Marginal annotation in medieval romance manuscripts| Understanding the contemporary reception of the genre

<p> This thesis examines the complicated network of deities and divine forces in Geoffrey Chaucer's &ldquo;Troilus and Criseyde&rdquo; and how these forces contribute to the lovers' tragic ends. The gods of Love and War&mdash;Venus, Cupid, Mars, and Minerva&mdash;are the central focus of this study, but Fortune and the Christian God are examined as well. I propose that both the beginning and end of the affair are brought about by the gods in order to punish Troilus or Criseyde for excessive pride. </p>

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4338. Adviser: Robert Barrett. Includes bibliographical references (leaves 210-222) Available on microfilm from Pro Quest Information and Learning.

<p>The poem <i>B&emacr;owulf</i> has been translated hundreds of times, in part or in whole. In past decades translators such as Howell Chickering and E. Talbot Donaldson firmly adhered to formal equivalency, following the original text line-by-line if not word-by-word. Such translations are useful for Anglo-Saxon students but cannot reach a larger audience because they are unwieldy and often incomprehensible. In the past fifty years, though, a group of translators with different philosophies has taken up the task of translating the poem with greater success. Translators such as Marc Hudson, Edwin Morgan, and Seamus Heaney used dynamic equivalency for their versions, eschewing strict grammatical accuracy and literal diction in order to recreate the sense and experience of the poem for a modern audience. How two translators, E. Talbot Donaldson and Seamus Heaney, treat the queens in the poem as revealed by a close textual analysis proves to be an excellent example of the two methodologies; formal equivalence translators do not endow their female characters with the agency and respect present in the original text, while dynamic equivalence translators take liberties with the language to give their readers a strong sense of the powerful but tragic queen figures. Harold Bloom&rsquo;s theory of the development of poets in <i>The Anxiety of Influence</i> can help explain this shift from formal equivalency to dynamic equivalency. Translators of <i>B&emacr;owulf</i> necessarily react against their predecessors, and since translators usually explain their process and philosophy in forwards or introductions, their motivations for &ldquo;swerving away&rdquo; are clear. Formal equivalence translators misrepresented the original text by devaluing the literary merit of the original poem and dynamic equivalence translators seek to remedy the misrepresentation by elaborating and expanding the language of the original to reach a wider audience. Each generation must continue to translate against the grain of its predecessors in order to keep the poem alive for a larger audience so that the poem will continue to be enjoyed by future audiences. </p>

<p> The oceans and seas play a fascinating role in human culture and literature. This thesis examines the sea imagery in several Anglo-Saxon poems in order to gain a deeper understanding of the function the sea plays in the Anglo-Saxon literary psyche. These texts include <i>Beowulf, Andreas, Exodus,</i> as well as the shorter "Seafarer" and "Whale" poems. The first part of this thesis focuses on sea imagery at the word level, analyzing Anglo-Saxon morphology and lexical compounding as a key to the metaphorical content of sea-kennings. The second part expands this focus to a textual level, examining the symbolism of sea imagery in Anglo-Saxon literature as an anthropomorphic will-power, a habitat of the monstrous, and a place of heroic action. Finally, the last part will argue for an underlying cultural archetype of the sea, based on parallel passages and common themes involving the sea in Anglo-Saxon poetry.</p>