Whole document restricted, see Access Instructions file below for details of how to access the print copy. / The present work is a detailed study of the Gurnemanz Episode in Wolfram von Eschenbach’s Parzival. Its main body encompasses a commentary on the Gurnemanz episode of Wolfram’s work. The intention of the commentary is o provide exact and comprehensive information and discussion on aspects of the text that could cause the reader difficulty, or to enhance his/ her appreciation of the text and the context in which it had its genesis. The commentary follows the principle of analysing from large to small. The largest section encompasses a chapter of the thesis, the smallest an individual word. Each of the five chapters is introduced by a literary interpretation which encompasses, among other aspects such as themes, motifs, plot and character development, structure, and a comparison between Wolfram’s text and that of his source, Chrétien de Troyes’s Perceval. Then a closer examination of smaller units of the text takes place. This includes principally the analysis of Wolfram's use of language and his style. The commentary is introduced by a discussion of the commentary form and the theoretical basis which this work follows, and concluded by a short evaluation. All important secondary literature which appeared before 1997 and was available to the author has been considered for this work. Furthermore, this thesis is appended with an article in German that deals with the possibility of reading Parzival 652,10 and 173,3 with the less favoured MS G readings. This article bears the fruit of the discussion needed to comment on the MS G reading at 173,3, and is soon to be published in the periodical Euphorion. A fold-out copy of the Parzival text for each chapter is found inside the back cover.

This thesis investigates the English versions of the Grimms’ Kinder- und Hausmärchen (= KHM) published between the years 1823 and 1884, i.e. from the first translation by Edgar Taylor and David Jardine, German Popular Stories (1823 and 1826), to the first complete edition of the Grimms’ collection of stories and notes by Margaret Hunt, Grimm’s Household Tales (1884). Each of the first eleven chapters deals with a specific English edition and gives an analysis of one or more stories from that edition together with the texts of the German original. The two versions, German and English, are placed alongside each other in parallel columns to facilitate comparison. The twelfth chapter takes the final paragraph of one story, ‘Sneewittchen’ (KHM 53), and examines the seven different English versions of it in the editions discussed in the previous chapters. The final chapter compares the quality of English translations of the KHM in the nineteenth century with that of the Grimms’ sole venture in translating tales in the English language into German, viz. Wilhelm Grimm’s Irische Elfenmärchen (1826). Included as an appendix is a tabulated concordance of the contents of the twelve major editions discussed in this thesis. The investigation shows that the areas deemed to be sensitive ones by English translators were those which had to do with what Darton (Children’s Books in England, 1982, p.99) has singled out as ‘a deep-rooted sin-complex’ in England. Any story that touched on the issues of religious belief and superstition, the human body and its physical nature, violence and evil, and the intense emotions felt by human beings which prompt them to commit violent and destructive acts, was inevitably viewed with concern and mistrust, especially by purveyors of children’s literature in the nineteenth century. All these issues, as well as the element of fantasy which so readily admits and entertains them, were prone to considerable revision by successive translators of the KHM. / Also published (in shorter form) as Sutton, Martin James (1996). The sin-complex : a critical study of English versions of the Grimm's Kinder- und Hausmärchen in the nineteenth century. Kassel Germany: Brüder Grimm-Gesellschaft.

