This analysis is limited to those Ideal Structures found in the 84 lines of text commonly called "Hrothgar's Homily." Essentially, each line is analyzed in the following manner: (1) The two or three words carrying the sound patterning for the line are noted. (2) Each occurrence of the stem-syllables and derived forms (derived forms are considered to be variants of the words) are checked in Klaeber's glossary. Occurrences are double-checked using Bessinger & Smith's Concordance. (3) All lines containing the stem-syllables and derived forms are checked to see whether that particular word participates in the dominant sound-patterning of that verse line. If it does, it is so designated on the master list. (4) The lists of each of the two words in the original line are then compared to find the percentage of simultaneous designated. (5) The lines in which these structures occur are then compared and analyzed to determine a patter of meaning and to see if the Ideal Structure affects that line even when it is negated or contrasted. The Structures commonly appear every three lines except in two portions of the text, lines 1730-1751 and 1769-1783. Twelve Structures were found. The Structures have been classified in three groups based on their information content. Type A, Primal Structures, is the least represented, but perhaps the oldest. It is represented by one Structure: fyr/flod in line 1764. Type B Structures are the Structures that deal with the interrelationships within the society, namely the reciprocal duties of king and people. The five Structures within this classification are: sod secgan (1700), fremman/folc (1701), halep/help (1709), leod/laer (1722), and wuldor/waldend (1752). Type C Structures describe the personal attributes of the Anglo-Saxon warrior. The Structures within this class are: maegen/mod (1706), dead/dom (ll. 1712, 1768), maere/mon (1715), mon/mod (1729), faege/faellan (1755), and wig/weord (1783). The placement of the Structures contributes to the content and significance of the speech. The Structures enable the audience to understand the ritual significance of Hrothgar's speech and they reflect the themes which concern the poet in the speech. (Abstract shortened with permission of author.)

Parody is central both thematically and structurally to Chaucer's works. In this he proves to be firmly within medieval literary tradition. A parody is an incongruous imitation of some exemplary work, proposing another version of that work which is only imperfectly analogous to it. Analogy, developed in St. Paul, St. Augustine, St. Francis and the doctrine of the Antichrist, is fundamental to the culture of the Christian Middle Ages: the imitation of Christ is the basis for the Christian way of life; evil is a parody of the highest good. Twelfth- and thirteenth-century Latin satires, like Walter Map's De Nugis Curialium, the Tractatus Garsiae, the "Apocalypsis Goiliae," and the "Sancti Evangelii Secundum Marcas Argenti," criticize corrupt clergy as parodic inversions of exemplary Christian figures and doctrine. The vernacular parodies of chivalry invert the categories of romance. "Spiritual " pastourelles invert the terms of that genre. Chaucer uses analogy and analogic parody and travesty in Troilus and Criseyde to evaluate and structure the course of the love affair as imperfectly analogous to both pagan and Christian models, to ennoble Troilus, and to emplot Criseyde's behavior as a parody of Troilus', her betrayal as a travesty of their love, and her character as complementary to Diomede's. Sacred parody in the Pardoner's Tale is well-grounded in medieval exemplary parody and the theology of the Holy spirit; chivalric parody in Thopas has precedent in works such as the Audigier; the Merchant's Tale travesties chivalric and Christian values.

Dissertation (Ph.D.)--Auburn University, / Abstract. Vita. Includes bibliographic references (leaves 239-245).

Thesis (Ph.D.)--Memorial University of Newfoundland, 2001. / Bibliography: leaves [292]-311.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.A.)--Baylor University, 2008. / Includes bibliographical references (p. 82-85)

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on September 20, 2006). PDF text of dissertation: v., 165 p. ; 0.34Mb. UMI publication number: AAT 3209963. Includes bibliographical references. Also available in microfilm and microfiche formats.

This thesis, Strangers in the House, illuminates how "strangers in the house"--unconventional women, Travellers, emigrants and immigrants--have made significant contributions to the evolving traditions of Irish literature and culture. I trace the literary and creative contributions of groups that were silenced during the early twentieth-century nation-building project to review the impact of the Irish Revival, from the politics of Arthur Griffith and Eamon de Valera to the writings of Yeats, Gregory and Synge, on the establishment of an "authentic" Irish identity. I draw on scholarship that establishes Ireland as a postcolonial nation, suggesting that contemporary identity is closely linked to the national, religious and gender expectations reinforced during the periods of colonialism and decolonization. My scholarship considers individuals who continue to be peripheral in the "reimagining" of what it means to be Irish in a post-Celtic Tiger, E.U. Ireland.

No description available.

This thesis examines the representation of Ireland in images and texts produced in Britain and France between 1839 and 1855. I argue that in this period, Ireland functioned as a crucial site for the negotiation and transformation of the relationship between the two nations. Chapter One examines a popular middle-class British publication of 1845, Maxwell's History of the Irish Rebellion of 1798.. .and Emmett's Insurrection. Through an analysis of George Cruikshank's illustrations to this work, I explore the ways that a predominant image of the Irish was linked to British anxieties concerning a potential political alliance between the French and the Irish based on what was represented as a "natural" religio-racial connection between the two nations. Developing this transnational focus, I argue that French concern with Ireland exacerbated such constructions. Chapter Two examines liberal and leftleaning French publications that took up representations of the Irish between 1839 to 1846 in order to critique Britain's role as a modern industrial nation. In Chapter Three I analyze how "Irishness" in the French press between 1845 and 1847, and in satires by artists like Cham and Paul Gavarni, served both as a warning against French adoption of the English economic model of laissez-faire capitalism, and as a commentary on domestic working class poverty. Chapter Four explores how the Irish were taken up both visually and textually in the French press to be momentarily transformed into active agents of radical change in the year of France's revolution of 1848. My final chapter concludes with an analysis of French artist Gustave Courbet's figure of an Irishwoman as a complex marker of both pauperism and potential revolution in a contentious painting displayed strategically outside Paris' 1855 Exposition universelle. In the course of this analysis "Ireland" is shown to raise a range of issues concerning relations between France and Britain. While images of Irishness evoked the mobility and exchange that characterized an early moment of free trade, those same images could simultaneously arouse anxieties in both Britain and France around industrialization, the "advancement" of civil liberties, the growing pauperization of populations, and the threat to both nations of calls for republican reform. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate