Tesi sul tema "English knights"
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1
O'Malley, G. J. "The English Knights Hospitaller, c.1468-1540". Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/272606.
Testo completo
2
Hyttenrauch, David Edward. "Ladies and their knights in Middle English Arthurian romance". Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239380.
Testo completo
3
Graham, Tom. "Knights and merchants : English cities and the aristocracy, 1377-1509". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:6cbaed78-e5fb-4b31-94b8-5d9df7a0ef72.
Testo completoAbstract (sommario):
This thesis examines how English towns and townsmen interacted with the aristocracy in the late middle ages. To do so, it compares the experiences and behaviour of four towns and their inhabitants across a 'long' fifteenth century running from 1377 until 1509. These four examples - Exeter, Norwich, Salisbury and Southampton - represent a cross-section of important provincial towns, with each providing a different picture because of their differing contexts and circumstances, particularly the contrasting political societies of the counties which surrounded them. The first half of the study considers links between individual townsmen and aristocrats. In particular, it discusses the patterns displayed by both groups' property ownership as well as their involvement in royal government, before investigating direct connections which existed between them. It concludes that although links did emerge between these groups, most were short-lived and had few political or social implications. The exception was a group on the boundary of gentility, including lawyers, administrators, royal servants and a small number of prosperous townsmen. These men moved relatively easily between town and country and often had interests in both spheres, but their activities rarely combined the âaristocratic' and the 'urban'. In addition, their low status in landed society meant that they rarely drew wider urban and aristocratic society into contact. The second part of the thesis examines the relationship between aristocrats and town governments. It argues that aristocrats could provide significant benefits to towns, but only if they possessed national influence and local authority. This combination was originally exclusive to regional magnates, but the 'new monarchy' empowered progressively minor figures, and towns ultimately preferred to seek the aid of these junior men. It also argues that aristocrats received some benefit to their prestige and worship from helping towns, and that magnates were perhaps even expected to do so by both towns and the king.
4
Lucas, Karen. "Middle English romance, attitudes to kingship and political crisis, c.l272-c.l350". Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4637/.
Testo completoAbstract (sommario):
This study used mostly printed sources to investigate wider attitudes to kingship than those of the political philosophers and to consider their implications for the understanding of the political crises of 1297, 1326 and 1340-41.Middle English romances are suitable for determining more 'popular' attitudes to kingship because of their subject matter, the length of texts, their dissemination and their receptivity to contemporary opinion. These 'popular' attitudes were those belonging to the audience of the romances, being the large and increasingly politically influential group comprising knights and gentry. The romances contain substantial images and concepts of kingship, revealing strong expectations of the king in the areas of justice, good government and defence. They reveal an understanding of questions such as the nature of royal power and the king’s position with regard to will and law. The perception of kingship which animated the relationship between king and people was shown to be that of familiar social bonds. The images of kingship found in the romances are supported by those in a second type of popular literature, the legendary histories of Britain. The romance images provide legitimate evidence for the attitudes to kingship of knights and gentry. They are both representative of the opinions of this social group and capable of influencing the opinions of the people who had contact with the romances. Edward 1 was familiar with the attitudes of his people towards kingship and he appealed to these extensively to gain support for his requests for military service, money and supplies in 1297. The deposition of Edward II in 1326 showed royal opposition to be equally at ease in appealing to 'popular' attitudes to generate public support for the rebellion. The attitudes also created a receptive background for the removal of the king. In 1340-41 Edward III and his opponent Archbishop Stratford appealed to royal subjects' attitudes on kingship in order to try to achieve their practical and political aims. 'Popular' attitudes towards kingship became strengthened by association with particular kings and events.
5
Hartland, Beth. "English rule in Ireland, c.1272-c.1315 : aspects of royal and aristocratic lordship". Thesis, Durham University, 2001. http://etheses.dur.ac.uk/1662/.
Testo completo
6
Lewis, Robert Lee III. "Changing Perceptions of Heraldry in English Knightly Culture of the Twelfth and Thirteenth Centuries". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277947/.
Testo completoAbstract (sommario):
The purpose of this thesis is to analyze and discuss the changing ways in which the visual art of heraldiy was perceived by the feudal aristocracy of twelfth- and thirteenth-century England. It shows how the aristocracy evolved from a military class to a courtly, chivalric class, and how this change affected art and culture. The shifts in the perceptions of heraldry reflect this important social development of the knightly class.