Qu’est-ce que la littérature océanienne ? Cette question liminaire et peut-être naïve veut lever tout risque de malentendu, mais aussi indiquer le projet fondateur de cette recherche : écouter et reconnaître les voix du grand « océan d’îles » d’Epeli Hau’ofa1 dans leur pleine originalité. Il est en effet difficile d’imaginer une situation plus paradoxale que celle de la région Pacifique et de ses habitants, qui ont fait couler tant d’encre occidentale depuis le XVIIIe siècle, mais dont la voix propre n’est, aujourd'hui encore, que très rarement entendue en dehors de la région, mais aussi à l’intérieur.2 Le champ littéraire océanien Les corpus littéraires désignés comme « océaniens » varient selon les auteurs : ainsi dans une conférence de 2002 intitulée « Tahiti ou l’atelier d’une invention littéraire »,3 Daniel Margueron utilisait la dénomination « littérature océanienne » pour évoquer les premiers écrits européens sur le Pacifique et plus précisément Tahiti, réservant aux littératures contemporaines produites par des écrivains maohi les dénominations « littérature polynésienne francophone dite d’émergence » ou littérature « tahitianophone » pour les écrits en langue maohi. Cependant, dans la plupart des anthologies, actes de colloques ou articles publiés à ce jour, la dénomination « littérature océanienne » vient plutôt désigner les littératures émergentes produites en Océanie par des auteurs qui y vivent de façon permanente. On observe toutefois des différences notables lorsqu’il s’agit de délimiter le champ exact des littératures océaniennes. Les anthologies disponibles aujourd'hui peuvent fournir des indications précieuses sur les représentations dominantes de ce que sont ces littératures. Elles distinguent de fait, à travers les sélections sur lesquelles elles s’appuient, plusieurs grands ensembles. -- from Introduction

Surrealism is dead. At any rate, that is the conclusion one might be tempted to draw in England. In France and America interest in the movement has been kept alive by intermittent discussion; but in England this has not been the case. In the latter country, little critical thought has been applied to the subject, apparently, since the middle of the thirties. This present thesis constitutes an attempt to fill the gap. In examining surrealism both before and after its overt eclat in England, I hope to put it into meaningful historical perspective ; this may help in arriving at the essence of the overt, by penetrating the sensationalism that has hitherto tended to obscure it.

This thesis is a literary biography. It incorporates material that is often outside the scope of scholarly or academic writing: the detail of an individual's day-to-day life. It also spans several disciplines: the fine arts, their history and theory, literary history and criticism, ecology, philosophy, classical music and general history. The discussion involved these because the biographical subject had an active interest at times an active involvement in them. There has been an attempt to follow through themes and patterns that were enduring in the life of A.R.D. Fairburn. He is shown as a man who saw the world in vitalistic and metaphysical terms, rather than in terms of their opposites – mechanism and materialism. These views he represented consistently in a secular society that had a predominantly scientific world view. He is treated as a Romantic/Modernist where his poetry is discussed, and as a pivotal figure in New Zealand's literary history; one who helped make the transition from Victorian, Edwardian and Georgian poetic idioms to those of a regional Modernism, within which he developed a unique style. The biography has implicit in it an 'argument', though not one that is developed in an abstract way: namely that Fairburn, his grandfather Edwin and his great-grandfather, William, were peculiarly representative figures in our history. Their active New Zealand presence lasts from l8l9-1957. Two of them played direct roles in establishing a settler culture here; the third was acutely aware of the tensions and contradictions of that culture. Though A.R.D. and Edwin Fairburn were eccentric in the social milieu of New Zealand, their lives touched it in so many ways that they, along with their missionary forebear, William Thomas Fairburn, are personifications in an historical narrative. The line of their lives traces much in the history of the country since the early nineteenth century. / Whole document restricted, but available by request, use the feedback form to request access.

