0. L'assumpte de la recerca efectuada es troba formulat en el títol amb què es presenta i al.ludeix a tres temàtiques: la temàtica de l'idealisme, la de la lògica transcendental i, per últim, també la de la problemàtica conjunció de l'idealisme i la lògica transcendental. El camp de problemes delimitat per aquesta conjunció configura l'objecte d'una possible recerca sistemàtica, i el seu resultat hauria de contribuir a l'esclariment històric i filosòfic alhora de l'idealisme i de la lògica transcendental. Però la meva recerca no ha volgut lliurar-se a tal examen sistemàtic sense obrir un "momentum" reflexiu previ referit a les condicions de la seva possibilitat mateixa. D'aquí que la recerca hagi de ser considerada i valorada com a preliminar a la recerca de l'idealisme i la lògica transcendental, és a dir, com a lliure exploració dels problemes que desfermen les preguntes què és l'idealisme i què és la lògica transcendental. Aspecte inherent al "momentum" reflexiu, qualsevol assaig de resposta a les qüestions proposades contindrà ineludiblement - o fins constituirà fonamentalment - una clarificació de les preguntes mateixes com també de la via seguint la qual han de ser recercades (i recercades) les respostes.I. 1. En la línia indicada d'una clarificació de les condicions de la pregunta i la reposta a la qüestió que demana per l'idealisme avança la primera part del treball - amb el títol "Narratives de l'dealisme".2. Una recerca preliminar té en l'idealisme, abans que res, una categoria historiogràfica qüestionada: de manera potser inadvertida, l'idealisme alemany ha estat progressivament empès al domini de la mitologia. A partir d'aquí una recerca preliminar de l'idealisme havia de plantejar-se com a tasca primera i indispensable mirar d'explicar com ha arribat a constituir-se el mite - o això que, almenys, se li presenta com a mite.3. La primera part del meu treball realitza. així doncs, incursions en un nombre determinat de treballs filosòfics i històrico-filosòfics que poden valer com a arquetips d'estructuració de la categoria historiogràfica de l'idealisme alemany. Aquests treballs aspiren, sens dubte, a efectuar la seva estructuració mitjançant un plantejament filosòfic, és a dir, dotant d'un contingut teòric l'idealisme, i qualsevol tasca enfront d'aquests treballs passa, per tant, per una anàlisi del seu contingut, però el meu punt de vista no ha estat (o almenys no ha volgut ser) prioritlriament el d'una valoració teòrica de tals continguts.4. En relació a aquests reconstruccions de l'idealisme diré que, en general, he partit de l'examen dels seus continguts a fi de fer-ne sorgir el seu model estructurador. El resultat de la meva recerca és mostrar que hi ha un nombre en principi finit determinable de models estructuradors en el marc d'una determinada concepció que anomeno "narrativa" de l'idealisme.5. ¿En què consisteix la concepció narrativa? L'idealisme alemany es considera UN SISTEMA FlLOSÒFIC i el seu esclariment s'identifica amb una explicació o reconstrucció de la gènesi i el desenvolupament d'un argument teòric.6. La tesi es proposa mostrar que el terreny fonamental dels debats de la historiografia filosòfica sobre l'idealisme queda definit per aquesta estructura formal i que ella, tant considerada en si mateixa com en l'estructuració del contingut que determina és inapropiada. La recerca actual avança, de fet, sobre la base de la impossibilitat de reescriure narrativament l'idealisme alemany, però aquesta dificultat és de naturalesa doble: pràctica i teòrica.7. La impossibilitat teòrica de reescriure narrativament l'idealisme no es troba prou clarificada ni justificada en la consciència historiogràfica contemporània. Renunciar a escriure narratives perquè ja no pot abastar-se d'un cop d'ull la totalitat de l'objecte no significa renunciar a la concepció narrativa per principi i per convicció. Això segon no pot fer-se més que per una acte exprès de contestació no d'aquesta o aquella narrativa sinó de la narrativa com a tal.8. La meva contestació a la narrativa s'expressa en el treball a través d'un capítol on presento conclusions per a començar. La continuïtat adscribible a l'idealisme no ha de ser concebuda com a descabdellament d'una identitat teòrica. com a gènesi i desenvolupament d'un sistema sinó com una continuïtat discreta, aquella continuïtat que configura l'evolució marcada per diversos sistemes filosòfics. Així compresa, la