7
Crummy, Elizabeth Anne. "Constructing a Reputation in Retrospect in "Sir Gawain and the Green Knight"". W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539625673.
Testo completo
8
Reed, Kaylara Ann. "Writing reform in fourteenth-century English romance, from the agrarian crisis to Sir Gawain and the Green Knight". Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16556.
Testo completoAbstract (sommario):
This thesis investigates five fourteenth-century Middle English romances—Sir Isumbras, The King of Tars, The Earl of Toulouse, Geoffrey Chaucer’s Wife of Bath’s Tale, and Sir Gawain and the Green Knight—for their resonances with fourteenth-century reformist ideology. The fourteenth century witnessed the emergence of Middle English complaint writing and also culminated in two reformist movements in the 1380s: the Peasants’ Revolt and Lollardy. Each romance considered in the thesis share resonances with reformist ideology and complaint poems—like William Langland’s Piers Plowman—as well as texts relating to the Peasants’ Revolt and Lollardy. Such evidence suggests that romance and complaint shared ideologies and both types of texts may have contributed to reformist activities—writing, acting, or both—throughout the century. Sir Isumbras is explored in relation to the Agrarian Crisis, related complaint texts such as The Simonie and The Song of the Husbandman, and the penitential philosophy it shares with Piers Plowman. Isumbras shows landowners causing peasant suffering, and problematises orthodox penitential prescriptions. The King of Tars is read in relationship to complaint texts like The Sayings of the Four Philosophers and with later Lollard writing. Tars reforms nations by highlighting the consequences of immoral kingship—both Christian and Saracen—and replacing it with an ethically superior woman. The Earl of Toulouse, examined alongside texts relevant to the Peasants’ Revolt, represents armed revolt as a means of stopping obstinate tyranny and envisions that heroic men—even to the point of breaking the law—will insist upon truth and justice. The Wife of Bath’s Tale shares resonances with an array of Middle English Lollard writings, from its stance on execution, nobility, poverty, the power of sermons, and female autonomy and power. Finally, I analyse Sir Gawain and the Green Knight alongside Ricardian complaint texts, illuminating tyrannical character traits in Arthur and his negative influence on Gawain.
9
Pugh, William W. Tison. "Play and game in Sir Gawain and the Green Knight and Troilus and Criseyde /". view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978260.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 228-242). Also available for download via the World Wide Web; free to University of Oregon users.
10
Inoue, Noriko. "The a-verse of the alliterative long line and the metre of 'Sir Gawain and the Green Knight'". Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/cdca0000-643e-48b7-bcc3-7751c135eece.
Testo completoAbstract (sommario):
The purpose of this study is to conduct a close and careful study of the metre of Sir Gawain and the Green Knight, and thereby to describe the metrical principles that underlie the structure of the unrhymed long line, especially, that of the a-verse, and to demonstrate the stylistic possibilities that individual poets could exploit on the basis of these principles. In the introduction, I re-examine the three-stave half-line theory and point out the inconsistencies and unnecessary complexities that this theory entails, and argue for the regular two-stave verse and the potential disjunction between alliteration and stress. Chapter I examines the lines with non-aa/ax patterns found in Sir Gawain, and considers whether the non-aa/ax alliterative patterns in this romance should be treated as `irregular' and thus be assumed to require emendation. Chapter II deals with the so-called `extended' verses, and how stress and alliteration function in such half-lines; Chapter III investigates combinations of various syntactic units, mainly those of adjective + noun and verb + adverb, and presents general metrical `rules' which appear to govern the `extended' and non-'extended' a-verse; Chapter IV is aimed at the demonstration of these rules by examining the metrical function in the long line of doublet forms, such as to/for to + infinitive and on/ vpon folde. Chapter V presents a comparative study between the metre of Sir Gawain and that of Cleanness and Patience, the other alliterative poems found in the same manuscript, and three other alliterative poems, namely, The Destruction of Troy, The Wars of Alexander, and St Erkenwald. Chapter VI explores how the alliterative metre can be exploited for stylistic purposes. My conclusions smmarisetsh e metrical rules that have emerged from this study.
11
Stewart, James T. "Generosity and Gentillesse: Economic Exchange in Medieval English Romance". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68047/.
