This thesis comprises a study of all the records of the archbishop and chapter of Canterbury that purport to belong to the period before the Norman Conquest. The original plan had been to include a full diplomatic analysis of each document; but partly for reasons of space and partly because such a register makes heavy reading, it was decided that it could more usefully accompany the critical edition of the texts to which I hope to turn next. Instead the thesis is an attempt to throw light both on the charters and on the history of the church of Canterbury by studying them together. For in a period when our knowledge is severely restricted by lack of evidence, the study of diplomatic and of wider historical issues should not be divorced. Whilst it is true that diplomatic, like any academic discipline, can be self-defeating if its range of vision is too narrow, there is also a need if we are to understand our earliest English historical records for basic studies of Anglo-Saxon diplomatic using the principles and methods that have long been practised on the Continent. [Continued in text ...]

An investigation into the part played by Captain Thomas in the founding of Christchurch / Canterbury.

Diss. Uppsala : Uppsala universitet., 2005.

No description available.

<p>This dissertation provides a close analysis of the use of sententiae and narrative exempla in five of Chaucer's Canterbury Tales, those of the Nun's Priest, the Wife of Bath, the Pardoner, the SillllrTOner, and the Parson. The handling of these illustrative materials is examined within the frarneYJork of traditional and late medieval sermon theory and practice. Major comrrentators such as St. Paul, St. Augustine, Gregory the Great, Alain de Lille, and Wycliffe had much to say over the centuries concerning the character of the Christian preacher or "rethor" and the nature of pulpit oratory generally. Chaucer, it is argued, was keenly aware of preachers and their sermons. He knew of both not only in the abstract from the theorists but in a very real sense from irrrrediate experience. Without doubt, preaching was the nost important and pervasive form of institutionalized oral expression of the fourteenth century. </p> <p> This study shows how Chaucer deliberately evokes the abrosphere of a medieval preaching situation in the five tales named above, doing so especially through the manner in which sententiae and narrative exempla are presented. It is concluded that he thus sheds light on the characters of those who are preaching and that he thereby gives a particularly sharp focus to the satire that is operating in these tales. It is further concluded that the role of The Parson's Prologue and Tale in the moral sphere of The Canterbury Tales becorres pararrount when viewed in the light of the good priest's attitude tcmcrrd and handling of illustrative sententiae and narratives. </p> <p>Chaucer' s indebtedness to the artes praedicandi and to homiletic materials of various kinds has not hitherto escaped the attention of scholars. Neither has his use of sententiae and narrative exempla. No previous study, however, had made an in-depth analysis of such illustrative materials within the context of traditional and contemporary conceptions of the Christian preacher and the sermon. The purpose of this dissertation is to fill this gap in the scholarship. The value in such an undertaking is two-fold. First of all, it should help to give the reader a renewed appreciation of Chaucer's achievement as a literary artist: by closely scrutinizing the poet's treatment of two major commonplaces of pulpit rhetoric one is able to understand more fully hew he went about the business of his craft. Secondly, the moral thrust of The Canterbury Tales is more forcefully felt when special attention is paid to the use of sermons illustrations by such outspoken pilgrims as the Wife of Bath, the Pardoner, and the Parson. The latter serves as a moral touchstone on the road to Canterbury, a fact that has received increasing scholarly attention in the last few years. None of these studies, ho.vever, has recognized sufficiently the dynamic homiletic qualities of the Parson's presentation, especially his lucid and logical treatment of Biblical sententiae. This study shows how, in both the content and rrethod of his discourse, the Parson provides the orthodox answer to the false preaching of those who have preceded him.</p> / Thesis / Doctor of Philosophy (PhD)

Established in 1880 the Canterbury Society of Arts (CSA) dominated the arts in Canterbury for nearly a century and was the most significant art society in New Zealand. This thesis examines the CSA�s history from 1880 to its change in trading name to the Centre of Contemporary Art (COCA) in 1996 when the Society sought to redefine its role. Chapter One considers its origins, comprising a discussion of the period from 1850 to 1880 in which it was founded as part of an educational complex that reflected Edward Gibbon Wakefield�s ideal for the systematic settlement of Canterbury. A discussion of the Society�s permanent collection from 1881 to 1932 in the following chapter draws attention to how the CSA was guided by its founding ambitions to promote the development of New Zealand art and accompanying responsibilities for art education. Chapter Three considers the premises and art galleries utilised by the Society from 1881 to 1932, revealing that its objectives to advance the arts remained visionary and often demanding. In Chapter Four the period between the Depression and the end of the Second World War is examined and economic and aesthetic challenges, evident in the Society�s limited capacity to purchase works for its collection, alongside the emergence of new art organisations such as the Group are discussed. This is followed by a consideration of the post-war period from the perspective of the CSA�s remarkable secretary from 1943 to 1959, William Sykes Baverstock. His response to an emerging modern movement provides a context to examine significant changes in the arts which initially posed a challenge to the CSA. Consideration of the 1960s to mid-1970s in Chapter Six reveals the vital role played by the CSA in supporting the development of contemporary New Zealand art and includes discussion of significant events and exhibitions such as the Hay�s Art Prize and the expansion of the Society�s programme to include international shows and solo exhibitions of contemporary sculpture, craft, design, and painting. It argues that these activities represented the CSA�s most ambitious and successful period in its history, symbolised by its new modernist-styled gallery which opened at 66 Gloucester Street in 1968. An examination of the late 1970s to mid-1980s in Chapter Seven demonstrates that the CSA continued to maintain its influence as a centre for contemporary arts practice. However, the demands of a greater arts professionalism championed by the Queen Elizabeth II Arts Council and accompanied by a growth in dealer galleries, meant that the CSA also became subjected to criticism and this despite its continuing capacity to expose large audiences to new and challenging arts practices. The close and long-standing relationship between the CSA and the Canterbury College School of Art is considered in Chapter Eight and the way in which this contributed to the Society�s cultural supremacy is acknowledged. The deaccession of 42 important historical works from the CSA�s permanent collection in 1995 discussed in Chapter Nine reveals the extent to which its stature had substantially changed by the 1990s. Its essentially nineteenth-century infrastructure was ultimately inappropriate for addressing new levels of arts professionalism. Chapter Ten concludes that the CSA was a visionary, and sometimes radical, arts organisation that deserves to be more carefully and generously considered. Indeed, its long history reveals a vital arts and educational institution that has made an essential but hitherto hugely underrated contribution to New Zealand�s cultural development.

