Browsing by Author "Finley, C. Stephen"
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- Item"A Coming On and a Coming Forth": Desire, Space, and Becoming in "An Ordinary Evening in New Haven"(2012) Gaffney, Victoria; Finley, C. Stephen
- ItemA Creature among the Landscape: Defining the Sublime Experience in Mary Shelley's 'Frankenstein'(2006) Donaldson, Lauren; Finley, C. Stephen
- ItemAeonian Music and the Touch from the Past: Epiphany and Consolation in Alfred Tennyson's 'In Memoriam'(2008) Smith, Eric; Finley, C. Stephen
- ItemChildren of Flux: The Individual and Collective Consciousness in Virginia Woolf's The Waves(2005) Mesner-Hage, Jesse; Finley, C. Stephen
- ItemCoordinates and Connections: The Idea of Order in William Least Heat-Moon's PrairyErth(2009) Roho, Rhys; Finley, C. Stephen
- ItemCreative Revolution, Spiritual Transformation, and Apocalyptic Redemption in The Four Zoas(2010) Whitney, Julian S.; Finley, C. Stephen
- ItemDeath and the Self: An Analysis of Emily Dickinson's Poetry in the Gothic Mode(2004) Chu, Brandon A.; Finley, C. Stephen
- ItemDemarcations of Infinity: Whitman, Stevens, and Place(2009) Farley, Amy; Finley, C. Stephen
- ItemElegiac Intent in Henry David Thoreau’s “A Week on the Concord and Merrimack Rivers”(2016) Heffernan, Maggie; Finley, C. Stephen
- ItemEmergence: Collected Poems(2007) Heeney, Michael; Finley, C. Stephen
- ItemFearing an Inhuman(e) Future: The Unliterary or Illiterate Dystopia of Aldous Huxley’s Brave New World(2009) Burgmann, Mark J.; Finley, C. StephenThough not necessarily recognized as a major canonical work of English literature, Aldous Huxley’s 1932 novel Brave New World is the paradigm of the modern social satire. The novel, a combination of dystopia, satire, science fiction and perhaps more, is set in the distant yet horrifyingly familiar future of A.F. 632 (Year of our Ford). In this time, Huxley depicts a supposed utopian world free of problems. Nevertheless, the novel also shows how this modern human society’s elimination of problems eliminates its humanity. My thesis specifically focuses on the elimination of humanity as manifested in the lack of literature and literacy throughout the novel. Huxley’s use of allusion and parody, almost Joycean, to other great literature of the past sets his novel apart from others like it and makes the work truly universal and lasting.
- ItemGendered Undoing Through Music in James Joyce’s ‘The Dead’(2016) Rennert, Sara; Finley, C. Stephen
- ItemHigh Wine: Biographical Construction of Postcolonial Landscape in Derek Walcott's "Guyana"(2008) Bunyan, Jillian C.; Finley, C. Stephen
- Item(In)sane Dissolution of Illusion: Trauma, Boundary, and Recovery in Virginia Woolf’s Mrs. Dalloway(2006) McDonald, Jessica J.; Finley, C. StephenUsing Freudian psychoanalysis and trauma theory to read Virginia Woolf's Mrs. Dalloway as a text of recovery battling the trauma of the Great War, this essay examines Woolf's characterization of Septimus as a victim of shell-shock and his liminal position within society. Figuring prominently in this analysis are the shifting of temporalities and the elimination of boundaries, ultimately allowing the simultaneous blurring and juxtaposition of Septimus and Clarissa to create a collective testament to the egregious error of presumed immunity to war.
- Item"Just as another woman sleeps": Ecphrastic narrative in Dante Gabriel Rossetti's "Jenny"(2011) Nikolis, Anastasia; Finley, C. Stephen
- ItemLanguage and Harmony: Musical Form in T.S. Eliot's "Burnt Norton"(2005) Haglund, Erika Leigh; Finley, C. Stephen
- ItemLanguage, Violence, and the Metadramatic in Titus Andronicus(2009) Meaney, Jack; Finley, C. Stephen
- ItemLongitude and Latitude(2007) Leichter, Hilary; Finley, C. Stephen
- Item"Mont Blanc": Finding Faith in Shelleyan Skepticism(2015) Juneja, Pallavi; Finley, C. StephenPercy Bysshe Shelley (1792-1822) is commonly considered the most radical of the Romantic poets. Accordingly, his works have been fiercely criticized as well as celebrated. In 1811, Shelley even received contemporaneous criticism for boldly challenging institutionalized religion in his pamphlet, “The Necessity of Atheism.” Despite the title, Shelley’s pamphlet was not actually a radical rejection of faith. Instead, Shelley’s atheism derived from his profound philosophical skepticism: recognizing the boundaries of human knowledge, he agnostically proved that God is unknowable. Five years later, in 1816, Shelley moved beyond religious discourse altogether in his poem, “Mont Blanc: Lines Written in the Vale of Chamouni.” Thus, many critics consider “Mont Blanc” to be a shift from his early skepticism to mature belief; however, I discover the poem as a statement of mature skepticism, instead. In 1816, Shelley is searching for a generative solution to his early destructive doubt; therefore, “Mont Blanc” unusually emanates faith while still maintaining atheism. He uncovers, what I call, “skeptical modes of belief.” Importantly, the poem does not employ Wordsworthian “natural piety” to find this faith; in fact, Shelley rejects the “spilt religion” of traditional Romanticism. Instead, Shelley attempts to capture only the brute physicality of the natural scene, the noumenon or thing-in-itself. Inevitably, his materialism fails and over the course of 144 lines, he discovers a metaphysical Power that is inseparable from the physical mountain. Furthermore, he profoundly discovers his own responsibility in unveiling this Power. Thus, through his continued skepticism of religion in "Mont Blanc," Shelley ultimately finds faith in the power of his own poetic imagination.
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