ReFramingl comprises an introduction, five chapters and a conclusion. The introduction describes the inception of the project in a study of writing practiceS among'a group of fiction writers, which identifies a process of self-transformation as an experience common to members of the group. Having identified this experience as the subject of study for a thesis,it gives a rationale for a choice of the work of poet and novelist Janet Frame,in that she enacts through her writing a process of subjective change that embodies the self-transformation identified as integral to creative practice. The introduction also signals the project of reading the work of Midhel de Certeau, and Gilles Deleuze and Felix Guattari alongside that of Frame, as theorists who offer approaches to understanding subjective trasformation. Chapter One places the work of Frame alongside that of the literary theorist and philosopher Michil de Certeau as a way of reading motivation in Frames's work. This chapter conducts a thematic survey of the novels' concerns with experiences of subjective confinement, using Certeau's figuration of language structures as sites of constraint and subversion, and linking Frame's response with Certeau's ideas of tactics and strategies. Chapter Two surveys the work of the philosophers Gilles Deleuze and Felix Guattari . . on processes of creative thought as they relate to narratorial practices in Frame's novels, and relates her project to their concept of becoming, via the genre of minor literature. The chapter presents an argument that Frame's writing enacts a double becoming in that her creation of altered subjective space for herself also creates possibilities of collective change. Chapter Three conducts a chronological survey of Frame's novels, identifying structural elements and linguistic approaches to the creation of altered subjectivity in writing. It treats Frame's body of work a written entity characterised by an elaboration of the procedures and concepts through which subjective change can be understood. Another movement of double becoming is presented in the movement by which the praxis of each successive book forms'a 'theoretical" base for further praxis in the work that follows. Chapter Four approaches the relation of a reading/writing collective to this transformative theorising of subjectivity through a writing practice. The chapter ' begins by considering ways in which Frame gives voice to the connection of writing to the collective, tracing her characters' articuilation of a responsibility to speak before those who have been unable to do so. It goes on to consider the reflex of this. doubling of Frame's becoming,through responses of the collective to herwork. Chapter Five comprises a collection of poems written as part of the thesis, enacting and meditating on ways my own theoretical and writing practices have modified one another in the process of thinking and writing. The poems are also a direct response to Frame's work, thus forming an extension of the previous chapter's considerations of collectivity in reading/writing. The conclusion summarises the movement of ideas throughout the thesis using Frame's references to-point of view as a structuring device.

Corpus Christi College, Cambridge Ms 282 dates from the late fourteenth century and contains one of the six copies of the Mirror. The Mirror is an English translation of the Miroir, a series of Anglo-Norman verse sermons for Sundays and other liturgical occasions. The Miroir was written by one Robert of Gretham, probably during the early part of the thirteenth century. Excerpts from the Miroir and the Mirror have been published; for the Anglo-Norman there are a book length study and an edition of eight sermons, and for the English there is an unpublished edition of the introduction and first twelve sermons (Hunterian MS). We need complete editions of the Anglo-Norman and English works; it is unlikely that a critical edition of the English Mirror would be base upon, or even draw heavily upon, the Corpus Christi MS, and I have thought it worthwhile to examine at least part of that MS because it is one of the texts which preserve an early London-type dialect. This edition presents a reader’s edition of eight sermons. Notes and a glossary accompany the text; the notes make limited use of one of the MSS of the Miroir. The introduction considers such matters of palaeography etc. as it is possible to discuss when one is working from a microfilm copy; it then covers language (aspects of phonology, morphology, syntax, and vocabulary) and cites some analogues to the Miroir/Mirror. The introduction and the bibliography survey what has been written about the English work and its Anglo-Norman original.

Corpus Christi College, Cambridge Ms 282 dates from the late fourteenth century and contains one of the six copies of the Mirror. The Mirror is an English translation of the Miroir, a series of Anglo-Norman verse sermons for Sundays and other liturgical occasions. The Miroir was written by one Robert of Gretham, probably during the early part of the thirteenth century. Excerpts from the Miroir and the Mirror have been published; for the Anglo-Norman there are a book length study and an edition of eight sermons, and for the English there is an unpublished edition of the introduction and first twelve sermons (Hunterian MS). We need complete editions of the Anglo-Norman and English works; it is unlikely that a critical edition of the English Mirror would be base upon, or even draw heavily upon, the Corpus Christi MS, and I have thought it worthwhile to examine at least part of that MS because it is one of the texts which preserve an early London-type dialect. This edition presents a reader’s edition of eight sermons. Notes and a glossary accompany the text; the notes make limited use of one of the MSS of the Miroir. The introduction considers such matters of palaeography etc. as it is possible to discuss when one is working from a microfilm copy; it then covers language (aspects of phonology, morphology, syntax, and vocabulary) and cites some analogues to the Miroir/Mirror. The introduction and the bibliography survey what has been written about the English work and its Anglo-Norman original.