recerca històrica-filosòfica sobre l'idealisme es proposa com a recerca en un horitzó (obert, problemàtic i complex) irreductible al camí que en ell pugui ser resseguit com a traçat per la reflexió d'una sola filosofia idealista.II.9. En la segona part del treball, titulada "En l'horitzó històric i filosòfic de la lògica transcendental" he efectuat una consideració igualment preliminar de la problemàtica de la lògica transcendental. Les qüestions principals abordades en aquesta recerca són: (a) la qüestió del significat de la lògica transcendental; (b) una justificació de la lògica transcendental com a possible fil conductor de la reconstrucció de l'idealisme; i hi podriem afegir encara (c) la precisió de l'encaix o relació entre idealisme i lògica transcendental, entre les dues parts del meu treball.10. També en la qüestió (a) del significat de la lògica transcendental he tingut contramodels - si bé he preferit deixar-los implícits. L'existència mateixa d'aquests models, d'una diversitat de definicions del concepte buscat, posa de relleu la importància d'arribar a esbrinar, d'acord amb les coordenades d'una recerca preliminar, com calgui arribar a guanyar el significat de la lògica transcendental.11. Per a l'obtenció del significat de la lògica transcendental he mirat de construir el seu preconcepte. Prenent la denominació filosòfica mateixa com a punt de partida he mirat de remuntar fins a la problemàtica històrico-filosòfica a la llum de la qual la nova lògica ha de prendre el seu sentit.12. El preconcepte de la lògica transcendental queda construït a partir de la comprensió històrica-filosòfica del lògic i del transcendental en la nofió d'una primera ciència que és alhora una ciència primera. En l'entrecreuament dels conceptes "lògic" i "transcendental" s'anuncia una radicalització metafísica de la problemàtica lògica com a via de resolució de la problemàtica que exhibeixen el lògic i el transcendental en el pensament filosofic de la "Aufklärung".13. El pas següent (b) ha estat el d'assegurar que tal preconcepte té ancoratge històric, que l'anunci d'una lògica ontològica contingut en la denominació precedéis l'assaig efectiu de realització d'aquesta lògica en un concepte de lògica transcendental. La recerca d'aquesta garantia ha portat a examinar la construcció del concepte de lògica transcendental en la "Crítica de la raó pura" de Kant.14. A partir de la conseqüència metodològica de la Crítica teòrica queda oberta la perspectiva que crec fa accessible la construcció del concepte de lògica transcendental de Kant. Si aquesta teoria parteix de determinats pressupòsits és només a fi d'esclarir-ne el seu caràcter i la seva estructura i a fi de pensar-ne la necessitat mateixa de la seva pressuposició. La lògica transcendental de Kant es proposaria així com una reflexió dirigida cap als seus propis pressupòsits (en un cercle característic) - i empesa per la radicalitat de la seva intenció reflexiva aspiraria a justificar més fins i tot que la possibilitat d'aquest cercle la seva necessitat.15. Resta, per últim, la dificultat que pot plantejar-se ara com interna al meu plantejament, que amb una sumària exploració de la filosofia teòrica de Kant pugui quedar explicada i justificada la lògica transcendental en quant preconcepte com a fil conductor per a la reconstrucció de l'idealisme. Tofant a aquesta qüestió (c), cal dir que una justificació plena i positiva l'he obtinguda només de la circumstància que caldrà començar en Kant. Però a més ha pogut ser prospectat temptativament el preconcepte de la lògica transcendental com a possible fil conductor també per al postkantisme.16. En conclusió, la lògica transcendental com a fil conductor d'una reconstrucción històrico-filosòfica de l'idealisme és preconcepte i la seva aplicació consistirà bàsicament en guiar l'examen de la discussió filosòfica que ha suscitat la possibilitat d'efectuar transicions des d'aquest preconcepte a la definició i realització de conceptes històricament verificables. Però una recerca de l'idealisme i la lògica transcendental no inscrita en un esquema narratiu sinó en un horitzó obert, un horitzó que fa de l'idealisme la idea i l'ideal d'una totalitat per configurar, es presentarà amb la prudència de no pretendre exbaurir aquell horitzó i ni tan sols de lofalitzar-ne el seu centre. Ja que dir que aquesta temàtica és essencial a a la definició de l'idealisme queda molt lluny, fins i tot infinitament