This thesis represents the first stage of a projected complete edition of Camden's Remains. I offer here Camden's text for three chapters (Britain, Inhabitants, and the Wise Speeches) along with a textual apparatus. The General and Textual Introductions are based on a study of the whole book. The General Introduction examines the relation of the Remains to Camden's major work, the Britannia. It also contains a discussion of Camden's sources and the manner in which he handles his material. Briefly, I indicate the extent of Camden's contact with other historians and antiquarians and state whose libraries he had access to. Discussion is purposely brief because these and related matters have already been: treated in works by Linda van Norden, F. T. Levy, and May McKisack. A separate study of how and where Camden saw the manuscripts and books he used lies outside the scope of the thesis. To conclude the General Introduction I offer brief comments on Camden's style, his intentions, and the place of the Remains in relation to his two historical works. The Textual Introduction studies the evidence of the manuscripts and of the three editions in Camden's lifetime. The text is based on the edition of 1605. It adopts the authoritative revisions and additions of 1614 and 1623. The apparatus at the bottom of each page records substantive variants of the manuscripts, 1614, and 1623. It also records all departures from the copy text. Commentary for the two sections Britain and Inhabitants is confined to identifying sources and explaining points in the text. For the Wise Speeches, I attempt to trace the origin and development of each story and, where possible, to identify Camden's source or the tradition leading to Camden's version. In a number of cases it is possible to identify the particular manuscript or edition which Camden used and these have been noted. I indicate any changes Camden has made in the substance of a story and, in most cases, I present for comparison the text of the speech or aphorism. The Commentary was designed for the convenience of the general reader, hence some entries are no doubt fuller than an historian would need. Appendix A presents a selection of manuscript apophthegms which, for one reason or another, Camden chose not to print. They are not part of his final intentions. For this and other reasons, I offer them here, unannotated, simply as a sample of the contents of the manuscript. I hope to deal with the unpublished apophthegms separately at another time. Appendix B provides a table identifying all the material Camden added to the editions of 1614 and 1623.

Recent musicological discourse, while frequently considering issues of historiography and canonicity, has seldom critically engaged with biography as a genre of documentary significance to reception history for its attempts to shape public opinion of its subjects. In consequence, modern musicology has often taken for granted many tendencies and preoccupations that accumulated in musical biography in the late nineteenth and early twentieth centuries. This thesis presents a historiographical examination of the precedents for and accretions of these assumptions, in terms of the role played by biography both in the establishment and maintenance of ideological canons and in the resultant ‘top-down' conception of music history as dominated by an elite handful of exalted composers. Exploration of the ways in which biographies constructed their subjects as ‘great' and ‘exemplary' – insofar as these concepts were idealized within the communities of readers for whom they were originally written – is conducted through two major studies of the published texts to c.1950 on canonical composers including J. S. Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Wagner, Brahms, and Tchaikovsky. The first investigates the elaboration and distortion of a set of some twenty-five of the most famous myths of musical biography, from their origins in late eighteenth- and early nineteenth-century Continental European texts to their fullest development (and, in many cases, their refutation) in English-language biographies up to the mid-twentieth century. In contrast, the second critically analyzes the twelve volumes of the original ‘Master Musicians' series (1899-1906) as exemplars of the biographical and musical paradigms of composer life-writing, and as late Victorian period pieces of significance to canon formation for their conception as a closed set of monographs of historically-important subjects appropriated to English ends. The conclusion provides a preliminary assessment of the implications to modern musicology of the findings of this thesis through re-evaluation of elements of recent biographical and hermeneutical scholarship, and proposes that the discipline might usefully adopt a more inclusive, self-reflexive approach to the study of musical biography in the future.

This thesis examines the historical writing of the twelfth-century Yorkshire historian Alfred of Beverley, compiler of a Latin chronicle covering the history of Britain from its supposed foundation by Brutus down to the time of Henry I. From the late Middle Ages until the eighteenth century Alfred enjoyed a considerable reputation amongst chroniclers, antiquaries and topographers but by the mid-nineteenth century scholarly opinion had come to consider his work highly derivative, uninformative and of little historical value. The chronicle was printed by Thomas Hearne in 1716, but was never edited in the Rolls Series and the text has remained largely neglected until today. Alfred’s sources in the chronicle have been identified and his use of them examined. The circumstances and date of compilation have been reconsidered and supported by internal evidence from the text, a date of compilation of c.1148 - c.1151 x 1154 is proposed. Alfred’s purpose and intended audience of the work has been considered and evidence for the work’s dissemination and reception from the twelfth to the seventeenth century has been gathered in order to assess the place of the work in medieval historiography. This study finds the Historia to be a text of considerable historical interest and value. It shares common features with historical narratives of the first half of the twelfth century in attempting to provide a comprehensive account of the island’s past, but does so in a more concise, less discursive literary manner. It reveals the application of the methodologies of scholastic exegesis to the writing of history, in its language, textual organization and in the interrogation of authorities that it engages in to determine the veracity of historical data.The text is an important witness for the dissemination of the important twelfth-century source texts it uses. It is the first Latin chronicle to incorporate Geoffrey of Monmouth’s British history into its narrative fabric (Henry of Huntingdon’s c.1139 abbreviation of Geoffrey’s history was inserted as a self-standing ‘Letter to Warinus’). Alfred’s critical reception of the Galfridian material is examined in the thesis. The extensive borrowings from Henry of Huntingdon, Geoffrey of Monmouth, John of Worcester and the Durham Historia Regum, provide important evidence for the dissemination of these texts, which the thesis examines. A finding of the study is that the Historia has been powerfully influenced by Henry of Huntingdon’s Historia Anglorum in its structure and thematic approach. The later reception of Alfred’s Historia by Ranulph Higden in his Universal Chronicle Polychronicon is examined and the impact that this had on Alfred’s later reception in historiography, from William Caxton to William Camden is traced and explored.

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Thesis--München. / Bibliography: p. [58]-59.

Thesis--Tübingen. / Vita. Includes bibliographical references (p. 412-436).

Thesis (Ph. D.)--University of Chicago, Dept. of Classical Languages and Literatures, June 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A.)--Ohio State University, 1969. / Includes bibliographical references (leaves 60-63). Available online via OhioLINK's ETD Center

This thesis describes aspects of the representation and perception of the Carolingians in Italy between 774 and 875. This relates to the impact of Carolingian ideology in Italy. The thesis is composed of a series of parallel source studies. Most of the material considered was produced away from the Carolingian court and thus reveals the reaction of those in the provinces. Even when, as with capitularies, the material discussed originated at the court, the selection of which pieces to preserve is nevertheless sometimes indicative of the priorities of those involved. The thesis is composed of six chapters and a short coda. Chapter one is an introduction which deals with the histonography of the subject, outlines the aims of this study and delineates the difficulties associated with it. Chapters two and three deal with narrative sources written, respectively, within the regnum Iialiae and those written outside it in southern Italy. These two chapters consider the descriptions of the Carolingians contained in these texts in the light of the literary approaches of these works. Chapter four analyses other literary productions linked with or referring to the Carolingians in Italy, mostly poems. Chapter five discusses the numismatic evidence about Carolingian government in Italy and the coinage's capacity to carry ideological messages. Chapter six considers the evidence of Carolingian capitularies in Italy, the promulgation of these texts and their use in the peninsula. Particular attention is devoted to the methodological problems involved with using each of these types of source. Thus a partial image is developed of the ideological profile of Carolingian rule in Italy and of the reaction to it. The coda, chapter seven, describes the place of this work in the historiography and suggests further approaches.

published_or_final_version / Chinese / Master / Master of Philosophy