, and Franzen in the hope that readers will at least understand Andy--and quite possibly relate to him in ways that will make him a compelling protagonist to follow.

Studies of American literature and, more specifically, literature by authors of color quite often focus on aspects of “othering”, that is, the practice of separating minority culture and literature from the larger or more dominant culture. Even before the onset of the Civil Rights Era, issues of racism have informed much of the literature of the United States, and just as long as racism has played a role in American literature, scholars, critics, and readers have discussed it. The bulk of criticism discussing African American and Native American literature examines the issues of racism as perpetrated by white society. What is not as commonly examined is the role that internalized racism plays. Ralph Ellison and Sherman Alexie are two of the most extensively studied authors of African American and Native American descent respectively, but analysis of their work tends to overlook the racism that a person can experience against his own race, choosing instead to focus on the hegemonic master narrative. Both authors used a blend of narratological self-deprecation to illustrate a desire both from and for their respective races within a larger, “American” identity; however, whereas Ellison’s novel is a bildungsroman that uses a single narrator’s self-hatred, Alexie employs multiple narrators and points of view to stitch bricolage that ultimately serves as a cohesive narrative. Eschewing the typical line of argument about visual imagery, this paper intends to explore how each author uses elements of sound, auditory metaphors, and, especially storytelling and folklore to depict internalized racism, how it works its way under the skin, and how it can be used to expose the effects of overt racism.

In the field of rhetorical narrative theory, the study of affect has been oft-acknowledged but remains undervalued. Even as affect studies has burgeoned in other fields, affect in narrative theory continues to be discussed either as a product of ethical judgments or as a purely physical response that scientific studies can measure. Affect, Embodiment, and Ethics in Narratives of Sexual Abuse expands the vocabulary for affect in narrative theory, in particular focusing on expanding our awareness of the varying potential relationships between ethical judgments and affective dynamics. Turning to narratives that represent sexual abuse and taboo violation in late-twentieth-century American literature—Vladimir Nabokov’s Lolita, Kathryn Harrison’s memoir The Kiss, and Alexander Chee’s Edinburgh—I demonstrate that affective dynamics have a variety of possible relationships with the negative ethical judgments encouraged against the abuser figures and/or taboo violators.Specifically, I argue that in order to attend to affect as it appears in narratives of sexual abuse, we must attend to “embodiment”: the character’s shifting experiences of how closely tied he or she feels mind and body to be. I call this experiential embodiment and chart it by examining representation of characters’ emotions, trauma, and bodily experience. In Chee’s Edinburgh, Fee’s paradoxically embodied desire to transcend the body, as a result of his trauma, is a central instability that must be resolved through resolving his aesthetic and sexual identities. Fee’s embodied experiences encourage similar readerly feelings and ultimately revise the frameworks for ethically judging the abuser figure. That is, whereas Big Eric receives harsh, black-and-white judgments, Fee’s progression leads to a revised, more nuanced and understanding approach that resists similar judgments when he, as an adult, has sex with a teenage student.In Harrison’s The Kiss, I examine the representation of affectless prose to demonstrate that the memoir’s submerging of excessive trauma and deep feelings itself constitutes the ethical injunction to witness the author’s and narrator’s traumatic history. This witnessing, however, does not lead to simple identification, in that the narrative refuses access to some of the deepest levels of affect the narration only hints at. Moreover, I argue that the memoir’s affectless prose and request to witness is a more successful representation of affect than the recovery model it shifts into for the resolution.Turning last to Lolita, I demonstrate another relationship between affect and ethics, this time in a close attention to individual, isolated moments in the narrative. In moments of lyrical address, Lolita offers the opportunity for potential identification with Humbert and a setting aside of the negative ethical judgments that are emphasized elsewhere. Moreover, these moments can provide a temporary reprieve from reminders of Humbert Humbert’s unreliability—and thus from the need for readerly suspicion and judgment.