Testo completoAbstract (sommario):
This study explores how three English romances of the late fourteenth century-Geoffrey Chaucer's Franklin's Tale, Thomas Chestre's Sir Launfal, and the anonymous Sir Gawain and the Green Knight-employ economic exchange as a tool to illustrate community ideals. Although gift-giving and commerce are common motifs in medieval romance, these three romances depict acts of generosity and exchange that demonstrate fundamental principles of proper behavior by uniting characters in the poems in spite of social divisions such as gender or social class. Economic imagery in fourteenth-century romances merits particular consideration because of Richard II's prolific expenditure, which created such turbulence that the peasants revolted in 1381. The court's openhanded spending led to social unrest, but in romances a character's largesse strengthens community bonds by showing that all members of a group participate in an idealized gift economy. Positioned within the context of economic tensions, exchange in romances can lead readers to reexamine notions of group identity. Chestre's Sir Launfal unites its community under secular principles of economic exchange and evaluation. Using similar motifs of exchange, the Gawain-poet makes Christian and chivalric ideals apparent through Gawain's service and generosity to all those who follow the Christian faith. Further, Chaucer's Franklin's Tale portrays hospitality as a tool to create pleasure, the ultimate goal of service. Although they present different types of group identity, these romances specify that generosity and commerce can illustrate the ideals of a poem's community and demonstrate to the audience model forms of behavior.
12
Meier, Björn. "Subversive narrative techniques and self-reflexivity in Vladimir Nabokov's the real life of Sebastian Knight, Lolita, Pnin, Pale Fire and Ada, or Ardor: A family Chronicle". Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/18694.
Testo completoAbstract (sommario):
This dissertation has three aims. First, the establishment of the theoretical foundations of deconstruction and its appropriation by literary criticism. Second, the application of deconstruction to the novels of Nabokov; it has to be stressed that this application is not itself a deconstructive reading, rather that deconstruction offers the interpretative horizon for an analysis of the inner logic of self-reflexivity in the novels in question. which is defined with de Man and against Derrida as a procedure of textual self-deconstruction. The procedure, evident in the proliferation of textual strategies in Nabokov's work, marks the point at which literary modernism transforms itself through the radicalisation of the critique of narrative, subject and meaning into a postmodern aesthetics of deconstruction. The interpretation of the novels then serves thirdly to pose the question of the value of the theory of deconstruction for the task of interpretation, or more generally. the value of deconstruction for literary theory. The interpretation of Nabokov's novels reveals a paradox: selfdeconstructive literature does not require a deconstructive reading. On the contrary, the textual deconstruction of meaning and reference requires the non-deconstructive standpoint of a coherent literary analysis for its demonstration. Comparably and conversely, a deconstructive reading presupposes a text and/or an author committed to the intention of a meaningful whole (however ambiguous). The author's distinction between deconstruction as a method of interpretation and as a literary theory thus points to the limitations of deconstruction as interpretative method in relation to modern and postmodern texts precisely because of their metafictional affinity to deconstruction. Beyond this, however, deconstruction's treatment of the text as pretext for its own operations, taken to its logical conclusion, would dissolve the very cognitive object and interest of literary studies.
13
Cicatko, Judy. "Playing to Mean and Meaning to Play: A n Examination of the Game between the Poet and His Audience in "Sir Gawain and the Green Knight"". W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625599.
Testo completo
14
Johnson, Vilja Olivia. ""It's What You Do That Defines You": Batman as Moral Philosopher". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2952.
Testo completoAbstract (sommario):
In 2008, Christopher Nolan's The Dark Knight became the most commercially successful comic book adaptation to date. His film, which highlights the humanity and fallibility of Batman, builds on a long character history while also functioning as an individual work. Nolan's depiction of Batman, which follows a long progression towards postmodernism in graphic novel versions of the character, is just one of multiple filmic superhero representations in recent years to depict a darker side of the "superhero" mythos. These films highlight the humanity and fallibility of these heroic figures and place their actions under scrutiny. In Nolan's two Batman films, this approach allows the central character to reflect the moral complexity of postmodern society. As a result of his humanity, Batman must sometimes choose between two negative outcomes; as he does so, he places various moral systems under pressure and tests them. When Batman makes decisions, he must discard some values in favor of others, and in the process, he reveals his personal priorities. Through the decisions he makes in critical moments in the films, Nolan's Batman acts against "traditional" Batman archetypes which suggest that the hero's actions consistently adhere to one of the following principles: a lust for revenge, a desire to prevent future harm, or a vow not to kill. What eventually emerges as Batman's guiding principle in these latest films is not an ethical system per se, but rather a simple desire to thwart the goals of his enemies. Through this oppositional morality, Batman has the moral flexibility to avoid the dangerous ethical extremes of his enemies. This approach to crime also places the superhero's morality in the hands of his enemies, leading Batman to make troubling decisions as he attempts to stop the villains. Because Batman follows no single moral code consistently, the only way he ultimately differentiates himself from the villains of Gotham is through his belief in the city's potential for good, a belief which all of his enemies have abandoned.