lluny, de l'afirmació que aquesta temàtica constitueixi l'essència de l'idealisme. / "Idealism and transcendental Logic" constitutes the field of a possible systematic research in modern Philosophy History. Such field presents itself defined by the conjugation of two different concepts -"Idealism", "Transcendental logic" - that are the object of discussion in current historical and philosophical literature. The traditional view of German Idealism as a three-step philosophical profess which would in full consequence be carried out in the philosophies of Fichte, Schelling and Hegel has long been denounced as basically "Hegelian" and abandoned. The central question remains which philosophical systems should then be taken into account and on which grounds in the study of the period. Similarly, it is far from clear the philosophical meaning of transcendental Logic, as it can be shown when attempting either to answer this question or even specifying its sense from the diverse theoretical starting points established by Kant's theoretical "Kritik", Reinhold's "Elementarphilosophie", Fichte's "Wissenschafisehre" or Hegel's "Wissenschaft der Logik", to summon up only a few of the numerous, in a broad sense logical works of that time. It must be asked whether or not Idealistic thinkers have developed the same kind of logic and what are the conditions under which such an undertaking might be taken as a leading argument for the deconstruction of German Idealism.Hence the present work aims at clarifying the crucial concepts on which a systematic study of «Idealism and transcendental Logic» necessarily relies and for this reason it proposes to conduct a "preliminary" research of its theme.The text appears divided in two parts -entitled "Narratives on Idealism" and "On the Historical and Philosophical Horizon of Transcendental Logic"- which set to examine respectively the question of Idealism and the question of transcendental Logic. While the analysis is pursued in both pans in an independent fashion, a final conclusion seeks to connect them again by showing that even though the essence of the phenomenon of Idealism cannot be grasped without taking into consideration the discussion regarding the possibility of constructing a concept of transcendental logic, this argument would never account for the essence of German Idealism as such. This apparent paradox is pondered as the necessary basis for a "liminary" work on the subject.

Odilon Redon, The Visual Poet of Edgar Allan Poe: A Study of the Lithographic Album A Edgar Poe argues that the album A Edgar Poe, published in 1882, fundamentally alters Redon's artistic career. The thesis advocates the importance of Poe's writing to Redon's development, contending that the lithographic album confirms nineteenth-century literary and artistic interest in Poe. The thesis maintains that, while Redon subsequently attempted to disassociate himself from the American writer, his art was recognized and admired for its Poe-esque visions. Chapter One examines Edgar Allan Poe's influence on the nineteenth-century French artistic and literary avant-garde. The chapter argues that the artistic and spiritual resemblance between Poe and Redon facilitates the design the lithographic album A Edgar Poe, a work Redon uses to promote his own standing as an artist. Through examination of the original plates of the lithographic album A Edgar Poe at The Art Institute of Chicago, Chapter Two illustrates Poe's centrality to the evolution of Redon's art. Chapter Three argues for the importance of A Edgar Poe in Redon's oeuvre, contending that subsequent albums and commissions show the important role of literary art in Redon's artistic growth. The chapter demonstrates the significance of Redon's work to the Symbolist avant-garde of Brussels. Utilizing Andre Mellerio's notes, essays, collected letters and writings in the Ryerson & Burnham Library at the Art Institute of Chicago, the thesis argues that the album A Edgar Poe represents a pivotal stage in Redon's career through its dedication to a literary artist and the unification of art and poetry. Contending that the album develops themes prevalent in the noirs, the thesis illustrates the artistic resemblance and relationship between Poe and Redon and emphasizes the crucial role of Poe's work in Redon's progression and acceptance as an artist.

My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.

