This thesis examines the uses of Anglo-Saxon manuscripts in the 150 years immediately following the Norman Conquest. By focusing on the most common types of use evident in the manuscripts, it explores how readers actually interacted with books. It also treats manuscripts as cultural artefacts through which it is possible to observe the literary and social consequences of the Conquest. The Introduction summarises our current understanding of the literary culture of this transitional period. Chapter II, ‘Destruction and Conservation’, examines claims that Norman elites destroyed Anglo-Saxon manuscripts; finding these claims unjustified, it investigates the circumstances in which manuscripts were lost and identifies how readers evaluated the contents of pre-Conquest books. Chapter III, ‘The Movement of Pre-Conquest Manuscripts’, looks at the consequent loan, exchange and sale of pre-Conquest manuscripts after 1066. Chapter IV, ‘Updating Pre-Conquest Manuscripts’, discusses difficulties which Norman readers encountered with pre-Conquest books, including script, abbreviation, orthography and textual redaction, and examines how these technical features could be modernised. It also investigates more practical modernisations to liturgical books, chronicles and cartularies. Chapter V, ‘Glossing and Annotating’, concerns readers’ reactions to the texts found in pre-Conquest manuscripts, particularly vernacular homilies and translations. It argues that the post-Conquest classroom was essentially trilingual, though Latin became the lingua franca. Chapter VI, ‘Record-Keeping in Pre-Conquest Manuscripts’, explores the use of pre-Conquest manuscripts – copies of the gospels, liturgical books and patristic texts – as repositories for records. Chapter VII, ‘The Veneration of Pre-Conquest Manuscripts’, continues this exploration of the symbolic capital of pre-Conquest books by examining how Norman churchmen supported the veneration of particular manuscripts as secondary relics, and introduced new traditions regarding other books. The Conclusion refocuses the findings of this thesis on two key issues: early medieval reading practices and English literature between 1066 and 1200.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Esta pesquisa tem por fio condutor uma anÃlise de Chico Xavier como portador de uma imagem autoral inventada, construÃda pela complexa dinÃmica que constituiu sua representaÃÃo de escritor psicÃgrafo na inter-relaÃÃo produÃÃo, recepÃÃo e apropriaÃÃo de suas obras. O Espiritismo nela foi abordado como fenÃmeno cultural e editorial. Investigou-se, pois, a criaÃÃo da imagem autoral de Xavier, concebendo esta como uma elaboraÃÃo coletiva da qual participaram vÃrios sujeitos, dentre eles intelectuais ligados ao movimento espÃrita, editores e leitores. O perÃodo do recorte cronolÃgico propriamente dito foi do final de 1931 atà o inÃcio de 1938. As anÃlises revelaram que a obra literÃria de Xavier foi produzida dentro do funcionamento de uma matriz febiana, engendrada, no final do sÃculo XIX, no bojo das disputas intestinas entre espÃritas religiosos e cientÃficos, bem como nos enfrentamentos com interlocutores em tempos de criminalizaÃÃo pelo primeiro cÃdigo penal republicano. Um sobrevoo na literatura espÃrita do perÃodo da chegada de Xavier permitiu detectar-se indÃcios de bases culturais para sua escrita psicogrÃfica. Quanto a sua escrita de si, pÃde ser identificadas nos textos prefaciais assinados pelo medium estratÃgias de seduÃÃo e convencimento, com o uso de um amplo espectro de dispositivos textuais voltados à denegaÃÃo autoral. Um segundo movimento analÃtico foi desenvolvido enfocando-se a criaÃÃo da imagem autoral do jovem mÃdium de Minas Gerais atravÃs da recepÃÃo de sua obra, do que dele disse a primeira geraÃÃo de seus leitores. PÃde-se compreender seu surgimento na cena literÃria espiritista, integrando um projeto coletivo elaborado e capitaneado por lideranÃas da FederaÃÃo EspÃrita Brasileira. O nÃcleo editorial febiano, respondendo as crÃticas que procuravam desqualificar o livro de poesias escritas mediunicamente, promoveu transformaÃÃes na imagem autoral de Xavier, visando a intensificar a denegaÃÃo autoral para sustentar a autenticidade espiritual dos poemas. Assim, foram se diluindo os vestÃgios de suas qualificaÃÃes intelectuais. Concomitantemente, potencializaram-se suas qualidades mediÃnicas. Em adiÃÃo, se passou a ressaltar seu comportamento virtuoso, acabando-se por conferir-lhe uma representaÃÃo de medium acima da mÃdia. Nesta destacada posiÃÃo, Chico Xavier inseriu elementos diferentes na matriz literÃria vigente no Espiritismo febiano de seu tempo. A investigaÃÃo permitiu compreender duas estratÃgias para a constituiÃÃo de seus espÃritos-autores. Em Emmanuel, o sucesso editorial