15
Jones, Caroline. "The Gawain-poet's use of the Beatitudes". Thesis, University of Wales Trinity Saint David, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683285.
Testo completo
16
Radford, Laura E. "Accepting the Failure of Human and State Bodies: Interactions of Syphilis and Space in "Hamlet" and "The Knight of the Burning Pestle"". FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1034.
Testo completoAbstract (sommario):
The purpose of this thesis is, first, to explore the presence and meaning of Foucault’s heterotopia within William Shakespeare’s “Hamlet”and Beaumont and Fletcher’s “The Knight of the Burning Pestle.” The heterotopia is a privileged space of self-reflection created by individuals or societies in crisis. In each play, the presence of crisis is explained though the metaphor of syphilis; to which individual characters respond by entering the reflective space of the heterotopia in order to countenance and “cure” their afflictions. The second purpose of this thesis is to examine the ways in which the crises acted upon the stage reflect pressing social anxieties of late – Elizabethan and early- Jacobean England: succession to the throne and shifting market structure. Both playwrights create heterotopic space for their audience through the structure of their dramatic work, and ask their audience to enter this reflective space, and consider –and learn from – their remarks upon the state of society.
17
Wright, Patria Isabel. "On Man, on Nature, and on Human Life: William Knight's Life of William Wordsworth and the Invention of "Home at Grasmere"". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3975.
Testo completoAbstract (sommario):
Victorian scholar William Knight remains one of the most prolific Wordsworth scholars of the nineteenth century. His many publications helped establish Wordsworth's positive Victorian reputation that twentieth and twenty-first century scholars inherited. My particular focus is how Knight's 1889 inclusion of "Home at Grasmere" in his Life of William Wordsworth, rather than in his chronological sequencing of the poems, establishes a way to read the poem as a biographical artifact for his late-Victorian audience. Knight's detailed account of the poet's life, often told through letters and journal accounts, provides more contexts-including Dorothy's journal entries and correspondence of the early 1800s-to understand the poem than MacMillan's 1888 stand-alone edition of the poem (whose pre-emptive publication caused a small debate in 1888-89). Knight presents "Home at Grasmere" as a document of Wordsworth's personal experience and development as grounded in the Lake District. Analyzing the ways Knight's editorial decisions-both for his biography as a whole and his placement of "Home at Grasmere" within it-shape the initial reception of "Home at Grasmere" allows me to enrich the conversation about Wordsworth and the Victorian Age. Currently scholarship connecting Knight and Wordsworth remains sparser than other areas of Wordsworth commentary. However, several scholars have explored the connections between the two, and I augment their arguments by showing how Knight's invention of the poem creates an essential part of the "Home at Grasmere" archive-a term Jacques Derrida uses to describe a place or idea that houses important artifacts and determines the power of the knowledge it preserves. I argue this by showing that Knight's editorial decisions embody the characteristics of an archon-keeper or preserver of archival material-as he creates the way to read the poem as a biographical artifact while also responding to Wordsworth's own beliefs about the poetry and biographical theory. Knight's archival contribution allows Victorians to view the poem as a product of Wordsworth's developing poetic genius and helps establish Wordsworth as the great Romantic poet.
18
Mameli, Beatrice. "Wylde and Wode, Wild Madness in Middle English Literature". Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424040.