"'The English of this wildernesse': aspects of early New England's literary inheritance, as illustrated by the works of Anne Bradstreet and Edward Taylor." Since the late 1920's, the literature of early New England has been increasingly studied in the context of the development of American history, literature, and mythology. Without denying the usefulness of such a context, I want to redress the balance by setting selected aspects of two writers in particular, Anne Bradstreet and Edward Taylor, in the context of their English origins, and to study them specifically as English provincial writers who exemplify the important phenomenon of cultural lag in a community distant from but crucially attached to a changing metropolitan culture. Part of the originality of my approach is the new look I give to the implications of colonial and provincial literature. Chapter one outlines a detailed historical and critical context for my study. As well, I discuss some of the roots and presuppositions of modern literary scholarship of Early New England, and using T. S. Eliot's distinction between "aesthetic" and "merely historical" criticism, I stress the need for an evaluative context for the early New England poets to complement any discussion of historical perspective. In my second chapter, I tackle crucial and inadequately examined aspects of the influence of Puritanism on New England poetry, concentrating especially on the theological distrust of the imagination and (especially important for Taylor) the literary implications of eucharistic theology. Having developed the major strands of my approach, I then turn to Bradstreet (chapters three to six) and Taylor (chapters seven to nine). Chapter three discusses Anne Bradstreet in the context of Renaissance attitudes to women, in order to show what expectations and possibilities existed for a woman in her position to write poetry. Chapters four and five gradually move from an historical to an evaluative perspective - chapter four to deal with her public poetry, chapter five with her domestic verse and chapter six, her religious poetry. Chapters seven to nine are devoted to selected aspects of Taylor's work. Chapter seven attempts to make a new evaluation of his contribution to the Metaphysical literary tradition; chapter eight explores the implications of his religious beliefs for his poetic practices and especially his constant sense of literary inadequacy. In chapter nine, the crucial question of the relative importance of "historical" and "critical" contexts is again faced as I look at Taylor's poems on the Canticles, not in order to examine his sources, but rather to show the ways in which his poetical imagination responded to and transformed his sources. There is a brief concluding chapter. Throughout the study, I have responded to the great amount of critical and scholarly work done in recent years, and I have therefore concentrated on particular aspects of the topic which, if in no case providing me with totally untouched territory to map, at least have offered the chance of meaningful and original exploration. I also hope that I am offering my explorations within an original and provoking cultural and critical context.

Hardy’s visual imagery reveals both the eye of the draughtsman and the eye of the artist. His style ranges from awkward pedantries to flowing poetic beauty. This PhD thesis first examines the eccentric scientific imagery, and then the more sustained poetic visual themes such as the ‘near’ and ‘far’ view, or the use of light and shade. Hardy’s reference to paintings, etchings and sculptures is examined in detail, with illustrations provided throughout the text. / Whole document restricted, but available by request, use the feedback form to request access.

Charles Robert Maturin (1780-1824) produced a substantial body of writing that included six novels, three plays, and two collections of sermons. Despite the large audience he reached in his own time, and the interest he aroused in a number of later poets and novelists, Maturin's work has not received very much serious attention from critics. The present study attempts to take a fresh look at all Maturin's work, exploring it sympathetically from a variety of directions. Melmoth is included, but because it has dominated previous discussion of Maturin, I have chosen to concentrate on his neglected novels, Fatal Revenge, The Wild Irish Boy, The Milesian Chief, Women, or Pour et Contre, and The Albigenses. Special attention is given here to Maturin's two volumes of sermons (a valuable but seldom used source of information about his religious philosophy) and, more generally, to the theme of religion, which links many of his novels. This aspect of Gothic literature deserves a closer study than it usually receives, particularly in the work of Maturin who was a minister of religion. My thesis proposes a new interpretation of Fatal Revenge based on the parallel that Maturin developed between the use of superstition by Orazio and its use by the Catholic church. In The Albigenses there is a similar parallel between the outlaws and the supposedly holy Crusaders. Maturin took the Catholic church so often as his subject, not simply because it provided a colourful, stereotyped background (as some have suggested), but because it was a context in which he could seriously investigate the psychological pressures that produced (and still produce) conformity, extremism, and sexual violence. While his studies of oppressive societies may at times remind us of twentieth-century works such as 1984 or The Trial, Maturin's fiction is very much a part of its age. After a chapter that explores the history of 'the Gothic', my thesis focuses on the particular context of Maturin's period, mapping it initially by examining the responses to his work that appeared in print during his lifetime. Those reviews and essays make visible the complex field of forces in which Maturin worked. The Gothic novel developed in an age of more than usual ferment - literary, religious, and political - including the first phase of what we would today describe as feminist rebellion. All this was accompanied, as we can see from the criticism, by a strong conservative reaction in defence of the threatened values. The present study emphasizes the ways in which Maturin's work shared the new energies associated with change, even though it also displayed signs of ambivalence. I consider the reasons for this ambivalence and argue that in many cases there is subtlety in what appears at first to be confusion. Maturin's fiction was a late addition to the Gothic tradition, but its particular kinds of complexity - such as its psychological depth - made it an important development of the genre and linked it with other innovative writing of the period. Some admirers of Maturin have sought to play down the Gothic element in his work, which is understandable in view of the low esteem in which the genre has been held. The Gothic has often been seen, for example, as a confused rehearsal for Romanticism. While acknowledging the variety of Maturin's novels, I have sought to emphasise their continuing links with the Gothic genre and its special energies. During the past decade, new forms of Gothic criticism have appeared that treat the subject with greater seriousness. Today, interest in the Gothic genre seems to be springing to life again, and its relevance to our own time (which is also a period of complex social change and widespread ambivalence) has become clearer. I have attempted to contribute to this new type of criticism by pointing out the value of Maturin's studies of oppression and his ability to go beyond stereotypes in his treatment of women characters. I have also suggested some links between Gothic literature and feminist science-fiction writing today. In general, the aim of this thesis has been to consider the most mature Gothic fiction (such as that of Maturin) not merely as fantasy but as an expanded vision of reality. / Note: Thesis now published. Dunsford, C (2007). Painting life in extremes Charles Maturin and the Gothic genre. NZ: Global Dialogues Press. ISBN 9780968245340