viii, 214 p. / In this study, I examine the various techniques used by poets to provide consolation. With Tennyson's In Memoriam, I explore the relationship between formal and thematic consolation, i.e., the ways in which the use of formal elements of the poem, particularly rhyme scheme, is an attempt by the poet to attain and offer consolation. Early in his laureateship after the Duke of Wellington's funeral, Tennyson wrote "Ode on the Death of the Duke of Wellington," but this poem failed to meet his reading audience`s needs, as did the first major work published after Tennyson was named Poet Laureate: Maud. I argue that form and theme are as inextricably linked in Maud as they are in In Memoriam, and in many ways, Maud revises the type of mourning exhibited in In Memoriam. Later, I examine in greater detail the hallmarks of Victorian mourning. Although most Victorians did not mourn for as long or as excessively as Queen Victoria, the form her mourning took certainly is worth discussion. I argue that we can read Tennyson's "Dedication" to Idylls of the King and his "To the Mourners" as Victorian funeral sermons, each of which offers explicit (and at times, contradictory) advice to the Queen on how to mourn. Finally, I discuss the reactions to Tennyson's death in the popular press. Analyzing biographical accounts, letters, and memorial poems, I argue that Tennyson and his family were invested in the idea of "the good death"; Tennyson needed to die as he had lived--as the great Laureate. / Committee in charge: Richard Stein, Chair; Tres Pyle, Member; Deborah Shapple, Member; Raymond Birn, Outside Member

Made available in DSpace on 2016-06-02T20:30:08Z (GMT). No. of bitstreams: 1 5550.pdf: 829503 bytes, checksum: 5da600d47e06b675663a17677f9bfdc6 (MD5) Previous issue date: 2013-08-30 / Financiadora de Estudos e Projetos / The theory of natural selection as one of the causal processes of Darwin s theory of evolution has impacted on fields of knowledge far beyond natural sciences. This extension the employment of the logic of selection in psychology and philosophy, as can be found in Popper and Skinner is usually defined as ultra-Darwinism. Darwin s ideas and their impact following the publication of The Origin of Species were approached through Ernst Mayr interpretation. The objectives of this study were: (1) to show Darwin s influence on the works of Popper and Skinner; and (2) to present a brief comparison between Popper and Skinner s points of view concerning with the fate of societies. The method employed was an aporetic one. The main results were: (1) The logic of selection makes it possible to find common epistemological features in the works of Popper and Skinner; (2) both authors hold that scientific knowledge is a means for the investigation of culture and cultural planning; (3) both authors agree that essentialistic theoretical beliefs are an obstacle for technological advances and cause of delay in the development of civilization; (4) they are contemporary with events of worldwide impact brought about by mankind throughout the twentieth century that had a great impact on their works. / A teoria da seleção natural como um dos processos causais da teoria da evolução de Darwin atingiu áreas de conhecimento bem além das ciências naturais. Essa expansão o emprego da lógica selecionista na psicologia e na filosofia, que encontramos em autores como Popper e Skinner é o que usualmente se define como ultradarwinismo. As idéias de Darwin, assim como seus efeitos após a publicação de A Origem das Espécies, foram abordadas a partir da interpretação fornecida por Ernst Mayr. O presente trabalho teve como objetivos: (1) Demonstrar a influência do autor inglês nos textos de Popper e Skinner, e (2) Apresentar breves comparações do que produziu Popper com a visão de Skinner como autores preocupados com o destino das sociedades. O método utilizado foi o aporético. Os principais resultados encontrados foram: (1) a lógica selecionista permite evidenciar elementos epistemológicos comuns nos trabalhos de Popper e de Skinner; (2) ambos os autores apontam o conhecimento científico como via de investigação e planejamento cultural; (3) ambos entendem que posições teóricas essencialistas funcionam como obstáculo para o avanço tecnológico e como causa de atraso no desenvolvimento das civilizações; (4) eles são contemporâneos de eventos de impacto mundial promovidos pelo homem no séc. XX, os quais influenciaram as teorias produzidas por ambos.

