The introduction contains separate studies of the manuscripts, their orthographies, the rhymes, metre and treatment of source material. Both the orthographic studies and the rhyme—grammar reveal Athis to be a CG poem with no real evidence of Rhenish provenance. The metrical studies, dealing with vowel collision and units of one and three syllables, show how the <u>Athis</u> poet pursued various legitimate rhythmic options in his attempt to introduce variation to the tedium of regular alternation. The most positive results emerge from the comparison of <u>Athis</u> with its OF source, the <u>Roman d'Athis</u>. The dependence of the German text on the OF poem can be proved through misunderstandings of lines and part—lines of the <u>Rd'A</u> enshrined in proper names in the German text. By far the most important aspect of the German poet's adaptation is his sense of history. Ancient Rome and Athens are presented in an entirely different way in the German text. In particular, the large scale descriptions of ceremonies and major events are scenically developed under the influence of medieval historiographic ideas. Further supplementary source material is provided by a Pseudo—Ovidian treatment of <u>Pyramus and Thisbe</u> and a number of medieval military and judicial customs associated with Roman models. In general <u>Athis</u> is shown to be indebted to a medieval German self—awareness of <u>Romanitas</u>.

The concept of community is highly problematic in the German context. ‘Gemeinschaft’ plays only a minor role in post-1945 philosophical writing, arguably as a result of the abuse of the concept by the National Socialists (‘Volksgemeinschaft’). Two of the major contemporary social philosophies in the German language, those of Jürgen Habermas and Niklas Luhmann, are deeply critical of ‘community’. Habermas rejects ‘community’ that has not been purified by a rational filter (as opposed to what he conceives of as the ideal ‘Kommunikationsgemeinschaft’). Luhmann rejects the concept outright, arguing that it is simply ‘alteuropäisch’ (i.e. based on out-of-date philosophical assumptions), and that it has no place in the description of modern society. In contrast to these prominent dismissive positions, I argue that the concept of community is an underrated one. First, Habermas relies more heavily on the concept of community than his focus on the ‘Lebenswelt’ makes us believe. I characterise his conception as a ‘transformation’ of systems theory, because his social philosophy partly adopts systems theory, while complementing it with the aspect of ‘community’. Second, I argue that contemporary cultural theoreticians (for example, Peter Sloterdijk) take systems theory as a starting point for developing ultimately communitarian social philosophies. The concept of community proves crucial as supplementation and balancing of systems-theoretical elements in contemporary thinking. Once this transformative role is recognised, a purely historical treatment of the concept of community – one which, as in Luhmann’s systems theory, sees no place for it in present or future theory – begins to look premature.

This thesis examines a small but unfashionable area of Scotland, invisible to tourist guidebooks, heavily urbanised, and whose towns have won environmental ‘Carbuncle awards’ from the Scottish media. Yet it is deep in Gaelic and Scots place-names which reveal a landscape that past inhabitants perceived to be a green and relatively pleasant land, if perhaps not flowing with milk and honey. Part Three belies its numeration, in that it is the core of the study, examining in detail the place-names of eight (modern) parishes, listing old forms and attempting a sound etymology for each. Part One, based on the data gathered for Part Three, attempts to seek patterns among these names, both between and within the languages concerned. Inter alia, it seeks to explore the degree to which the choice of elements for a particular name, from any language’s toponymicon, is conditioned by cultural, political and social influences ranging from feudal and parochial authorities, through the influence of Scots-speaking merchants, to onomastic local farming customs. The lessons derived from Part One were then used to shed light on some etymologies in Part Three: and hopefully will be of value to researchers in other areas of the country.

