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The investigation of primary sources of thirteenth-century polyphony has been closely related to questions of the date and provenance of the surviving manuscripts. Previous studies have taken a single book and attempted to place it chronologically and topographically within the history of music of the thirteenth century. This thesis considers surviving material related to thirteenth-century polyphony and evaluates the patterns of production found there. These considerations are supported by a review of chronology in the period. Using techniques derived from the fields of paleography, codicology, and art history, the manuscripts are loosely divided into Parisian and non-Parisian, and the contrasting types of book-production are placed in the context of the contemporary production of other types of book. At the most basic level, Parisian books betray a professional and organised system of production which relates to the generation of books which preceded the establishment of the pecia system whilst provincial manuscripts seem to suggest a more informal and ad-hoc construction and circulation. The data obtained from such source-critical inquiry are then used to ask questions concerning the distribution of genre with the discussion focused primarily on the motet and its various sub-species: bilingual motet, rondeau-motet, etc. Conclusions as regards distribution of the music suggest a distinction between Parisian practices and provincial, particularly Artesian, musical cultures. It is argued that concordance-bases and origins of surviving sources suggest the exclusive cultivation of some genres in Paris, and, of others, in Artois or the provinces.

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The relationship between the representative and the reapportioned district is the central feature of the present study as it attempts to assess selected facets of the 13th Congressional District in transition.

With twelve films released over the last thirty years, the Friday the 13th series has proved a popular mainstay of the slasher sub-genre of horror, in spite of negative critical reception and minimal academic engagement. The academic discourses that do address the series often frame their arguments based on socio-political function, socioeconomic platforms, psychoanalytic traditions, and cultural relevance. While there is some work that attempts to understand the generic positioning and function of the Friday the 13th films, little work has engaged with the film texts in order to understand and explain the form and structure of each instalment in the series. This thesis not only aims to explore and describe the aesthetic form of the slasher sub-genre of horror, but also to argue the central significance of perspective on the aesthetic effect of the slasher. Perspective, a term that builds upon theories of point of view and subjectivity, permeates the formal design of the slasher film. Therefore, this relationship will be the driving focus of the analysis undertaken with regards to the Friday the 13th films, which will include chapters focusing on specific uses of the camera, sound, editing, and sequences creating a narrative understanding of preceding films in the series. Following this analysis, the aesthetic development of the Friday the 13th series will be contextualised within contemporary generic trends, demonstrating to what extent this franchise is representative of the slasher, and where it proves anomalous or progressive. This will not only demonstrate the role the Friday the 13th films play within the slasher, but also how the slasher has aesthetically evolved over more than three decades. Ultimately, the relevance of this analysis and formal historicizing will be suggestive of the wider context of film studies and cinema as a whole.

Although there are several versions of the story of Tristan and Isolde before Gottfried von Strassburg none has survived in more than fragmentary form since they lacked appeal to following generations. The version par excellence is that by Gottfried. His method of writing in allegories and symbols, which he uses to convey to his select audience of edele herzen the deeper meaning of his words, has given rise to many controversial interpretations. The contradicting interpretations of the most noted scholars are briefly touched upon and an attempt is made to offer a more balanced approach to Gottfried's ideal of love. The later medieval continuations by Ulrich von Türheim and Heinrich von Freiberg are considered in relation to each other as well as to Gottfried. Only the Eilhart version, entirely based on effective narration of outer action, remained popular. This was put into prose by an unknown author in the second half of the fifteenth century and became known as the Prose Romance. In it the old courtly epic was reduced to a story for entertainment and its style consequently altered to suit the level of the readers. The Prose Romance of the sixteenth century became the source for Hans Sachs who retold the Tristan legend in six Meisterlieder and one drama (1553). Hereafter the legend seemed forgotten for two centuries until the German Romantic Movement revived interest in it in the course of its general emphasis on the German cultural and literary past. Several attempts were made by the Romantics to create independent versions inspired by Gottfried's Tristan and under the influence of the critical writings of Schlegel and others. The attempts at literary versions of the Tristan-theme by August Wilhelm von Schlegel, Karl Phllipp Conz, Wilhelm Wackernagel and Friedrich Rückert are briefly discussed and analyzed in the light of Romantic theories of love. The results of Romantic interest in the theme of Tristan are surprisingly meagre and since no specific evidence can be adduced as to the reason for this, it is only possible to put forward a tentative theory regarding some of the causes. Only Immermann produced a work of any consequence and this is therefore discussed at some length. Only after the Romantics are there any serious efforts to produce linguistically and scholastically acceptable translations (Hermann Kurtz, Karl Simrock, Wilhelm Hertz). It was left to Richard Wagner, on the basis of modern translations, to "rehabilitate" the Tristan legend in his music drama and although it has very little in common with Gottfried, it is nevertheless the only work since Gottfried that has succeeded in provoking further interest in Tristan. M. S. Batts / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

The following study is divided into two parts. The first is a socio-cultural analysis of a poem by Gonzalo de Berceo (late 12th-early 13th century) entitled Sacrificio de la Misa. The second is a study of the typological structure of Berceo's poem. Critics have generally advanced the idea that Berceo was a poet with little academic formation, and that he composed his poetry for the delight of a lay audience. This study of the Sacrificio de la Misa suggests that the opposite is true; that is, that Berceo could well have received academic training, even though it may not have been what was available to monks who, at that time, received the highest level of education. The Sacrificio de la Misa also shows that the audience to whom it was aimed was not an unlettered one; rather, it was directed to students, specifically those who were preparing for the priesthood in the monastery of San Millan. We reach these conclusions after a study of the academic world of Berceo's time. We also examine the likelihood that Berceo attended a studium generate, specifically the University of Palencia. The thesis also questions the purpose of the poem, and the reason why Berceo composes a doctrinal work in which he describes in detail the canon of the Mass according to the Roman Rite. We conclude that the Sacrificio de la Misa was composed in order to establish this rite in a territory where previously the Mozarabic Rite had predominated. The poet takes the opportunity of teaching the structure of the Roman Rite to the students to whom he addresses the poem. The second part of the thesis consists of an analysis of the typological structure of the poem, a subject about which little has been written. Berceo adds nothing new to the use of typology in a Christian context, since he has acquired this method from the Bible itself, from which St. Paul already took events in the Old Testament as prophetic prefigurations of the New. Berceo's novelty lies in his adaptation of this literary technique to Castilian poetry.