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Inaug. Diss.--Basel.

Inaug.-Diss.--Münster. / Bibliography: p. [47]-48.

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The aim of these poems is to evidence that the self neither contains nor is contained, that the self is persistently, turbulently multiple, that the self is not prior to but constituted by its entanglements, that the self is constantly made and unmade in a common, general incompleteness of process. These poems are ‘about’ entanglements. And entanglement, as Fred Moten and Karen Barad might say, is not the joining or fusing of separate, individual entities but the refusal of separateness, of individuation. The person who writes the poetry, the individual, can and does emerge, all the time, into the world and life, but this emergence does not happen once and for all. The individual person is continuously made and unmade through each intra-action, including the very one through which they came into existence, and, undergoing such constant differentiation, ‘the person now’ and ‘the person then’, the person ‘here’ and the person ‘there,’ the person who writes the poetry and the larger personhood they find and are found by in the writing of poetry, are impossible to separate. The poem evidences this entanglement, and in so doing enacts a spectrum of possibility that precedes and evades its regulation into separate categories.

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Thesis (M.A.)--York University, 2008. Graduate Programme in Communications and Culture. / Typescript. Includes bibliographical references (leaves 140-156). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38769

This essay develops a literary-historical and theoretical framework within which to consider the anonymous Middle English penitential lyric “An Old Man’s Prayer,” from British Library MS Harley 2253. Beginning with a review of the methodological problems involved in contextualizing medieval lyrics, I proceed to situate the religious lyrics in relation to the rise of affective devotion to the humanity of Christ in the later Middle Ages. By arguing for the capacity of the genre for aesthetic and conceptual complexity, I seek to establish lyrics as a form of ‘vernacular theology,’ a recently developed critical category in medieval studies from which lyrics have so far been excluded. “An Old Man’s Prayer,” examined in relation to other selected Harley lyrics, serves as the primary textual test case for a hermeneutic which reads for “Incarnational poetics,” that is, the ways in which the claims of orthodox Christology shape and structure the form and thematics of medieval poetry. Emphasizing the centrality of Incarnational doctrine, I contend against the reduction of the essence of medieval Christian worldview to contemptus mundi. More specifically, I seek to demonstrate the reconciliation effected by the Incarnation between this-worldly and spiritual desire, between the material and transcendent realms, as represented in “An Old Man’s Prayer” by the speaker’s implicit affective identification with Christ’s passion. Invoking the discourse of desire, I engage the psychoanalytic approach to literary studies, which I find ultimately insufficient for achieving a satisfactory interpretive “fusion of horizons” between medieval texts and current criticism. Thus, I turn to the contemporary theological perspective of John Milbank, whose ‘Radical Orthodoxy’ provides a theoretical basis for an Incarnational hermeneutic. / text