In this thesis, I explore themes and concerns that have arisen in my art practice, namely the relationship between landscape, monstrosity, and subjectivity. The tropes scar and form refer to features analogous in the subject and in the land which take on different specific meanings throughout the project, but in general terms, I relate them to trauma as a defining force. I suggest that monsters can be understood as embodying attitudes to time (a cause of trauma): those being fixity, which (...) is resistant to temporality; and flux, which embraces temporality. Consequently, I define these categories and their opposition, presenting arguments for both monsters of fixity and flux monsters. I examine the construction of false universals of ‘England’ (categories of fixity) in representations of landscape and how they come to dominate the picturing of Britain more generally, alongside a mode I refer to as dynamic-fatalism, which examines the polemics and aesthetics of Wyndham Lewis (1882-1957). In this regard, I look at Lewis’s monstrous Tyro and its role in eliciting dehumanisation as a defining value in conceptions of a stratified society. Emphasis on creative practices and representations related to England serve to dissolve ‘proto-fascistic’ fantasies of a heroic, mono-cultural, and pure base for nation, dependent on categories of fixity. I suggest these values are instead understood as patrician, sexist, class-based, and racially biased. Given that landscape constructions are constitutive of our engagement with landscape, I conclude with a proposal for better ‘analogues’ of nature in the form of virescent space (a category of flux). I argue that virescent space is a phenomenon that sees the monster take on a specific role concerning the subject, one I define in relation to a wilderness destination in the poem Sir Gawain and the Green Knight (c.1370). (shrink)

This page is dedicated to an analysis of the first section of Parmenides' Poem, the Way of Truth, with a selection of critical judgments by the most important commentators and critics. In the Annotated Bibliography I list the main critical editions (from the first printed edition of 1573 to present days) and the translations in English, French, German, Italian and Spanish, with a selection of studies on Parmenides; in future, a section will be dedicated to an examination of some critical (...) variants of the Greek text, with particular attention to corrections to the Diels-Kranz (abbreviated DK) edition of the Fragmente der Vorsokratiker. The fragments of Parmenides' Poem are cited according to Diels-Kranz numbering system as adopted in the 6th edition, Berlin 1952; the Poem is divided into three parts: the Proem fr. I, 1-32; the Way of Truth (Alethéia) from fr. II to VIII, 49, and the Way of Mortal Opinion (Doxa) fr. VIII, 50 to XIX, 3. (shrink)