Staropolskie pamiętniki stanowiły odzwierciedlenie świadomości narracyjnej ich autorów. Twórcy memuarów wywodzili się głównie ze szlachty i magnaterii, należeli również do dworu. Pamiętniki, diariusze i raptularze były zwierciadłem nie tylko światopoglądu twórców, lecz również ukazywały ich świadomość retoryczną, będącą efektem edukacji. Memuary XVI i XVII wieku charakteryzuje różnorodność narracji i ról pełnionych w tekście przez podmiot opowiadania. Narrator bowiem łączy funkcje narratora, autora i bohatera. Co więcej, pełni również funkcje kreatora i autokreatora oraz przewodnika po świecie przedstawionym utworu czy też świadomego twórcy własnego dzieła. Narracja pamiętnikarska stanowi specyficzny rodzaj opowiadania, w którym narrator jest tożsamy z autorem i jako narrator ukazuje fakty z własnego punktu widzenia. Autor opisuje wydarzenia, w których uczestniczył, zaś narrator bierze udział w ich literackim odzwierciedleniu. Niewątpliwie więc narrator należy do świata przedstawionego utworu i jest jego integralną częścią. Niezależnie od stopnia jawności, stanowi immanentny element dzieła. Pamiętnikarz bowiem rejestruje to, co widział lub słyszał, by dowieść własnego udziału w wydarzeniach oraz autentyzmu opowiadania. Celem pracy jest przebadanie form podawczych narracji oraz funkcji narratora w następujących memuarach z XVI i XVII wieku: Wypisaniu drogi tureckiej Erazma Otwinowskiego, Peregrynacyi do Ziemi Świętej Jana Goryńskiego, Poselstwie pana wojnickiego królowi j.m. w Warszawie Piotra Zborowskiego, Krótkim wypisaniu drogi z Polski do Konstantynopola Jędrzeja Taranowskiego, Dyjariuszu wyprawy wojennej Łukasza Działyńskiego, Dzienniku wyprawy Stefana Batorego pod Psków Jana Piotrowskiego, Autobiografii i Księgach peregrynackich Macieja Rywockiego, Peregrynacyi do Ziemi Świętej i Egiptu Mikołaja Krzysztofa Radziwiłła Sierotki, Pamiętniku Zbigniewa Ossolińskiego, Dyjariuszu drogi spisanej i różnych przypadków pociesznych i żałosnych prowadząc córkę Jerzego Mniszka, Marynę, Dymitrowi Iwanowiczowi w roku 1606 Stanisława Niemojewskiego, Dyjariuszu życia Kaspra Michałowskiego, Początku i progresie wojny moskiewskiej Stanisława Żółkiewskiego, Dyjariuszu ekspedycyjnej moskiewskiej dwuletniej królewicza Władysława 1617–1618 Jakuba Sobieskiego, Pamiętniku Samuela Maskiewicza, Pamiętniku Jerzego Ossolińskiego, Dyjariuszu Jana Antoniego Chrapowickiego, Autobiografia Bogusława Radziwiłła, Pamiętniku Jana Cedrowskiego, Pamiętniku Jakuba Łosia, Dyjariusz podróży po Europie w latach 1677 – 1678 Teodora Billewicza, Dyjariuszu wyprawy wiedeńskiej króla Jana III Marcina Kątskiego, Konotacyi Jana Floriana Drobysza Tuszyńskiego, Pamiętniku dzieje Polski zawierający (1648–1679) Mikołaja Jemiołowskiego, Pamiętnikach Jana Chryzostoma Paska oraz Pamiętnikach z czasów Jana Sobieskiego Kazimierza Sarneckiego. Analiza służy rozpoznaniu swoistości rodzajów narracji oraz ról narratora. Oglądowi zostały poddane formy podawcze, w tym: prezentacja sceniczna, opowiadanie relacjonujące, opis i wypowiedzi bohaterów tak w postaci przytoczeń (mowy zależnej), jak i dialogów bohaterów (mowy niezależnej). Praca podejmuje również zagadnienie zróżnicowania temporalnego staropolskich memuarów. Przebadane zostały relacje między czasem wydarzeń, czasem narracji i „czasem tworzenia” oraz zabiegi w obrębie czasu narracji. Istotnym zagadnieniem było rozpoznanie narratora w pamiętnikach XVI i XVII wieku. Bezwyjątkowa przynależność podmiotu mówiącego do świata przedstawionego stanowi cechę dystynktywną pamiętników. W opowiadaniu pamiętnikarskim i jego formach podawczych funkcjonował narrator, który przybierał w utworze role gramatyczne i metatekstowe. Zamierzeniem było przebadanie przejawów obecności narratora w tekstach. Z tego względu zostały zaprezentowane dwa podziały: jeden — metatekstowy (systematyzacja obejmująca autora-narratora-bohatera, narratora-autora i autora-bohatera), drugi — klasyfikacja postaci narratora. Dokonana została ona zgodnie podziałem Arystotelesa według osób gramatycznych, co pozwala wyróżnić: narrację w pierwszej („ja”), drugiej („ty”) i trzeciej („on”) osobie liczby pojedynczej oraz w pierwszej (podmiot kolektywny — „my”), drugiej („wy”) i trzeciej („oni”) osobie liczby mnogiej. Następnym zagadnieniem jest ogląd znacznej liczby funkcji narratora w tekście. W tym przypadku klasyfikacja została dokonana na podstawie głównych ról, które pełni on w dziele: kreatora i autokreatora (tworzenie podmiotu opowiadania i własnego wizerunku w oczach czytelnika), przewodnika po świecie przedstawionym utworu oraz świadomego twórcy własnego dzieła. W pracy starano się odpowiedzieć na pytanie, czy narracja pamiętnikarska i formy narratora ulegały przemianom w ciągu XVI i XVII wieku. Ukazano jednak, że nie były to przemiany zbyt nagłe ani konsekwentne. Dowiedziono, że w narrację pamiętnikarską często włączano elementy dygresyjne, które „rozbijały” spójność logiczno-kompozycyjną tekstu i pozwalały na stworzenie innych planów akcji, bądź na opisanie wydarzeń wcześniejszych lub późniejszych. Udowodniono również, że im bardziej narrator chciał przedstawić czytelnikowi wydarzenia szczegółowo, podkreślając dramaturgię wypadków włączaną do narracji prezentacją sceniczną lub elementami dialogowymi, tym bardziej ta forma opowiadania miała charakter pamiętnika. Można więc zauważyć, że pamiętnik nie tyle pozwolił autorom na pewną dowolność w tworzeniu narracji, lecz stanowił odpowiedź na coraz większe zapotrzebowania formalne i poszukiwania narracyjne twórców. Oznacza to, że złożoność narracyjna pamiętnika jest skutkiem różnorodności funkcji opowiadania, które na przestrzeni XVI i XVII wieku były w nim gromadzone.