Testo completoAbstract (sommario):
In this thesis, some episodes of wild madness in Middle English romance are analysed. Some knights, such as Lancelot, Tristan, Ywain and Partonope, experience this insanity generally as a consequence of a dramatic event in their love life. This wild madness presents precise characteristics: the mad knights tend to prefer wild and secluded environments – like the forest – they give up their clothes, alter their diet and are extremely aggressive. It has been suggested that these episodes might be influenced by the Biblical precedent of Nebuchadnezzar. It has also been noted that these madmen share some of the traits of the woodwose, or wild man, a popular figure in medieval folklore. These episodes, however, seem to contain possible references also to the medical theories, the laws and the customs of the time. Besides, the context of chivalric adventures and courtly love in which these protagonists act implied a strong frame of canons and conventions which needed to be respected. This dissertation focuses above all on Middle English texts, like Malory's Le Morte Darthur, Ywain and Gawain, and Partonope de Blois, but also the French versions of these works are occasionally taken into account.In questa tesi vengono analizzati alcuni episodi di follia selvaggia nel romanzo medio inglese. Alcuni cavalieri, come Lancillotto, Tristano, Ivano e Partonope, vengono colpiti da questa pazzia selvaggia in genere a seguito di un evento drammatico nella sfera amorosa. Questo tipo di follia presenta delle precise caratteristiche: i cavalieri pazzi hanno la tendenza a prediligere ambienti selvaggi e solitari, come la foresta; essi inoltre, si spogliano delle proprie vesti, alterano la loro dieta e divengono estremamente aggressivi. Si ipotizza che questi episodi siano stati influenzati dal precedente biblico di Nabucodonosor. Si è notato inoltre che alcuni di questi folli presentano alcuni tratti comuni anche al woodwose, l'uomo selvaggio, una figura molto diffusa nel folklore medievale. Questi episodi, tuttavia, sembrano contenere dei possibili riferimenti anche a teorie mediche e a leggi e costumi dell'epoca. Inoltre, il contesto di avventure cavalleresche e di amor cortese in cui agiscono i protagonisti presuppone una forte cornice di canoni e convenzioni che doveva necessariamente venir rispettata. La tesi si concentra soprattutto su testi in medio inglese, come Le Morte Darthur di Malory, Ywain and Gawain e Partonope de Blois, ma occasionalmente anche le versioni francesi di queste opere vengono prese in considerazione.
19
Blackmore, Sabine. "In soft Complaints no longer ease I find". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.
Testo completoAbstract (sommario):
Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient.This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.
20
Campion, Zachary. "Speech in America: Tracking the Evolution of Speech Pedagogy in Theatre Training". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3297.
Testo completoAbstract (sommario):
Speech work, as it relates to actor training, has undergone many important changes since its formal introduction to the field over a century ago by Edith Skinner. Unfortunately, there are many who hold on to antiquated, misinformed and often harmful approaches to this kind of training. This thesis questioned the traditional models of speech pedagogy by creating a narrative for its development, questioning its efficacy, and exploring the alternatives that have developed over the years. I looked at the texts and approaches of Edith Skinner, Patricia Fletcher, Louis Coliaini, and Dudley Knight/Phil Thompson. I acknowledge that each practitioner has made a substantial contribution to the field. In this thesis I question what place each has in the future of speech pedagogy in America. I gathered opinions from both critics and proponents of each work in the hopes of creating a more cohesive understanding of how speech pedagogy should be handled in the future according to those who will be teaching it. This thesis includes considerable usage of phonetic symbols found on the International Phonetic Alphabet establish by the International Phonetic Association.
21
López, Avilés Agustín. "Palladine of England (1588) Translated by Anthony Munday". Doctoral thesis, Universidad de Alicante, 2017. http://hdl.handle.net/10045/73030.
Testo completoAbstract (sommario):
Edición crítica en inglés de Palladine of England, libro de caballerías traducido al inglés por Anthony Munday en 1588 a través de su versión francesa L'Histoire Palladienne, de 1555. El libro original, ibérico y de autor anónimo, que Claude Colet tradujo al francés, es Don Florando de Inglaterra (1545). Esta edición crítica proporciona una introducción a la época, género y prácticas traductológicas de Munday; un seguimiento histórico de la obra, descripción bibliográfica, transcripción y edición del texto original con notas eruditas; y glosario, emendaciones y un apéndice de notas traductológicas.
22
"Intertextual variations: a contrastive study of Ellis Cornelia Knight, Angela Carter, Marina Warner and Paula Rego". 2002. http://library.cuhk.edu.hk/record=b5896035.
Testo completoAbstract (sommario):
by Wong Man-ki.Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.
Includes bibliographical references (leaves 157-163).
Abstracts in English and Chinese.