Poetry in New Zealand, nearly everyone agrees, came to birth around 1920, or 1930, or 1940; in fact, round about when those who are now the grand old men of New Zealand letters were boys. No doubt future generations will see it as beginning in 1950, or 1960, or 1970. In any case, no attempt will be made in this work to upset such a widely-held belief – my researches are unashamedly foetal, a chronicle of the first faint heart-beats, the first weak kicks, and a whole lot of morning-sickness. It is something less than a ‘study’ of poetic pre-history; to try to consider New Zealand poetry before 1930 ‘in depth’ would be like practising diving in a mangrove swamp. On the other hand, although I have quoted extensively, it is something more than an anthology. Its purpose is to review the course of poetry in this country since it began, so that those who are interested in colonial verse can get some idea of what would have been its ‘development’ if it had developed, without having to wade through the four hundred or so volumes in which it is embalmed.

CHRISTINA STEAD (1902-1983) is a major Australian woman writer, and this thesis explores one of the least known periods in her life and work, the years she spent in the United States (1937- 7946). During this time she wrote her two best known novels, The Man Who Loved Children and For Love Alone, both based on autobiographical material. This study explores contextual aspects of Stead's life and work in New York, drawing on a considerable amount of new material. (Chapters I and II) During this period Stead wrote partly out of a personal need to understand her own life situation, and psychological readings of three novels, The Man who Loved Children, For Love Alone and Letty Fox, seen as a 'father trilogy', are designed to open up new lines of enquiry into aspects of all of these novels. (Chapters III and IV) The thesis also discusses formal aspects of Stead's work, beginning with her own formulation of an esthetics of the novel, which occurred during a course she gave in New York in 1943 called Workshop in the Novel. (Chapter V) The relevance of this course for her own practice as a novelist is also explored, with particular reference to the two later American novels A Little TeA, A Little Chat and, The People with The Dogs. (Chapter VI) In Chapter VII an exploration of Stead's interest in the genre of the novella, focussing on the collection The Puzzleheaded Girl, continues the formal lines of enquiry opened up in the previous two chapters, and in the following chapter the same collection provides a starting point for a consideration of Stead's deep interest in the situation of women in modern society, especially the recurrent figure of the wanderer or female rebel. The last chapter concentrates on the literary self-portraits which appeared in Stead's American fiction after The Man who Loved Children and For Love Alone, and their curiously limited characterization is compared with the more vigorous portrait of her provided in one of the novels of her husband, William Blake. This thesis, then, argues that Stead's life fed her fiction, especially in her American period, and that her work was part of a broader personal quest. Understanding this quest is relevant to a discussion of her literary style, and to her personal use of autobiographical material in her fiction, and it illuminates aspects of the creative process itself. Stead's need to understand her own life not only shaped her fiction, it also provided it with the 'intelligent ferocity' she aimed for, and resulted in a major 'realist' writer.