Sherwood Anderson’s short story “Death in the Woods” was first published in 1933 and is considered by many critics to be one of his best works. My thesis examines the role that the narrator’s character plays in “Death in the Woods”. I argue that it is the empathic relationship that the narrator forms with Ma Grimes (a character in the text) is essential to a critical understanding of Anderson’s story. My thesis uses original research and interpretation of “Death in the Woods” along with the ideas of critics whose perspective on the work contributes to my argument. I also use a detailed analysis of an earlier version of “Death in the Woods” that appears as Chapter Twelve in Anderson’s Tar, A Midwest Childhood to point out how Anderson altered the story structure and content to better establish the narrator’s relationship to Ma Grimes. The critical and textual evidence I use to discuss the narrator’s role in “Death in the Woods” contributes to my assertion that the significance of this character’s relationship to Grimes is ultimately what drives the work and makes it a memorable literary text.

Current scholarship tends to understand omniscience as a point of view requiring disembodiment, clairvoyance, or omnipresence on the part of the omniscient narrator. In each of these paradigms, narrative omniscience circumvents the delimiting confines of a single character’s perspective. By contrast, “Omniscience Incarnate” grapples with the perplexing fact that the panoramic and synoptic expanse of omniscience often embraces character—even with its accompanying limitations—rather than refusing it. I trace how Victorian authors known for crafting narrators with sweepingly limitless perspectives—George Eliot, William Makepeace Thackeray, and Anthony Trollope—also repeatedly have these narrators materialize as characters within their storyworlds. Over and again, each narrator’s stance as a character—however brief, however delimited—paradoxically enables omniscient authority. These narrators reveal an epistemology that holds together the seeming contradiction of the embodied boundedness of character and the apparent unboundedness of narrative omniscience.I historicize this formal technique of incarnated omniscience within the nineteenth century when the omnisciently narrated novel had become a dominant cultural form. When the narrator appears in the storyworld, he or she lays bare multiple capacities of the novel form, including its facility for representing both the vast scope of multinational and historical conflicts as well as the private inner life of the individual. I examine three major repeating effects that are thrown into relief by the appearance of an omniscient narrator: how the narrator roots his or her knowledge of the narrative universe in diegetic experiences rather than claims of divinity; how the narrator negotiates the authority (or lack thereof) over narrative time and the capacity to narrate the past; and how the narrator justifies rendering other characters’ emotional and mental inner lives. By urging readers to make sense of an expansive omniscient point of view that roots itself within rather than outside the story space, incarnated narrators envision not only the characterological platform from which omniscience springs but also how one might negotiate and understand one’s being both in and of the world.

