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Many of the stories found in the works of Geoffrey Chaucer are adapted from other sources, a common practice amongst Medieval authors. But Chaucer often draws attention to his derivations by explicitly naming a source for the stories he uses. This strategy is employed in different ways. In Troilus and Criseyde, a false source is cited, but in the Clerk's Tale, Chaucer names the actual source of the story. In this thesis, identification and close examination of Chaucer's source materials reveal his changes to the derived texts, and an analysis of the role of the narrator in each case demonstrates the different narrative strategies he employs. Although Chaucer is clearly using different strategies in the two works, both raise questions about final authority over a text. These questions are the central issues explored in this thesis.

Filarete's treatise presents architecture, the new archaized mode of building, to Francesco Sforza as the means to historiate and recuperate his insurgent regime, which had overturned the preceding dynastic order of power. This thesis shows how the treatise tried to persuade a powerful but retardatory new prince not yet absorbed by the legitimizing narrative of a renascence of antiquity. It focuses on the treatise's narrative, and places it in its political situation, to show that Filarete made a dramatic, polemical opposition between building and architecture, which he will be shown to have defined as those techniques of assuring the arche.

John R. Searle asks the following fundamental question at the beginning of Speech Acts: "What is the difference between saying something and meaning it and saying it without meaning it?" This dissertation demonstrates that Chaucer is interested in this same question and that his answer to it is essentially "modern." I show in a number of Chaucer's works, but primarily through a reading of the Friar's Tale, that Chaucer understands the intentional structure of all signs, based on the paradigm of language; that is, that signs are always simultaneously mind-related and world-related, that they possess what is called today a "three-level semantics." This semantics is at the heart of the dynamic play in Chaucer's poetry, and through it he is able to portray his characters psychologically. This being so, with Chaucer as an exemplar, this dissertation calls into question the widespread belief in a "medieval mentality" that is essentially "other" than a "modern mentality." / To support this argument in the context of medieval thought, I explain that Chaucer could have such a "modern" understanding of the psychological import of language by describing certain of the common, shared presuppositions and characteristics of medieval Judeo-Christian metaphysics: its thesis of intentionality, its personalism and existentialism, and its semiological nature. / The present study is of importance to Chaucerian studies in general because I argue that heretofore Chaucer's understanding of language has been inadequately, incorrectly, and confusedly described in terms of medieval nominalism and realism. Consequently, Chaucer has been seen as a nominalist thinker, a realist thinker or a combination of both. This dissertation lays these particular "Chaucers" to rest. I argue that Chaucer may be described as an "intentionalist realist," but the "realist" of this description is not identical with the "realism" of the scholastic debates on the nature of the universals. / This dissertation further suggests that the semantics which Chaucer consciously considers and exploits in his works on the level of language, speech and other human-directed signs may serve as a paradigm of a general Chaucerian "semantics" in an extended sense: Chaucer's understanding of a structure of meaning or logos of all reality. On an individual human level this translates into a structure whereby a medieval Christian may judge if a person, including his or her own self, is relating properly, or improperly, to other individuals, to other created things, and to God.

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Pamela G. Coxson. / Bibliography: leaf 12. / "August, 1984."

Made available in DSpace on 2014-06-12T17:42:23Z (GMT). No. of bitstreams: 2 arquivo7446_1.pdf: 1393644 bytes, checksum: 77ea392b400e2244b952a0a951f04ea2 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2005 / As crescentes transformações no cenário mundial, o crescimento econômico desordenado, a evolução tecnológica e as mudanças na conscientização da população trazem preocupações quanto à sobrevivência do meio ambiente e a busca pelas principais causas dos impactos ambientais causados pelos diversos ramos da economia na luta pela preservação da natureza e qualidade de vida vem aumentando nas últimas décadas. O presente trabalho trata da análise dos principais impactos ambientais causados pelas atividades dos postos de distribuição de combustíveis de forma integrada contribuindo para uma visão do todo, ou seja, serão analisados os impactos causados no solo e seus efeitos, alguns tipos da contaminação humana, os resíduos gerados e destinação final e os riscos de incêndio e as formas de minimizá-los e eliminá-los. É proposto um modelo de avaliação dos impactos ambientais direcionado para os postos de distribuição de combustíveis através de indicadores que poderão os postos certificados pela norma ISO 14001 ident ificar as oportunidades de melhorias, e os postos não certificados identificar os pontos problemáticos e implementar um Sistema de Gestão Ambiental para a conquista da certificação

Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.

The contention of the thesis is that Chaucer's approach to the story of Troilus and Criseyde was determined by a wish to examine pragmatically the essential value of courtly love as a way of life and that he used the Troilus as a poetic vehicle for this examination. Furthermore it is maintained that his view of courtly love would be conditioned by the current philosophical theory of the "double truth"—that a thing may be true according to reason but false according to religion. The code of courtly love had been condemned by the Church as being opposed to Christian morality, but extolled by many writers, especially Andreas Capellanus, as being not only in harmony with natural morality but even the summum bonum of life. In Troilus and Criseyde Chaucer is speculating on the validity of the latter position, which constituted a commonly recognized example of one aspect of a double truth. If this hypothesis can be substantiated it is reasonable to hope that it may shed light on the major critical problems of the Troilus, specifically the relevancy of Troilus's speech on free will, the apparent inconsistency in Criseyde's actions and the artistic value of the epilogue. To establish the hypothesis the thesis presents evidence of the prevalence of the Averroistic system of thought from which sprang the theory of the two truths and of Chaucer's undoubted awareness of this philosophical position. Textual evidence is then introduced to show that Chaucer intended to deal specifically with courtly love as a rational and complete way of life and examine its consequences in the dramatic unfolding of the story. He developed courtly love into a way of life by making it a quasi-religion. From this arises the relevancy of Troilus's speech on free will: it is a commentary on the determinism implicit in this religion. The major characters in the poem are then considered. Taken together the dramatic roles of the male protagonists are seen to exemplify a comprehensive, tri-partite view of courtly love—idealistic, sensual and light-hearted—none of which proves eventually productive of lasting happiness. Criseyde’s character, flawed by her fear of scandal, is a crux in the tragedy. Her insistence that the courtly commandment of secrecy be kept is responsible for the lovers' separation. Hence the demands of the code of love are responsible for the tragedy, and Criseyde's betrayal is consistent with the timidity of character she continually displays. Finally the epilogue is seen as a summary of the findings of Chaucer's philosophical experiment in fiction. Troilus's final enlightenment expresses the conclusion of the author: that courtly love is a false happiness not only on religious grounds but also on rational and pragmatic ones. The theory of double truth has thus been dramatically shown to be inapplicable to the defense of courtly love as a way of life. / Arts, Faculty of / English, Department of / Graduate