This thesis examines representations of ANGER in Old English by analysing occurrences of eight word families (YRRE, GRAM, BELGAN, WRĀÞ, HĀTHEORT, TORN, WĒAMŌD and WŌD) in prose and poetry. Through inspection of 1800 tokens across c. 400 texts, it determines the understanding of how ANGER vocabulary operates in the Old English lexicon and within the broader socio-cultural context of the period. It also helps refine the interpretations of wide-ranging issues such as authorial preference, translation practices, genre, and interpretation of literary texts. The thesis contributes to diachronic lexical semantics and the history of emotions by developing a replicable methodology that triangulates data from different sources. Chapter 1 introduces the field of study and shows the approaches to emotions as either universal or culturally-determined. It discusses previous analyses of ANGER in Old English and proposes a cross-linguistic, semasiological approach, which minimises ethnocentric bias. Categorisations and conceptualisations are not identical between languages, and Old English divides the emotional spectrum differently from Present-Day English. Chapter 2 presents the methodology, which draws on approaches from historical semantics and corpus linguistics, integrating methods from cognitive linguistics, anthropology and textual studies. Chapters 3 to 10 investigate each of the eight word families, analysing all occurrences in relation to grammatical category, collocations, range of meanings, and referents. Cognates in Germanic and other Indo-European languages, and Middle English and Early Modern English reflexes are examined to trace diachronic development. The thesis determines recurrent patterns of usage, distribution between text types, and socio-cultural significance. Specific passages from Old English from a range of genres are analysed and discussed. Each family is found to have a distinct profile of usage and distribution. Chapter 11 examines ANGER in the Old English translation of Gregory’s Regula pastoralis. This text exhibits usage not found in later prose or in poetry. The Cura pastoralis also presents a different framework for understanding and conceptualising ANGER to the one found in Latin. Finally, Chapter 12 synthesises my findings and considers them comparatively. These word families differ in usage, conceptual links, referents, and even authorial preferences. Most common portrayals of ANGER in Old English involve one of the three themes: ANGER AS VICE, WRATH OF GOD and ANGER AS HOSTILITY. The thesis demonstrates that a detailed analysis of lexical usage is essential for understanding larger conceptual structures within a language, and that this in turn aids the analysis of literary texts and understanding of Anglo-Saxon psychologies.

This thesis presents a series of case studies of early medieval narratives about the non-Roman, non-biblical distant past. After an introduction that briefly outlines the context of Christian traditions of historiography in the same period, in chapter two, I examine the Gothic histories of Jordanes and Isidore, and show how they present different methods of reconciling notions of Gothic independence with the heritage of Rome. Chapter three looks at the Trojan origin narratives of the Franks in the Fredegar chronicle and the 'Liber historiae Francorum', and argues that this origin story, based on the model of the Roman foundation myth, was a means of making the Franks separate from Rome, but nevertheless comparable in the distinction of their origins. Chapter four studies Paul the Deacon’s 'Historia Langobardorum', and argues that although Paul drew more on oral sources than did the other histories examined, his text is equally not a record of ancient oral tradition, but presents a synthesis of a Roman, Christian, and of non-Roman and pagan or Arian heritages, and shows that there was actually little differentiation between them. Chapter five is an examination of 'Waltharius', a Latin epic drawing on Christian verse traditions, but also on oral vernacular traditions about the distant past; I suggest that it is evidence of the interpenetration between secular, oral, vernacular culture and ecclesiastical, written and Latin learning. 'Beowulf', the subject of chapter six, is similar evidence for such intercourse, though in this case to some extent in the other direction: while in 'Waltharius' Christian morality appears to have little of a role to play, in 'Beowulf' the distant past is explicitly problematised because it was pagan. In the final chapter, I examine the further evidence for oral vernacular secular historical traditions in the ninth and tenth centuries, and argue that the reason so little survives is because, when the distant past had no immediate political function—as origin narratives might—it was normally seen as suspect by the Church, which largely controlled the medium of writing.