This thesis addresses the role of so called nondiegetic film music, also known as background or score music, as it pertains to the overall structure of processes involved in cinematic presentation. Some of the questions that are normally asked here are: Where is this music supposed to be coming from? Who is responsible for it? What is it really doing? In addressing this common filmic feature we will clear up several foundational concepts in film, provide a rough categorization of film music, critique Jerrold Levinson’s recent attempt to answer the above questions, and ultimately arrive at a consideration of nondiegetic film music as a kind of narrational extra dimension. We will ultimately reject the view that music is instrumental in building narrative facts, in favor of one that holds music to be significant to the very processes of film narration, affecting how a film is presented.

Journalism has always been about questions. The fundamental building blocks of standard news stories are small questions with documentary orientations: Simple whos, whats, wheres, whens, hows, and whys that flesh out a story. It is easy to make a case for how basic facts help media consumers understand the world around them through simple documentation. But criticisms of modern journalism often take issue with the image of reality that journalism portrays. Scholars have conceptualized it as incomplete, biased, and unhelpful to society. Such questioning of media products and processes is fruitful. This project questions the media’s reliance on objectivity as its means of documenting truth, and the primary question is whether or not compromising conventional journalistic objectivity in favor of a hybrid perspective that incorporates subjectivity could be a legitimate way for journalists to better represent truthful worldly reality. It analyzes how the elements of literary journalism can enable blending objective documentary impulses with self-conscious commentary to yield a media product that answers more questions. It asks if this hybridity can move journalism toward bigger questions approached on personal levels, thereby taking journalism from a passive reflection to an active representation. Ultimately, it is concerned with journalists’ desire to have their work be a record of human activity and a promoter of democratic freedom and the issue of whether or not journalists have the ability or feel the obligation to comment on big questions and their answers.This project is not the first to question objectivity. It includes a literature review that explores some of the historical and philosophical discourse on the subject of objectivity and its use by journalists as a means to an end of truth. Journalism holds truth as its primary tenant. Objectivity is truth’s twin ethic in journalistic discourse. After defining and critiquing a synthesized concept of objectivity in the practice of journalism, I formulate a theoretical response to objectivity that argues for the inclusion of subjectivity in journalistic writing.My questioning of objectivity and my theoretical response to it play out in a professional project that serves as the bulk of this project. It is a journalistic personal essay that operates as a biography of Athens, Ohio, resident and Ohio University (OU) emeritus professor of engineering Chuck Overby, mixed with my reflections and commentary on the story. The professor is 87 and still lives in the countryside near Athens with his wife of over 60 years, Ruth. They still swim together a few times a week at the OU Aquatic Center and, just as frequently, they visit the school’s library to keep up on their reading. They attend public events with regularity, he often in an Uncle Sam costume, and sometimes, in these forums, she will tug at his sleeve to indicate that he should end another improvised speech. He has delivered speeches internationally, organized a local advocacy organization, and written a book all with two interests in mind: The proliferation of peace and the conservation of the environment. While this commitment in and of itself is not unique or particularly noteworthy, Overby’s efforts at pursuing its fulfillment are. I used journalism’s natural tendency and ability to question the world as a means of exploring the uncertainties I have about the work Overby’s done and, more specifically, about what he perceives as a great deal of difficulty in effectively communicating his ideas in any public forum. After the personal essay comes a section of self-critique, which reflects on the project to analyze my execution of the inclusively subjective theory of journalism I adopt in response to objectivity.