do personagem pode ser diretamente relacionado ao seu transbordamento com atuaÃÃes em funÃÃes paratextuais e, principalmente, paraliterÃrias. Este exercÃcio estava fundamentado na fusÃo entre as representaÃÃes de Emmanuel, tanto como autor espiritual, quanto como guia do medium. Esta posiÃÃo permitirà ao personagem desempenhar mÃltiplas atividades, ampliando-se significativamente as possibilidades de aÃÃo do prÃprio Xavier. No caso peculiar de Humberto de Campos, houve a apropriaÃÃo de um jà consagrado personagem literÃrio para transformÃ-lo em um espÃrito-autor. Houve uma busca por estabelecer uma continuidade entre a produÃÃo literÃria convencional do Cronista maranhense e a psicografada por Xavier. Neste sentido, encontrou-se nas crÃnicas mediÃnicas uma utilizaÃÃo de procedimentos literÃrios que visavam a drenar a imagem autoral do literato para o texto psicografado. Estas apostas representaram estratÃgias bem-sucedidas, permitindo a Chico Xavier maior atuaÃÃo como autor-ator na cena literÃria espiritista e no cenÃrio da grande impressa nacional. / The common thread throughout this research is an analysis of Chico Xavier as the carrier of an invented authorial image, built on the complex dynamics involving his representation as a psychographic writer in the production, receptivity and ownership of his works. We have approached Spiritism both as a cultural and editorial phenomenon. We have thus investigated the creation of an authorial image of Xavier, conceived as a collective construct from multiple individuals, including an intellectual elite linked to the Spiritism movement, as well as editors and readers. The chronological period of interest for this research ranges from the end of 1931 to the beginning of 1938. The analysis revealed that the literary work of Xavier was conceived according to the workings of the FEB, having flourished, from the end of the XIX century, within the internal power struggles among religious and scientific spiritualists, as well as within the disputes among different interlocutors in a time of criminalization by the first republican penal code. An overview of the spiritualist literature during the rising of Xavier allowed us to detect evidence of cultural bases for his psycographic writings. As far as his writings are concerned, we identified seductive and convincing strategies in the prefatory texts signed by the medium, involving the use of a large range of textual devices geared towards denying authorship. Yet another analytical movement was developed with a focus on the construction of the authorial image of the young medium from Minas Gerais, on the basis of the receptivity his works, of what was said about him by the first generation of his readers. We noted his rising in the spiritualist literature scenario, as part of a collective project, conceived and lead by frontrunners in the FEB. The editorial inner circle of the FEB, based on the criticism that attempted to disqualify the poetry book written mediunically, promoted transformations in the authorial image of Xavier in an effort to increase the authorship denial, in order to support the spiritual authenticity of the poems. Thus, the evidence of intellectual qualities of Xavier started to fade away. At the same time, his mediunic abilities showed a marked increase. Along with those, his virtuous behavior eventually granted him a reputation of an above-average medium. From such a remarkable position, Chico Xavier inserted different elements into the literary matrix of the current Spiritism of the FEB. This investigation allowed us to understand two strategies for the constitution of author-spirits. In Emmanuel, the editorial success of the character can be directly linked to his overflow that includes acting in paratextual and mostly paraliterary roles. This exercise was based on the fusion between representations of Emmanuel as both a spiritual author and as a guide to the medium. This position allowed the character to assume distinct roles, significantly increasing the possible courses of action of Xavier himself. In the peculiar case of Humberto de Campos, there was an appropriation of the already well-known literary character in order to transform him into an author-spirit. An effort was made to establish a continuous link between the conventional literary production of the chronicler from MaranhÃo and the psycographed production by Xavier. In this sense, we found, within the mediunic chronicles, the use of literary procedures that attempted to drain the authorial image from the literary to the psycographed text. Those bets turned out to be successful, allowing Chico Xavier to achieve a more prominent role as author-actor in the spiritualist literary scenario and within the setting of the large national press.