This study of 1930s German fiction adds a new dimension to existing scholarship on the depiction of crowds in literature. Whereas previous surveys on the topic have predominantly focused on the crowd as a revolutionary phenomenon judged on the basis of class perspectives, or as a feature of mass society, this investigation deals specifically with reactions to the crowd in its incarnation as a manifestation of and symbol for political fascism. Drawing on a number of contemporaneous theoretical treatises on crowds and mass psychology, it seeks to demonstrate that war, extreme socio-political upheaval and the rise of Nazism produced intense multidisciplinary engagement with the subject among German-speaking intellectuals of the period, and examines the portrayal of crowds in works by selected literary authors in this context. Exploring the interplay between literature and concurrent theoretical works, the thesis asks how writers used specific possibilities of fiction to engage with the theme of the crowd at a time when the worth of art was often questioned by literary authors themselves. In doing so, it challenges the implication of earlier criticism that authors uncritically appropriated the findings of theoretical texts for fictional purposes. At the same time, it becomes clear that although some literary crowd portrayals support a distinction between the nature of theoretical and literary writing, certain crowd theories are as imaginative as they are positivistic. Extrapolating from textual comparisons, the thesis thus challenges the view held by some authors that knowledge produced by theoretical enquiry was somehow truer and more valuable than artistic responses to the politics of the age.

This thesis examines the function of commemorative skaldic verse at the Viking-age court. The first chapter demonstrates that the commemoration of past kings could provide a prestigious genealogical record that was used to legitimize both pagan and early Christian rulers. In the ninth and early tenth centuries, poets crafted competing genealogies to assert the primacy of their patrons and of their patrons’ religions. The second chapter looks at the work of tenth-century poets who depict their rulers’ entrances into the afterlife. Such poets interrogate the role public speech and poetic discourse play in the commemoration of the king, especially during the political turmoil that follows his death. A discussion follows of the relationship between poets and their patrons in the tenth and eleventh centuries: although this relationship is often praised as one of mutual trust and reliance, the financial aspects of the relationship were often juxtaposed uneasily with expressions of emotional attachment. The death of the patron caused a crisis in these seemingly contradictory bonds between poet and patron. The final chapter demonstrates the dramatic development in the eleventh century of deeply emotional commemorative verse as poets become adopted into their patrons’ families through such Christian ceremonies as baptism and marriage. In these verses poets express their grief after the death of the king and record the performances of public mourning on the part of the kings’ followers. As the petty warlords of the Viking age adapted to medieval models of Christian kingship, the role of the skald changed too. Formerly serving as a propagandist and retainer in the king’s service, a skald documenting the lives of kings at the end of the Viking age could occupy an almost infinite number of roles, from kinsman and friend to advisor and hagiographer.

This thesis examines post-1990 representations of growing up in the Third Reich within German culture. It has two primary aims: to demonstrate how childhood is recalled, represented, and imagined by those with, and without first-hand experience of Nazism; and to situate these narratives as a central part of the post-Unification discourse about identity in the Berlin Republic. The material is organised into five chapters: it begins with an analysis of recent museum displays and exhibitions, followed by German cinema (Hitlerjunge Salomon, NaPolA: Elite für den Führer); autobiographical works, by former members of the Hitler Youth (Günter de Bruyn, Martin Walser, Günter Grass) and by Jewish children (Ruth Klüger, Georges-Arthur Goldschmidt, Günter Kunert); and finally, imagined accounts of growing up in the Third Reich (W.G. Sebald, Binjamin Wilkomirski, Gudrun Pausewang). Through close readings of primary sources, and analysis of their reception, including the public debates which they sparked, this study shows how these narratives interact with historical and contemporary notions of childhood. They are informed by the concern, embedded within post-Unification discourse, that the wealth of documentary and technical accounts of Nazism obscures the individual’s understanding of those events and what it was like to experience them. I argue that because of the close conceptual association between childhood and origins, these narratives contribute to a discourse about how the Third Reich is to be remembered, performing a 'search for a usable childhood'. This is situated within the context of Harald Welzer's notion of 'gefühlte Geschichte'; that is a mode of historical discourse focused on experience, rather than 'factual knowledge', and which appeals to emotions. In assessing narratives of growing up – which take a developmental view of childhood – this study seeks to open up previously rigid categorisations of childhood as found in literary studies which focus on the function of the child’s perspective as a literary device. Thus within a crowded research area the present study offers a differentiated treatment of these works.