Abstract --- p.i
論文提要 --- p.iii
Acknowledgements --- p.v
"Introduction ""Intertextuality"": Definitions and Issues" --- p.1
Chapter Chapter1 --- Intertextuality in the Eighteenth-Century Novels: Samuel Johnson's Rasselas and Ellis Cornelia Knight's Dinarbas --- p.34
Chapter Chapter2 --- Postmodern Intertextuality (I): The Subversive Rewriting Project in Angela Carter's The Bloody Chamber --- p.61
Chapter Chapter3 --- Postmodern Intertextuality (II): Toward a Broader Scope ´ؤ Multiple Art Forms in Marina Warner's The Mermaids in the Basement and Paula Rego's Nursery Rhymes --- p.100
Selected Bibliography --- p.157
23
DeRushie, Nicole. "Horticultural Landscapes in Middle English Romance". Thesis, 2008. http://hdl.handle.net/10012/4002.
Testo completoAbstract (sommario):
Gardens played a significant role in the lives of European peoples living in the thirteenth and fourteenth centuries. By producing texts in which gardens and other cultivated landscapes are used as symbol and setting, medieval writers provide us with the opportunity to gain insight into the sociocultural conventions associated with these spaces in the late medieval period. By building our understanding of medieval horticulture through an examination of historical texts, we position ourselves to achieve a greater understanding into the formation of contemporary cultivated literary landscapes and their attendant conventional codes. This study provides a map of current medieval garden interpretation, assessing the shape and validity of recent literary criticism of this field. With a focus on the hortus conclusus (the walled pleasure garden) and arboricultural spaces (including hunting and pleasure parks), this study provides an historicist reinterpretation of horticultural landscapes in Chaucer’s Troilus and Criseyde, Sir Orfeo, and Sir Gawain and the Green Knight, furthering our understanding of the authors’ use of such conventionally-coded spaces in these canonical romances.
24
Novotná, Alena. "As v textu středoanglického románu Sir Gawain and the Green Knight". Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404482.
Testo completoAbstract (sommario):
This diploma thesis aims to classify the uses of as in the text of the Middle English romance Sir Gawain and the Green Knight from a formal and functional perspective. As has acquired a great number of functions through the process of grammaticalization. The theoretical part of the thesis firstly deals with the historical development of as from the Old English swā and ealswā. It then describes the uses of as in Middle English. In this period, as was found to function as an adverb, conjunction, preposition and a relative pronoun. Each of these uses can be further divided into a number of subtypes. The thesis subsequently summarizes the functions as can have in Present-Day English. The final sections of the theoretical overview briefly present the processes of grammaticalization and constructionalization, as these two processes have been instrumental in the development of as. The practical section is concerned with the analysis of all the instances of as in the chosen text. It classifies them and defines each type of use in more detail. The analysis also considers competing means of expressing the same function and comments on possible ambiguities. Furthermore, this section deals with the uses of as in the text from the perspective of their grammaticalization and also points out uses which are only...
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(6581312), Arielle C. McKee. "Moral Challenge and Narrative Structure: Fairy Chaos in Middle English Romance". Thesis, 2019.
Cerca il testo completoAbstract (sommario):
Medieval fairies are chaotic and perplexing narrative agents—neither humans nor monsters—and their actions are defined only by a characteristic unpredictability. My dissertation investigates this fairy chaos, focusing on those moments in a premodern romance when a fairy or group of fairies intrudes on a human community and, to be blunt, makes a mess. I argue that fairy disruption of human ways of thinking and being—everything from human corporeality to the definition of chivalry—is often productive or generative. Each chapter examines how narrative fairies upset medieval English culture’s operations and rules (including, frequently, the rules of the narrative itself) in order to question those conventions in the extra-narrative world of the tale’s audience. Fairy romances, I contend, puzzle and engage their audiences, encouraging readers and hearers to think about and even challenge the processes of their own society. In this way, my research explores the interaction between a text and its audience—between fiction and reality—illuminating the ways in which premodern narratives of chaos and disruption encourage readers and headers to engage in a sustained, ethical consideration of the world.
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Bolintineanu, Ioana Alexandra. "Towards A Poetics of Marvellous Spaces in Old and Middle English Narratives". Thesis, 2012. http://hdl.handle.net/1807/35062.
Testo completoAbstract (sommario):
From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text.
My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature.
I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.