CUNHA, André Victor Cavalcanti Seal da. A invenção da imagem autoral de Chico Xavier: uma análise histórica sobre como o jovem desconhecido de Minas Gerais se transformou no médium espírita mais famoso do Brasil (1931-1938). 2015. 302f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em História Social, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-15T12:26:35Z No. of bitstreams: 1 2015_tese_avcscunha.pdf: 6227130 bytes, checksum: 5bc7b9b0a5b0e1e7da3bc0c912200b29 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-12-15T17:23:01Z (GMT) No. of bitstreams: 1 2015_tese_avcscunha.pdf: 6227130 bytes, checksum: 5bc7b9b0a5b0e1e7da3bc0c912200b29 (MD5) / Made available in DSpace on 2015-12-15T17:23:01Z (GMT). No. of bitstreams: 1 2015_tese_avcscunha.pdf: 6227130 bytes, checksum: 5bc7b9b0a5b0e1e7da3bc0c912200b29 (MD5) Previous issue date: 2015 / The common thread throughout this research is an analysis of Chico Xavier as the carrier of an invented authorial image, built on the complex dynamics involving his representation as a psychographic writer in the production, receptivity and ownership of his works. We have approached Spiritism both as a cultural and editorial phenomenon. We have thus investigated the creation of an authorial image of Xavier, conceived as a collective construct from multiple individuals, including an intellectual elite linked to the Spiritism movement, as well as editors and readers. The chronological period of interest for this research ranges from the end of 1931 to the beginning of 1938. The analysis revealed that the literary work of Xavier was conceived according to the workings of the FEB, having flourished, from the end of the XIX century, within the internal power struggles among religious and scientific spiritualists, as well as within the disputes among different interlocutors in a time of criminalization by the first republican penal code. An overview of the spiritualist literature during the rising of Xavier allowed us to detect evidence of cultural bases for his psycographic writings. As far as his writings are concerned, we identified seductive and convincing strategies in the prefatory texts signed by the medium, involving the use of a large range of textual devices geared towards denying authorship. Yet another analytical movement was developed with a focus on the construction of the authorial image of the young medium from Minas Gerais, on the basis of the receptivity his works, of what was said about him by the first generation of his readers. We noted his rising in the spiritualist literature scenario, as part of a collective project, conceived and lead by frontrunners in the FEB. The editorial inner circle of the FEB, based on the criticism that attempted to disqualify the poetry book written mediunically, promoted transformations in the authorial image of Xavier in an effort to increase the authorship denial, in order to support the spiritual authenticity of the poems. Thus, the evidence of intellectual qualities of Xavier started to fade away. At the same time, his mediunic abilities showed a marked increase. Along with those, his virtuous behavior eventually granted him a reputation of an above-average medium. From such a remarkable position, Chico Xavier inserted different elements into the literary matrix of the current Spiritism of the FEB. This investigation allowed us to understand two strategies for the constitution of author-spirits. In Emmanuel, the editorial success of the character can be directly linked to his overflow that includes acting in paratextual and mostly paraliterary roles. This exercise was based on the fusion between representations of Emmanuel as both a spiritual author and as a guide to the medium. This position allowed the character to assume distinct roles, significantly increasing the possible courses of action of Xavier himself. In the peculiar case of Humberto de Campos, there was an appropriation of the already well-known literary character in order to transform him into an author-spirit. An effort was made to establish a continuous link between