This work was sponsored by the University of Richmond, School of Arts & Sciences, Department of English.

This work was sponsored by the University of Richmond, School of Arts & Sciences, Department of English.

This work was sponsored by the University of Richmond, School of Arts & Sciences, Department of English.

This work was sponsored by the University of Richmond, School of Arts & Sciences, Department of English.

This work was sponsored by the University of Richmond, School of Arts & Sciences, Department of English.

This work was sponsored by the University of Richmond, School of Arts & Sciences, Department of English.

In Blasted, Kane represents how incidents of rape highlight, exacerbate and solidify the unevenness of power distribution between men and women in the modern world and provides a new perspective at what we might call à à à à à à ¢ rape in generalà à à à à à ¢ - a transhistorical phenomenon of rape as a practice of violence towards the female victim.

This thesis examines Sonnet 23, especially in concern to: 1) Milton's adherence to monism, a philosophical and theological position that he derived from his reading of Rabbinical approaches to the Old Testament; 2) His adherence to the related doctrine of mortalism, which held that death entailed the death, until resurrection of both body and soul; and 3) Milton's interest in the way certain Puritan thinkers idealized desire for aspects of the world's beauty, especially desire for one's spouse, and how, particularly in the process of mourning, such desires could foster a stronger bond with God

The present study attempts to offer an overview of the Post-Soul aesthetic and its role in re-writing African-American identity and focuses explicitly on three authors: Spike Lee, Touré, and Suzan-Lori Parks. My premise is that Post-Soul art is a direct result of the sweeping changes brought by the post-Civil Rights era in the African-American mentality, which inaugurated a new age in African-American art. Thus, the Post-Soul generation represents blackness as diverse, free to define itself in its own terms; they promote a critical take on black nationalism, and new perspectives on slavery.

As Jack Zipes explains in his preface to Victorian Fairy Tales: The Revolt of the Fairies and the Elves, “The Victorian fairy-tale writers always had two ideal audiences in mind when they composed their tales – young middle-class readers whose minds and morals they wanted to influence, and adult middle-class readers whose ideas they wanted to challenge and reform” (xiv). “It was through the fairy tale,” he continues, “that a social discourse about conditions in Victorian England took form, and this discourse is not without interest for readers today” (xi).