Part One, "The Seven Days of Creation For Narrator and String Orchestra" depicts the seven days of creation as portrayed in the Bible. The narrator will first read the depiction of that particular day, followed by the referant musical movement, which will enhance the bible passage. The seven-movement piece uses a wide variety of compositional techniques including modes, whole tone scales and other artificial scales.Part Two examines Movement 4 of Shostakovich's Symphony No. 5. The hope in analyzing this movement is to discover if Shostakovich could be a progressive 20th. century composer while being closely scrutinized by the Communist Party. A brief discussion of some historic background is followed by a parametric analysis consisting of a study of form, harmonic and tonal outline, climaxes, rhythmic structure, timbre, and textural structure. The thesis shows that Shostakovich was able to be creative despite the very adverse conditions of Communist Party control. Through the examination of this movement, we find that Shostakovich can be a source of inspiration to musicians and non-musicians alike who are faced with adversity.

Girded with the belief that narrative is a driving force which guides our attraction to specific works of fiction and that some narrators are constructed in such a way that results in a greater or lesser attraction on the behalf of readers, I seek to deconstruct the narrator into its principal working components. First, I provide a brief overview of relevant twentieth century narrative theory; second, I identify what I have determined to be the principal components of the narrator-ideal; third, I apply my theoretical model to selected contemporary works of fiction by Elliot Perlman and Jhumpa Lahiri to demonstrate how these components work and where they may be found.

In 1849 Robert Schumann made the surprising decision to compose a work for narrator and piano, entitled “Schön Hedwig.” He would return to this combination for two other works, “Ballade vom Haideknaben” and “Die Flüchtlinge,” op 122, nos. 1 and 2, respectively. While relatively unknown today, these three works are significant in the way in which Schumann fuses elements of two existing musical traditions: the staged melodrama and the sung ballad. Additionally, these works proved influential in the way in which they provide a model for subsequent composers working in this medium. These works display a connection to the staged melodrama in their use of the spoken text, discontinuous accompaniment, and a primitive form of leitmotif. Schumann’s works for narrator and piano also show a connection with the sung ballad in their choice of poetry, unusual harmonic shifts, and descriptive accompanimental gestures. These influences are traced through Schumann’s spoken works as well as similar works by composers such as Franz Liszt, Richard Kügele, and Richard Strauss.

Raccoon Tune is a fifteen minute piece for narrator, two percussionists, and small orchestra (single winds and brass). It was commissioned for a children's concert by the Ann Arbor Symphony, and is a setting of the children's book of the same name by Nancy Shaw. The piece is semi-staged and theatrical: the three soloists wear raccoon masks and act out the story, and space has been left in the music for the staged action, as the audience follows the raccoons' attempts to get food from trash cans. The piece consists of two basic musical ideas - broadly speaking, the verses and choruses - which are treated with a kaleidoscope of musical references both explicit and subtle, taking ideas from tango, cabaret, trance, disco, old-school rap, trip hop, punk rock, cool jazz, Arabic string music, and the Balinese processional music gamelan beleganjur, whose hand-held cymbal parts inspire the rhythms the percussionists play with the trash can lids. Additional conscious influences include the music of the composers Claude Vivier, Leroy Anderson, Igor Stravinsky, and H. K. Gruber. One of the main compositional goals of this piece was to manage the musical kinetic energy effectively over long periods - to create palpable currents and waves of energy, change and action (both visual and musical) that would keep a very distractible audience engaged throughout the work. One important feature of this effort is the extreme economy of means: the constant re-interpretation of a small amount of musical material provides both a continuous re-orientation through recognizability, as well as a sense of shifting context and development through the continual transformation of that which has been allowed to become familiar.

Partiendo de una reflexión sobre la ficción y la realidad, este artículo pretende establecer una relación entre el intertexto y la intención de quien lo emplea. Esta maniobra, más que un alarde de erudición, constituye el establecimiento de un diálogo entre dos obras literarias, y la revelación de una conciencia, la del autor, que decide emplearlo como un espejo para reflejar en ella la realidad. Starting from a reflection on fiction and reality, this article aims at establishing a relationship between the Intertext and the intention of the one who uses it. This maneuver sets up a dialogue between two literary works, and the revelation of a consciousness –that of the author–, who decides to use it in order to reflect reality.