The thesis focuses on the theory of tragedy in Germany around 1800, and has two primary aims: to demonstrate the importance of idealist thought for contemporary approaches to tragedy and the tragic; and to revise the intellectual historiography of the classic phase in German letters. It traces reflection on Greek tragedy from the Querelle des anciens et des modernes in France around 1700 through the aesthetic systems formulated in Germany around 1800. Two intellectual developments are emphasized: the historicist consciousness that develops throughout the eighteenth century and places Greek tragedy more radically in its cultural context than ever before; and the idealist philosophy of art, which seeks to restore a measure of universality to the ancient genre, seeing it as the manifestation of a timeless quality of ‘the tragic.’ These two impulses, historicizing and universalizing, it is argued, are fundamental to modern understanding of Greek tragedy. The genealogical method seeks to establish a greater continuity with earlier eighteenth-century thought than is generally recognized, and to refute the teleologies that dominate accounts of idealist thought. A reconstruction of the central texts of Schiller, Schelling, Hegel, and Hölderlin reveals that the theory of tragedy around 1800 is in large part a reflection on history, an effort to understand how ancient literature can be meaningful in modernity. Greek tragedy becomes the ground for an engagement with the pastness of antiquity and its possible presence. Idealist theories, far from dissolving particularity in abstraction, seek a mediation between philological historicism and philosophical universalism in considering Greek tragedy. A genealogy of the tragic suggests that such mediation remains a vital task for scholars of the Classics.

„Protokolle oder Porträts?“ ist eine Genre-Frage, die sich bei Maxie Wanders „Guten Morgen, du Schöne“ angesichts des Untertitels der DDR-Ausgaben, „Protokolle nach Tonband“, nicht auf Anhieb stellt. Dass es sich trotz des anders lautenden Paratextes bei den 19 Frauengeschichten um Porträts handelt, belegt diese Magisterarbeit insbesondere durch die Rekonstruktion der Arbeitsweise der Autorin (II.2.2) und die Analyse der Übergänge zwischen Fiktionalem und Dokumentarischem in den Porträts „Petra“, „Lena“ und „Ruth“ (III.). Neben diesem textzentrierten Zugang wird auch der historische Kontext, in dem das Buch 1977 in der DDR, 1978 in der BRD erschien, beleuchtet. Wie wichtig ein kritischer Umgang mit der Lizenzausgabe „Guten Morgen, du Schöne. Frauen in der DDR. Protokolle. Mit einem Vorwort von Christa Wolf“ ist, zeigt die Analyse der ersten und zweiten DDR-Ausgabe im Vergleich mit der ersten, von Maxie Wander nicht-autorisierten, BRD-Lizenzausgabe, die zudem neue Hintergründe zur Entstehung und Publikation von „Guten Morgen, du Schöne“ offenlegt (II.3). Die – durch die Genre-Bezeichnung im Untertitel beeinflusste – Abwertung des Werkes in der BRD als „Dokumentarliteratur“ wird durch einen Forschungsüberblick zum Thema Dokumentarliteratur innerhalb der Bundesrepublik und – erstmals ausführlich – innerhalb der DDR verdeutlicht. Es treten gravierende Unterschiede in der Beurteilung von Dokumentarliteratur zutage. Indem „Guten Morgen, du Schöne“ in der Bundesrepublik in den Diskurs der „Frauenliteratur“ eingeordnet wird, wird es nochmals stigmatisiert (IV.). Ziel der Arbeit ist eine Aufwertung des Werkes „Guten Morgen, du Schöne“ und deren Autorin – nicht Herausgeberin – Maxie Wander. Die zentrale These, dass das Buch stark bearbeitet und fiktionalisiert worden ist, konnte durch Archivarbeit, Korrespondenzen mit der Nachlassverwalterin Maxie Wanders, Susanne Wander, und mit dem damaligen stellvertretenden Verlagsdirektor und Cheflektor des Buchverlags Der Morgen, Heinfried Henniger, sowie Arbeit mit Dokumenten aus Maxie Wanders Nachlass belegt werden.