Made available in DSpace on 2015-03-03T11:52:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-25Bitstream added on 2015-03-03T12:07:24Z : No. of bitstreams: 1 000805862.pdf: 3460666 bytes, checksum: 30c6f88e4f3a51e9a223372ed7583d20 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como objetivo analisar as estruturas narrativa e fílmica do conto The Fall of the House of Usher (1839), de Edgar Allan Poe (1809-1849), e do filme La Chute de la Maison Usher (1928), dirigido por Jean Epstein (1897-1953), considerando o modo como se constrói o espaço e os sentidos resultantes dessa composição. As obras que tomamos como base teórica para a análise são: Lima Barreto e o Espaço Romanesco (1976), de Osman Lins, A linguagem cinematográfica (2003), de Marcel Martin, A narrativa cinematográfica (2009), de André Gaudreault e François Jost. Assim, analisaremos os procedimentos narrativos utilizados por Poe na composição do espaço e as técnicas cinematográficas que aproximam ou afastam as características do espaço fílmico da narrativa original, o conto / This study aims to analyze the narrative and filmic structures of the tale The Fall of the House of Usher (1839), by Edgar Allan Poe (1809-1849), and the film La Chute de la Maison Usher (1928), directed by Jean Epstein (1897-1953), considering how space is constructed and the meanings resulting from this construction. The works we considered as theoretical basis for the analysis are: Lima Barreto e o Espaço Romanesco (1976), by Osman Lins, A Linguagem Cinematográfica (2003), by Marcel Martin, A narrativa cinematográfica (2009), by André Gaudreault and François Jost. Thus, we analyze the narrative techniques used by Poe in the composition of the space, and the cinematic techniques which bring together the characteristics of the filmic space of the original narrative, namely the tale, or which set them apart

Made available in DSpace on 2014-06-11T19:24:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-02Bitstream added on 2014-06-13T18:52:11Z : No. of bitstreams: 1 mottola_n_me_rcla.pdf: 359757 bytes, checksum: 647c20048f335ae16df7f299898b7f99 (MD5) / Analisou-se aqui o modo como o conceito de evolução, elaborado por Lamarck e Darwin, é apresentado nos livros didáticos de Biologia, selecionados pelo Programa Nacional do Livro Didático para o Ensino Médio (PNLEM), distribuídos em 2007 para todas as escolas da rede pública do Brasil. Para essa análise, foram consideradas as cinco teorias de Charles Robert Darwin (1809-1882), presente em sua obra A Origem das Espécies, a saber: a evolução propriamente dita, a ancestralidade comum, o gradualismo, a multiplicação das espécies e a seleção natural. E, também, as quatro leis da transformação dos animais, de Jean Baptiste Antoine de Monet de Lamarck (1744-1829). Utilizamos os procedimentos de coleta e análise de dados com base em abordagens de natureza qualitativa. Como principais resultados encontramos uma visão reducionista da teoria transformista de Lamarck, limitada a duas leis não centrais em sua obra nem de sua autoria, bem como a presença, em algumas obras, de um antagonismo entre o lamarckismo e fundamentação científica. Com relação à obra darwiniana, constatou-se que na maioria dos livros didáticos está ausente uma referência às idéias relativas à ancestralidade comum, ao gradualismo e à multiplicação das espécies. Também foi possível observar que, em alguns manuais didáticos, há uma visão a - histórica da ciência, a falta de uma contextualização sociocultural e uma carência em relação à história e à filosofia da biologia. Nesse sentido, há um prejuízo na compreensão das idéias contidas nas obras de Lamarck e Darwin, acarretando uma limitação no entendimento do conceito de evolução / We analyzed here how the concept of evolution, developed by Lamarck and Darwin, is presented in textbooks of Biology, selected by the National Textbook Program for high school (PNLEM), selected in 2007 for all public schools in the Brazil. For this analysis, we considered the five theories of Charles Robert Darwin (1809-1882), present in his work The Origin of Species, namely: the actual evolution, the common descent, the gradualism, the multiplication of species and the natural selection. Also, the four laws of transformation of animals, Jean Baptiste Antoine de Monet de Lamarck (1744-1829). We use the data collection and analysis of data based on qualitative approaches. The main results, we find a reductionist view of Lamarck's theory transvestite, limited to two laws do not even central in his work of his own, as well as the presence, in some works, an antagonism between Lamarckism and scientific reasoning. With reference to the work Darwinian, it was found that in most textbooks is missing a reference to the ideas on common ancestry, the gradualism, and the multiplication of species. Was also observed that in some textbooks, there is a vision – of historical science, the lack of a socio-cultural context and a lack in relation to history and philosophy of biology. In this sense, there is a loss to understand the ideas embodied in works of Lamarck and Darwin, leading to a limitation in understanding of the concept of evolution