the conventional literary production of the chronicler from Maranhão and the psycographed production by Xavier. In this sense, we found, within the mediunic chronicles, the use of literary procedures that attempted to drain the authorial image from the literary to the psycographed text. Those bets turned out to be successful, allowing Chico Xavier to achieve a more prominent role as author-actor in the spiritualist literary scenario and within the setting of the large national press. / Esta pesquisa tem por fio condutor uma análise de Chico Xavier como portador de uma imagem autoral inventada, construída pela complexa dinâmica que constituiu sua representação de escritor psicógrafo na inter-relação produção, recepção e apropriação de suas obras. O Espiritismo nela foi abordado como fenômeno cultural e editorial. Investigou-se, pois, a criação da imagem autoral de Xavier, concebendo esta como uma elaboração coletiva da qual participaram vários sujeitos, dentre eles intelectuais ligados ao movimento espírita, editores e leitores. O período do recorte cronológico propriamente dito foi do final de 1931 até o início de 1938. As análises revelaram que a obra literária de Xavier foi produzida dentro do funcionamento de uma matriz febiana, engendrada, no final do século XIX, no bojo das disputas intestinas entre espíritas religiosos e científicos, bem como nos enfrentamentos com interlocutores em tempos de criminalização pelo primeiro código penal republicano. Um sobrevoo na literatura espírita do período da chegada de Xavier permitiu detectar-se indícios de bases culturais para sua escrita psicográfica. Quanto a sua escrita de si, pôde ser identificadas nos textos prefaciais assinados pelo medium estratégias de sedução e convencimento, com o uso de um amplo espectro de dispositivos textuais voltados à denegação autoral. Um segundo movimento analítico foi desenvolvido enfocando-se a criação da imagem autoral do jovem médium de Minas Gerais através da recepção de sua obra, do que dele disse a primeira geração de seus leitores. Pôde-se compreender seu surgimento na cena literária espiritista, integrando um projeto coletivo elaborado e capitaneado por lideranças da Federação Espírita Brasileira. O núcleo editorial febiano, respondendo as críticas que procuravam desqualificar o livro de poesias escritas mediunicamente, promoveu transformações na imagem autoral de Xavier, visando a intensificar a denegação autoral para sustentar a autenticidade espiritual dos poemas. Assim, foram se diluindo os vestígios de suas qualificações intelectuais. Concomitantemente, potencializaram-se suas qualidades mediúnicas. Em adição, se passou a ressaltar seu comportamento virtuoso, acabando-se por conferir-lhe uma representação de medium acima da média. Nesta destacada posição, Chico Xavier inseriu elementos diferentes na matriz literária vigente no Espiritismo febiano de seu tempo. A investigação permitiu compreender duas estratégias para a constituição de seus espíritos-autores. Em Emmanuel, o sucesso editorial do personagem pode ser diretamente relacionado ao seu transbordamento com atuações em funções paratextuais e, principalmente, paraliterárias. Este exercício estava fundamentado na fusão entre as representações de Emmanuel, tanto como autor espiritual, quanto como guia do medium. Esta posição permitirá ao personagem desempenhar múltiplas atividades, ampliando-se significativamente as possibilidades de ação do próprio Xavier. No caso peculiar de Humberto de Campos, houve a apropriação de um já consagrado personagem literário para transformá-lo em um espírito-autor. Houve uma busca por estabelecer uma continuidade entre a produção literária convencional do Cronista maranhense e a psicografada por Xavier. Neste sentido, encontrou-se nas crônicas mediúnicas uma utilização de procedimentos literários que visavam a drenar a imagem autoral do literato para o texto psicografado. Estas apostas representaram estratégias bem-sucedidas, permitindo a Chico Xavier maior atuação como autor-ator na cena literária espiritista e no cenário da grande impressa nacional.