This dissertation probes the identity and pursuits of the first-person narrator in the fictional works of W.G. Sebald (1944-2001). I posit that the common narrator of Sebald's fiction is driven by ontological and historical needs that align with aspects of his exilic interlocutors while seeking to distance himself from the Nazi legacy that is obliquely but unmistakably ascribed to a father figure. While studies of Sebald's works have largely addressed overarching themes such as exile and natural and historical catastrophe, I address rather how the texts' detailed descriptions and abundant use of names and visual imagery reveal the first-person narrator's ongoing quest as a basis for those larger themes and concerns. By querying how his encounters with exilic and often German-Jewish protagonists serve the narrator's purposes, my study aims to expose a more covert narrative strategy in Sebald's fiction, one that utilizes nominal and visual references to negotiate a post-Shoah German identity. Chapter One addresses how the mother's name and its symbolic configurations function as a source for the narrator's identity. I examine this maternal constellation, and its connection to the narrator's alpine origins, in Chapter Two, where I show how it is inscribed onto the peripatetic narrator's numerous destinations, as well as into the images and paintings that he encounters. Chapter Three examines the narrator's technique of establishing an identity through his interlocutors. Focusing primarily on Austerlitz, I address how Sebald's most expansive and final work offers a more complex dimension to the narrator's quest. In seeking affinities with his exilic interlocutors while distancing himself from the father's and his generation's Nazi legacy, Sebald's narrator, I conclude, evinces commemorative strategies that inflect that legacy largely through its familial dimensions.

What does one see when he or she looks at a picture? This very broad question has no real answer, because each “he” or “she” will have a different response to the picture that is viewed. Each textual description of a photograph, therefore, will be different, reflecting each individual’s interpretation or sentiment. The goal of this study is to show the result of such interplay between texts and images, how one influences the other. We will begin with an analysis of the French New Novel that emerged in the decade of the 1950s, and provoked debates on subjective versus objective literature, real versus imaginary, sight versus what is seen by the mind’s eye, among other topics. These binary oppositions allow us to gain a better understanding not only of an image, but also the text that accompanies it and gives it meaning. Since we are not looking at images or texts as isolated structures, there is a necessary interplay of language and images. Thus, arbitrary distinctions in the form of binary oppositions are problematic. The chapters of this study are discussions of such problems. We will present these problems by using the New Novel and its innovation as a frame of reference for analyses of verbal-visual narrative crossovers that characterize contemporary French literature. The remaining three chapters will show the dialectical relationship that exists between texts and images. Images in the form of photographs are supposed to relate the truth. However, when these photographs become verbal representations, one must question the message they provide. While the texts we have chosen vary in genre, subject matter, and perspective, they all allow us to problematize the text/ image dichotomy. In addition, each text evokes questions of identity that plague the modern era. All of the authors we have chosen highlight the interplay of a text and an image, as well as the way in which images are used for identification. Although their messages vary, the authors we will be discussing all chose to express themselves in terms of their own visual culture while forcing their readers to interpret their works, and see that interpretations are undeniably variable.

Paddle-to-the-Sea is a twelve-minute composition for narrator and orchestra, written specifically to evoke the vivid imaginings of children. The piece, a musical adaptation of the eponymous classic children's book by Holling Clancy Holling, chronicles the adventures of a toy boat as it travels the Great Lakes on its way to the Atlantic Ocean. The piece was commissioned by the Plymouth Symphony Orchestra and premiered in March 2005. The text of Holling's Caldecott Honor book was condensed considerably to craft a musical parable about adventure and triumph. Thus, its twenty-seven chapters are distilled into four movements, loosely based upon selected chapters in Holling's book. They are: Chapter 1-the Beginning; Chapter 2-the Sawmill; Chapter 3-the Big Water; and Chapter 4-the Forest Fire and Conclusion. The music and narration interact in differing ways throughout the work. In Chapter 1, a slow, quarter-note descent from the high registers of the flute, piccolo, and upper strings accompany the narrator's description of the toy boat's fall from a high, melting snow-bank. This is an example of text painting in the orchestra, and it is a technique employed at several points in the piece. By contrast, some portions of the narration in this composition are more freely and liberally interpreted in the music. Chapter 2 features swift alternation between two contrasting types of music in the middle of the movement. While these sudden shifts in character serve no literal purpose, they provide a needed foil to the perpetual rhythmic motion that begins and ends the movement. Similarly, in the latter part of Chapter 4, the sixteenth-notes marked Determined, while not explicitly indicative of the waves of the Atlantic Ocean, serve to propel the dramatic arc of the composition toward a happy and triumphant end.