Corpus Christi College, Cambridge Ms 282 dates from the late fourteenth century and contains one of the six copies of the Mirror. The Mirror is an English translation of the Miroir, a series of Anglo-Norman verse sermons for Sundays and other liturgical occasions. The Miroir was written by one Robert of Gretham, probably during the early part of the thirteenth century. Excerpts from the Miroir and the Mirror have been published; for the Anglo-Norman there are a book length study and an edition of eight sermons, and for the English there is an unpublished edition of the introduction and first twelve sermons (Hunterian MS). We need complete editions of the Anglo-Norman and English works; it is unlikely that a critical edition of the English Mirror would be base upon, or even draw heavily upon, the Corpus Christi MS, and I have thought it worthwhile to examine at least part of that MS because it is one of the texts which preserve an early London-type dialect. This edition presents a reader’s edition of eight sermons. Notes and a glossary accompany the text; the notes make limited use of one of the MSS of the Miroir. The introduction considers such matters of palaeography etc. as it is possible to discuss when one is working from a microfilm copy; it then covers language (aspects of phonology, morphology, syntax, and vocabulary) and cites some analogues to the Miroir/Mirror. The introduction and the bibliography survey what has been written about the English work and its Anglo-Norman original.

Corpus Christi College, Cambridge Ms 282 dates from the late fourteenth century and contains one of the six copies of the Mirror. The Mirror is an English translation of the Miroir, a series of Anglo-Norman verse sermons for Sundays and other liturgical occasions. The Miroir was written by one Robert of Gretham, probably during the early part of the thirteenth century. Excerpts from the Miroir and the Mirror have been published; for the Anglo-Norman there are a book length study and an edition of eight sermons, and for the English there is an unpublished edition of the introduction and first twelve sermons (Hunterian MS). We need complete editions of the Anglo-Norman and English works; it is unlikely that a critical edition of the English Mirror would be base upon, or even draw heavily upon, the Corpus Christi MS, and I have thought it worthwhile to examine at least part of that MS because it is one of the texts which preserve an early London-type dialect. This edition presents a reader’s edition of eight sermons. Notes and a glossary accompany the text; the notes make limited use of one of the MSS of the Miroir. The introduction considers such matters of palaeography etc. as it is possible to discuss when one is working from a microfilm copy; it then covers language (aspects of phonology, morphology, syntax, and vocabulary) and cites some analogues to the Miroir/Mirror. The introduction and the bibliography survey what has been written about the English work and its Anglo-Norman original.

CHRISTINA STEAD (1902-1983) is a major Australian woman writer, and this thesis explores one of the least known periods in her life and work, the years she spent in the United States (1937- 7946). During this time she wrote her two best known novels, The Man Who Loved Children and For Love Alone, both based on autobiographical material. This study explores contextual aspects of Stead's life and work in New York, drawing on a considerable amount of new material. (Chapters I and II) During this period Stead wrote partly out of a personal need to understand her own life situation, and psychological readings of three novels, The Man who Loved Children, For Love Alone and Letty Fox, seen as a 'father trilogy', are designed to open up new lines of enquiry into aspects of all of these novels. (Chapters III and IV) The thesis also discusses formal aspects of Stead's work, beginning with her own formulation of an esthetics of the novel, which occurred during a course she gave in New York in 1943 called Workshop in the Novel. (Chapter V) The relevance of this course for her own practice as a novelist is also explored, with particular reference to the two later American novels A Little TeA, A Little Chat and, The People with The Dogs. (Chapter VI) In Chapter VII an exploration of Stead's interest in the genre of the novella, focussing on the collection The Puzzleheaded Girl, continues the formal lines of enquiry opened up in the previous two chapters, and in the following chapter the same collection provides a starting point for a consideration of Stead's deep interest in the situation of women in modern society, especially the recurrent figure of the wanderer or female rebel. The last chapter concentrates on the literary self-portraits which appeared in Stead's American fiction after The Man who Loved Children and For Love Alone, and their curiously limited characterization is compared with the more vigorous portrait of her provided in one of the novels of her husband, William Blake. This thesis, then, argues that Stead's life fed her fiction, especially in her American period, and that her work was part of a broader personal quest. Understanding this quest is relevant to a discussion of her literary style, and to her personal use of autobiographical material in her fiction, and it illuminates aspects of the creative process itself. Stead's need to understand her own life not only shaped her fiction, it also provided it with the 'intelligent ferocity' she aimed for, and resulted in a major 'realist' writer.

