The present thesis is devoted to a construction which defies generalisations about the prototypical English noun phrase (NP) to such an extent that it has been termed the Big Mess Construction (Berman 1974). As illustrated by the examples in (1) and (2), the NPs under study involve premodifying adjective phrases (APs) which precede the determiner (always realised in the form of the indefinite article a(n)) rather than following it. (1) NoS had not been hijacked – that was too strong a word. (BNC: CHU 1766) (2) He was prepared for a battle if the porter turned out to be as difficult a customer as his wife. (BNC: CJX 1755) Previous research on the construction is largely limited to contributions from the realms of theoretical syntax and a number of cursory accounts in reference grammars. No comprehensive investigation of its realisations and uses has as yet been conducted. My thesis fills this gap by means of an exhaustive analysis of the construction on the basis of authentic language data retrieved from the British National Corpus (BNC). The corpus-based approach allows me to examine not only the possible but also the most typical uses of the construction. Moreover, while previous work has almost exclusively focused on the formal realisations of the construction, I investigate both its forms and functions. It is demonstrated that, while the construction is remarkably flexible as concerns its possible realisations, its use is governed by probabilistic constraints. For example, some items occur much more frequently inside the degree item slot than others (as, too and so stand out for their particularly high frequency). Contrary to what is assumed in most previous descriptions, the slot is not restricted in its realisation to a fixed number of items. Rather than representing a specialised structure, the construction is furthermore shown to be distributed over a wide range of possible text types and syntactic functions. On the other hand, it is found to be much less typical of spontaneous conversation than of written language; Big Mess NPs further display a strong preference for the function of subject complement. Investigations of the internal structural complexity of the construction indicate that its obligatory components can optionally be enriched by a remarkably wide range of optional (if infrequent) elements. In an additional analysis of the realisations of the obligatory but lexically variable slots (head noun and head of AP), the construction is highlighted to represent a productive pattern. With the help of the methods of Collexeme Analysis (Stefanowitsch and Gries 2003) and Co-varying Collexeme Analysis (Gries and Stefanowitsch 2004b, Stefanowitsch and Gries 2005), the two slots are, however, revealed to be strongly associated with general nouns and ‘evaluative’ and ‘dimension’ adjectives, respectively. On the basis of an inspection of the most typical adjective-noun combinations, I identify the prototypical semantics of the Big Mess Construction. The analyses of the constructional functions centre on two distinct functional areas. First, I investigate Bolinger’s (1972) hypothesis that the construction fulfils functions in line with the Principle of Rhythmic Alternation (e.g. Selkirk 1984: 11, Schlüter 2005). It is established that rhythmic preferences co-determine the use of the construction to some extent, but that they clearly do not suffice to explain the phenomenon under study. In a next step, the discourse-pragmatic functions of the construction are scrutinised. Big Mess NPs are demonstrated to perform distinct information-structural functions in that the non-canonical position of the AP serves to highlight focal information (compare De Mönnink 2000: 134-35). Additionally, the construction is shown to place emphasis on acts of evaluation. I conclude the construction to represent a contrastive focus construction. My investigations of the formal and functional characteristics of Big Mess NPs each include analyses which compare individual versions of the construction to one another (e.g. the As Big a Mess, Too Big a Mess and So Big a Mess Constructions). It is revealed that the versions are united by a shared core of properties while differing from one another at more abstract levels of description. The question of the status of the constructional versions as separate constructions further receives special emphasis as part of a discussion in which I integrate my results into the framework of usage-based Construction Grammar (e.g. Goldberg 1995, 2006).

My study attempts to illustrate the generic development of the family novel in the second half of the twentieth century. At its beginning stands a preliminary classification of the various types of family fiction as they are referred to in secondary literature, which is then followed by a definition of the family novel proper. With its microscopic approach to novels featuring the American family and its (post-)postmodern variations, my study marks a first step into as yet uncharted territory. Assuming that the family novel has emerged as a result of the twentieth century's emphasis on the modern nuclear family, focuses on the family as a gestalt rather than on a single protagonist, and is concerned with issues of social and cultural significance, this study examines how the family, its forms and its conflicts are functionalized for the respective author's cultural critique. From post-war to post-millennium, family novelists have sketched the American family in various precarious conditions, and their texts are critical assessments of contemporary socioeconomic and cultural conditions. My close reading of John Cheever's The Wapshot Chronicle (1957), Don DeLillo's White Noise (1985) and Jonathan Franzen's The Corrections (2001) intends to reveal, shared values as well as significant differences on a formal as well as on a thematic level. As my examination of the respective novel shows, authors react to social and cultural change with new functionalizations of the family in fiction. Unlike the general assumption of literary crticism, family novels do not approach new cultural developments in a conventional or even traditionalist manner. A comparison of White Noise with The Wapshot Chronicle demonstrates that DeLillo's postmodern family novel transcends the rather nostalgic perspective of Cheever's 1950s work. Similarly, Jonathan Franzen's fin de millennium family novel The Corrections holds a post-postmodern position, which can be aptly described by Franzen's own term 'tragical realism'. The significant changes and developments of the family novel in the past five decades demonstrate the need for a continuous reassessment of the genre, and in this respect, my study is merely a beginning.

The study at hand deals with madness as it is represented in English Canadian fiction. The topic seemed most interesting and fruitful for analysis due to the fact that as the ways madness has been defined, understood, described, judged and handled differ quite profoundly from society to society, from era to era, as the language, ideas and associations surrounding insanity are both strongly culture-relative and shifting, madness as a theme of myth and literature has always been a excellent vehicle to mirror the assumptions and arguments, the aspirations and nostalgia, the beliefs and values, hopes and fears of its age and society. Thus, while the overall intent of this study is to elucidate some discernible patterns of structure and style which accompany the use of madness in Canadian literature, to investigate the varying sorts of portrayal and the conventions of presentation, to interpret the use of madness as literary devices and to highlight the different statements which are made, the continuity, variation, and changes in the theme of madness provide an informing principle in terms of certain Canadian experiences and perceptions. By examining madness as it represents itself in Canadian literature and considering the respective explorations of the deranged mind within their historical context, I hope to demonstrate that literary interpretations of madness both reflect and question cultural, political, religious and psychological assumptions of their times and that certain symptoms or usages are characteristic of certain periods. Such an approach, it is hoped, might not only contribute towards an assessment of the wealth of associations which surround madness and the ambivalence with which it is viewed, but also shed some light on the Canadian imagination. As such this study can be considered not only as a history of literary madness, but a history of Canadian society and the Canadian mind.