Since the publication of the book The Screwtape Letters in 1942, ‘C. S. Lewis’ has been a widely recognized name in both Britain and the United States. The significance of the writings of this scholar of medieval literature, Christian apologist and author of the children’s books The Chronicles of Narnia, while widely recognized, has not previously been investigated. Using a wide range of sources, including archival material, book reviews, monographs, articles and interviews, this dissertation examines the reception of Lewis in Britain and America, comparatively, from within his lifetime until the recent past. To do so, the methodology borrows from the history of the book and history of reading fields, and writes the biography of Lewis’s Mere Christianity and The Chronicles of Narnia. By contextualizing the writing of these works in the 1940s and 1950s, the evolution of Lewis’s respective platforms in Britain and America and these works’ reception across the twentieth century, this project contributes to the growing body of work that interrogates the print culture of Christianity. Extensive secondary reading, moreover, permitted the investigation of cultural, intellectual, social and religious factors informing Lewis’s reception, the existence of Lewis devotees in America and the lives of Mere Christianity and The Chronicles of Narnia in particular. By paying close attention to the historical conditions of authorship, publication and reception, while highlighting similarities and contrasts between Britain and America, this dissertation provides a robust account of how and why Lewis became one of the most successful Christian authors of the twentieth century.

In my earlier work, ‘First steps towards a rhetorical hermeneutics of literary interpretation’ (2006), I argued that academic reading takes the form of an argument between readers. Four serious weaknesses in that account are its elision of the distinction between reading and discourse on reading, its inattention to non-academic reading, its exclusive focus on ‘interpretation’ as if this constituted the whole of reading or of discourse on reading, and its failure to theorise the object of literary reading, ie. the work of literature. The current work aims to address all of these problems, together with those created by certain other approaches to literary reading, with the overall objective of clearing the ground for more empirical studies. It exemplifies its points with examples drawn primarily from non-academic public discourse on literature (newspapers, magazines, and the internet), though also from other sources (such as reading groups and undergraduate literature seminars). It takes a particular (though not an exclusive) interest in two specific instances of non-academic reception: the widespread reception of Salman Rushdie’s novel The Satanic Verses as an attack on Islam, and the minority reception of Peter Jackson’s film trilogy The Lord of the Rings as a narrative of homosexual desire. The first chapter of this dissertation critically surveys the fields of reception study and discourse analysis, and in particular the crossover between them. It finds more productive engagement with the textuality of response in media reception study than in literary reception study. It argues that the application of discourse analysis to reception data serves to problematise, rather than to facilitate, reception study, but it also emphasises the problematic nature of discourse analysis itself. Each of the three subsequent chapters considers a different complex of problems. The first is the literary work, and its relation to its producers and its consumers: Chapter 2 takes the form of a discourse upon the notions of ‘speech act’ and ‘authorial intention’ in relation to literature, carries out an analysis of early public responses to The Satanic Verses, and puts in a word for non-readers by way of a conclusion. The second is the private experience of reading, and its paradoxical status as an object of public representation: Chapter 3 analyses representations of private responses to The Lord of The Rings film trilogy, and concludes with the argument that, though these representations cannot be identical with private responses, they are cannot be extricated from them, either. The third is the impossibility of distinguishing rhetoric from cognition in the telling of stories about reading: Chapter 4 argues that, though anecdotal or autobiographical accounts of reading cannot be taken at face value, they can be taken both as attempts to persuade and as attempts to understand; it concludes with an analysis of a magazine article that tells a number of stories about reading The Satanic Verses – amongst other things. Each of these chapters focuses on non-academic reading as represented in written text, but broadens this focus through consideration of examples drawn from spoken discourse on reading (including in the liminal academic space of the undergraduate classroom). The last chapter mulls over the relationship between reading and discourse of reading, and hesitates over whether to wrap or tear this dissertation’s arguments up.