Made available in DSpace on 2014-06-11T19:30:22Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-01-28Bitstream added on 2014-06-13T19:25:46Z : No. of bitstreams: 1 marchiori_rm_me_rcla.pdf: 441197 bytes, checksum: dfc9ce6e00b97ad657ecd6859c6787a4 (MD5) / Tudo é número, diria o famoso matemático grego Pitágoras. Os números estão a nossa volta, como o oxigênio que respiramos. Primeiro vieram os naturais, depois os inteiros, os racionais e os incríveis irracionais, que deixaram os pitagóricos tão perplexos a ponto de escondê-los. Números primos, perfeitos e outros vieram. E quando tudo parecia ser real apareceram os imaginários. Que imaginação tem esses matemáticos! Vamos nos aprofundar em um grupo intrigante de números chamados transcendentes e aos números estudados por um matemático francês chamado Liouville / All is number, say the famous Greek mathematician Pythagoras. The numbers are all around us, like the oxygen we breathe. First came the natural, then the integers, the rational and the irrational incredible that left perplexed the Pythagoreans so as to hide them. Prime numbers, perfect and others came. And when everything seemed to be real the imaginary appeared. What have these mathematical imagination! Let's delve in a group of intriguing numbers called transcendental numbers and studied by a French mathematician named Liouville

This thesis, which is intended for inclusion in "The Piano Sonatas of the 18th century in Austria" (Vol.3 in the publication series "Contributions the the development of the Piano Sonata") aims to evaluate Haydn's position within the history of the piano sonata. In spite of the widespread popularity of Haydn's sonatas among professional musicians and amateurs, surprisingly little has yet been published regarding the compositional aspects of these works. The main contributions of musicological value were written by Hermann Abert, Karl Geiringer, Walter Georgii and William S.Newman. The recent studies, published as Vol.l and Vol.2 in the above mentioned series, made it possible to trace in much greater detail the various formative factors that influenced the form and style of Haydn's piano sonatas. Moreover, it proved the composer's personal merits not only in the development of this specific genre but also in the creation of 'The International Viennese Language of the High-Classical Period'. The newly gained insight, in turn, should lead to an even higher appreciation of the great master, who utilized the achievements of his predecessors and contemporaries in an original and individual manner and thereby gained a position far superior to that of many other composers.

In its earliest form, the Tristram legend was probably a Celtic folk-tale known in oral tradition as early as the eighth or ninth century. During the early part of the twelfth century it became known in France and Brittany; and there, in the later years of that same century, it was recorded in a lost romance now referred to as the Ur-Tristan. From this source, so it is believed, the earliest extant romances upon the subject were derived. During the twelfth century, two main versions developed—first the version des jongleurs, given in the poems of Béroul and Eilhart von Oberge, and second, the version courtoise given in Thomas's Tristan and some derivatives of it. Among these last, the Tristan of Gottfried von Strassburg, written about 1215, is generally regarded as one of the masterpieces of medieval literature. In the early thirteenth century, the legend was employed in an anonymous romance, the French prose Tristan. In this version, which was greatly influenced by the prose Lancelot cycle, the narrative is so grossly adulterated by the machinery of thirteenth-century courtly romance that the original love story is all but obscured. In most texts of the prose Tristan, even the traditional love-death scene is altered. This account of the legend became for five centuries the only version in which it was known. Two treatments of the legend appeared in Middle English literature. First is the northern Sir Tristrem, an anonymous poem composed about 1300 and based upon the Tristan of Thomas. Secondly, the Morte d'Arthur, composed by Sir Thomas Malory about 1469, contains an account of the Tristram legend based entirely upon the French prose Tristan. The legend did not again receive a major treatment in English literature until the mid-nineteenth century, when it became the subject of poems by Matthew Arnold, Alfred Lord Tennyson, and Algernon Charles Swinburne. Arnold's "Tristram and Iseult" is based, except for the love-death episode, upon the version courtoise. Arnold regarded as the central problem of the narrative, not the love story itself, but Tristram's conflicting loyalties to the two Iseults, and sympathized, not with the ill-fated lovers, but with Iseult of Brittany, the innocent victim of the tragic love. She becomes in his poem symbolic of the Stoic way of life, the compromise which Arnold offered to resolve the conflict of emotion and intellect. Tennyson treated the Tristram legend in "The Last Tournament," one of the Idylls of the King based upon Malory's Morte d'Arthur. The legend is employed in the moral allegory of the Idylls as an illustration of the evil consequences of adultery. In thus regarding the love story merely as a tale of adultery, Tennyson deviated greatly from the traditionally sympathetic treatment of the narrative. Swinburne's Tristram of Lyonesse is, like Arnold's poem, based chiefly upon the version courtoise. In Swinburne’s treatment the love story is again central, the theme being an exaltation of the ennobling and sanctifying power of human love. Along with the explicit exaltation of passionate love is an implied criticism of the hypocritical morality and distrust of passion which Swinburne regarded as prevalent in his age. Although these three Victorian poems differ widely in plot, characterization and purpose, the Tristram legend is employed didactically in each, and the purposes governing its didactic treatment are dictated by the age in which and for which the poems were written. / Arts, Faculty of / English, Department of / Graduate