The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.

The first half of this paper will trace Neroni's development from the unlikely caricature of a siren to the rounded, believable narrator's accomplice whose position establishes her own credibility. Neroni serves to reinforce and augment the implications of the narrative whenever she holds court with her suitors. As "the Circe of Barchester" (Kn 37 1), she leads her lovers into revealing those traits that the narrator has already warned us to expect, thereby providing the narrator with further text to comment upon. Trollope needs to reveal certain aspects of his men, not in their inward deliberation, but in startled reactions to a shot gone home. The narrator discloses their areas of potential psychological conflict; Neroni starts the conflict into motion.My second half will examine Neroni's position as an accomplice to that side of the author that subverts the narrator's more conventional views. Neroni's subversive role is built on the foundations of the narrator's early dependence on her as a clear-seeing, analytical character. Her original position of moral ambiguity sets her up as the logical advocate for the views about which the author himself feels ambivalent. Even as Trollope cajoles the reader into belief in the reliability of Neroni's moral judgments, he is jolting us periodically with her unorthodox moral opinions. In this section, we build on a hypothetical delineation of Neroni's self-concept to show how her unorthodox perspective is both valid and necessary.

To show that while comments by listeners do have theappreciative and encouraging role described above, this is nottheir only role. In her study of Hawaiian children, Watson(1975) discovered that two children would frequently tell a storyin tandem, one child taking the role of lead narrator, the otherinterjecting comments which elaborated on, rephrased. summarized,and otherwise supported the main narrator's story. Robinson hasrecently called into question the applicability of this researchto continental American white society (1981: 72-3), but I havefound evidence of something similar, which I shall call"co-narration", among American whites. If one of the listenersis a "knowing listener", that is, was present at the events being described, he/she can interrupt the narrator with comments thatnot only show appreciation, but actually contribute to thenarrative text of the story. Furthermore, even "non-knowinglisteners" who are hearing the narrative for the first time cansometimes contribute in this way.

Mysterium Cosmographicum is a musical chronicle of an astronomy treatise by the German astronomer Johannes Kepler (1571-1630). Kepler's Mysterium cosmographicum (Tubingen, 1596), or "Secret of the Universe," was a means by which he justified the existence of the six planets discovered during his lifetime. Kepler, through flawless a priori reasoning, goes to great lengths to explain that the reason there are six and only six planets (Mercury, Venus, Earth, Mars, Jupiter, and Saturn) is because God had placed one of the five regular solids (tetrahedron, cube, octa-, dodeca-, and icosahedron) around each orbiting body. Needless to say, the publication was not very successful, nor did it gain much comment from Kepler's peers, Galileo Galilei (1564-1642) and Tycho Brahe (1546-1601). But hidden within the Mysterium cosmographicum. almost like a new planet waiting to be discovered, is one of Kepler's three laws of planetary motion, a law that held true for planets discovered long after Kepler's life-time. Mysterium Cosmographicum is a monologue with music in three parts for orchestra, narrator/actor, and computer music on tape. All musical data structures ape generated via an interactive Pascal computer program that computes latitudinal and longitudinal coordinates For each of the nine planets as seen From a Fixed point on Earth For any given time Frame. These coordinates are then mapped onto selected musical parameters as determined by the composer. Whenever Kepler reads From his treatise or From a lecture or correspondence, the monologue is supported by orchestral planetary data generated From the exact place, date, and time oF the treatise, lecture, or correspondence. To the best oF my knowledge, Mysterium Cosmographicum is the First composition ever written that employs planetary data as a supporting chronology to action and monologue.

Throughout the poetry of Thomas Hardy, excluding The Dynasts, there reappears a characteristic and constant narrator device which Hardy employs to force the reader to maintain perspective and objectivity upon the action of the poems and to provide a framework of attitudes and conclusions by which the reader can judge the content of the poems.