The text which follows is a critical modern spelling edition of ‘Wit at Several Weapons’ devised according to the principles established for the editors of the Revels series of English Renaissance plays. Punctuation has been altered from the original 17th Century edition to conform as far as possible with current practice. Elisions in verb endings have been quietly expanded thus the forms “-ed” and “-est” appear throughout, except where the metre demands their retention. Speech headings too have been slightly regularised, in an abbreviated form, throughout the play. Where a single line is divided between two or more speakers the second (or subsequent) speaker’s portion of the line is indented. Obvious errors in the copy-text have been emended and the emendations recorded in the collation. Any editorial insertions such as scene-headings and added or altered stage-directions, are placed within square brackets.

The intention of this thesis is to examine in three separate studies the lives, the verse, and other relevant data associated with three New Zealand writers Walter D’Arcy Cresswell, (1896-196), Arthur Rex Dugard Fairburn, (1904-1957), and Ronald Alison Kells Mason, (1905 - ). The original suggestion of the choice of these three poets came from Mr R.M. Chapman (then Senior Lecuturer in the Department of History at the University of Auckland) in early 1961; the outlines of the research project were planned by me a little later, advised by Professor S. Musgrove and Drs Allen Curnow and C.K. Stead (all of the University of Auckland’s English Department) and undertaken at that University and later at the Massey University of Manawatu, as a research project for the degree of Doctor of Philosophy, under the supervision of Dr. Curnow. The choice of the three poets concerned as objects of study was influenced not only by personal interest in their work, but also by a belief (which I feel the thesis may vindicate) that this was an opportune time to begin research into the careers of three men who, with other poets such as Ursula Bethell, Denis Glover, Charles Brasch, and Allen Curnow, may by common consensus be seen to have had a place in the first years of a significant verse tradition in New Zealand – the years from the early 1920s onwards.

This thesis explores the conceptualisation of subjectivity, the past and language in the work of one particular English novelist and critic, A. S. Byatt. In doing so, it examines significant points of overlap between Byatt's fiction and criticism, on the one hand, and, on the other, the discourses that have contributed to their formation. Whilst Byatt's work is inflected by recent critical examinations of the three concepts, this thesis is less concerned with how it reflects prevailing notions of subjectivity, the past and language, than with its participation in an ongoing examination of each. Although I do investigate the interplay between Byatt's fiction and criticism, my focus is on how this is played out in Byatt's fictional texts, in particular the novels. The Introduction offers a brief summary of other criticism on Byatt's work summarises the recent definitions of 'text' and broader discussions of postmodernism that have impacted on my approach to her fiction, and proposes a reading of these texts that accounts for their ambivalence. In Chapter One, I focus on the reconfiguration of subjectivity in Byatt's writing, particularly as it relates to textuality. Chapter Two explores the relationship between present and past in Byatt's fiction that is partly enacted through the texts' own engagement with past literatures, in particular nineteenth-century literature, and the related issues of historiography, linearity and memory that these texts investigate. Language, in particular Byatt's interest in its relation to 'things', is the focus of the third and final chapter of this thesis. Throughout each of the chapters is an exploration of Byatt's engagement or reexamination of a persistent 'thread of two' in Western discourse. Although each chapter focuses on one of the three concepts, each also explores the issues that arise from the conjunction of 'two things' in these fictions: text and subject, present and past, language and the world. Related to this is my consideration of how Byatt's fiction is characterised by a number of contradictory impetuses. Of particular interest is the ambivalence that arises from Byatt's partial engagement with recent critical theory - not only because it reflects larger cultural and discursive movements, but also because it contributes to a productive forging of new forms of fiction that combine an awareness of the concerns of literary and cultural criticism with a desire to evoke pleasure in the texts.

This study is twofold in purpose: (1) to examine the full range of William's writing, a task which has not been undertaken by anyone since Vivienne Koch in 1950. Necessarily, Miss Koch could not consider the poems of William's final, greatest, period, (2) to examine Peterson particularly in relation to draft material at Yale and Buffalo. Many studies of the poem have been published (including Sister M, B. Quinn's important essay and recently, Walter Scott Paterson's book length analysis), but none hitherto from this particular point of view.