Established in 1880 the Canterbury Society of Arts (CSA) dominated the arts in Canterbury for nearly a century and was the most significant art society in New Zealand. This thesis examines the CSA�s history from 1880 to its change in trading name to the Centre of Contemporary Art (COCA) in 1996 when the Society sought to redefine its role. Chapter One considers its origins, comprising a discussion of the period from 1850 to 1880 in which it was founded as part of an educational complex that reflected Edward Gibbon Wakefield�s ideal for the systematic settlement of Canterbury. A discussion of the Society�s permanent collection from 1881 to 1932 in the following chapter draws attention to how the CSA was guided by its founding ambitions to promote the development of New Zealand art and accompanying responsibilities for art education. Chapter Three considers the premises and art galleries utilised by the Society from 1881 to 1932, revealing that its objectives to advance the arts remained visionary and often demanding. In Chapter Four the period between the Depression and the end of the Second World War is examined and economic and aesthetic challenges, evident in the Society�s limited capacity to purchase works for its collection, alongside the emergence of new art organisations such as the Group are discussed. This is followed by a consideration of the post-war period from the perspective of the CSA�s remarkable secretary from 1943 to 1959, William Sykes Baverstock. His response to an emerging modern movement provides a context to examine significant changes in the arts which initially posed a challenge to the CSA. Consideration of the 1960s to mid-1970s in Chapter Six reveals the vital role played by the CSA in supporting the development of contemporary New Zealand art and includes discussion of significant events and exhibitions such as the Hay�s Art Prize and the expansion of the Society�s programme to include international shows and solo exhibitions of contemporary sculpture, craft, design, and painting. It argues that these activities represented the CSA�s most ambitious and successful period in its history, symbolised by its new modernist-styled gallery which opened at 66 Gloucester Street in 1968. An examination of the late 1970s to mid-1980s in Chapter Seven demonstrates that the CSA continued to maintain its influence as a centre for contemporary arts practice. However, the demands of a greater arts professionalism championed by the Queen Elizabeth II Arts Council and accompanied by a growth in dealer galleries, meant that the CSA also became subjected to criticism and this despite its continuing capacity to expose large audiences to new and challenging arts practices. The close and long-standing relationship between the CSA and the Canterbury College School of Art is considered in Chapter Eight and the way in which this contributed to the Society�s cultural supremacy is acknowledged. The deaccession of 42 important historical works from the CSA�s permanent collection in 1995 discussed in Chapter Nine reveals the extent to which its stature had substantially changed by the 1990s. Its essentially nineteenth-century infrastructure was ultimately inappropriate for addressing new levels of arts professionalism. Chapter Ten concludes that the CSA was a visionary, and sometimes radical, arts organisation that deserves to be more carefully and generously considered. Indeed, its long history reveals a vital arts and educational institution that has made an essential but hitherto hugely underrated contribution to New Zealand�s cultural development.

Thesis (M.A.)--University of Canterbury, 1968. / Includes bibliography.

Baited pitfall traps were used to sample the lizard fauna at Birdlings Flat on Kaitorete Spit, Canterbury. Four species had been recorded previously from this area; Leiolopisma maccanni Patterson and Daugherty, Leiolopisma nigriplantare polychroma Patterson and Daugherty, Leiolopisma lineoocellatum (Dumeril and Dumeril) and Hoplodactylus maculatus (Gray). Three of these species (L. maccanni, L. n. polychroma and H. maculatus) were captured during the course of the study. The aim of this present study was to examine the nature of the ecological relationship among these three species at Birdlings Flat. Capture data indicated that L. maccanni was almost entirely confined to the dunelands while L. n. polychroma was associated exclusively with shrublands on old dune ridges behind the sand dunes. H. maculatus' distribution encompassed both of these major habitats. Separation on the basis of habitat was thought to be the most important niche variable for these two diurnal skinks. There was some temporal separation in activity of these two species, with L. maccanni active earlier in the day than L. n. polychroma. However, there was a high degree of overlap in the activity periods of these two species. Temporal differentiation between the nocturnal gecko H. maculatus and the two diurnal skinks is thought to be an important means by which these species coexist. The most common prey items consumed by all three species were Diptera, Araneae, C. propinqua seeds, Hemiptera, unidentified arthropod eggs, Coleoptera and Hymenoptera. Dietary differences between the two skink species were apparent although these differences appeared to be related to the preferred habitats of the respective species. Density estimates for L. maccanni varied between 1050/ha and 1850/ha while L. n. polychroma density varied between 200/ha and 400/ha. The density of H. maculatus was not calculated but appeared to be intermediate to the density of the two skink species. The apparent disappearance of L. lineoocellatum from an area where they were once relatively common is cause for concern. There is no obvious reason for this decline although it may be related to the combined impacts of predation, collection and habitat disturbance.

Issued also as thesis, Johns Hopkins University. / Bibliography: p. [111]-112.