Inaug.-diss. - Leipzig. / Lebenslauf.

Thesis (Revise). / Includes bibliographical references and index.

Thesis (Ph. D.)--Columbia University, 1900. / Vita. Bibliography: p. [110]-113.

Thesis--Tübingen. / Vita. Includes indexes. Includes bibliographical references (p. 180-195).

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 530-581).

Inaug.-Diss.--Königsberg. / Lebenslauf. "Zitiert Quellen": p. vii; "Benutzte Literatur": p. viii-xii.

Thesis (M. A.)--University of Canterbury, 2006. / Typescript (photocopy). Includes bibliographical references (leaves 113-118). Also available via the World Wide Web.

Missing page 58. Thesis (Ph.D.)--Boston University / From the time of its first publication in 1864 interest in Pearl has steadily increased. In the late nineteenth century the poem, primarily because of its difficult dialect, was a scholar's curiosity. Today, thanks to carefully prepared editions, translations and critical studies by English, American, German, French, Italian, Frisian and Japanese scholars, Pearl has rightfully achieved international renown. A clearly discernible shift in critical attitudes accompanied this increase in interest. Early sentimental views of the poem and its author were gradually supplanted by more accurate historical and textual criticism with the result that recent critical opinion is of one mind in its emphasis upon multiple levels of meaning within the poem. This study also employs a combined historical-textual approach as it interprets Pearl by means of the medieval fourfold method. Beginning with a brief sketch of allegory in pre-Christian times, the origin and development of the fourfold system is chronologically defined and this definition, supplemented by textual criticism, supplies the basis for an understanding of the poem as a product of its time. After a review of previous Pearl scholarship the interpretation also demonstrates how the fourfold method provides a frame of reference in which previous divergent interpretations of the poem can be reconciled. [TRUNCATED]

abstract: Graffiti at the Arena Chapel and Issogne Castle engage in conversation with the frescoes and the functions of the spaces. These marks produce discussions of cultural issues. The graffiti found in the chapel and castle can be considered ritual and performative acts, visually documenting conversations among diverse audiences in the late medieval and early modern periods. Scholars of the Arena Chapel frescoes have studied the intricate painted iconography. Adding graffiti to the analysis of the chapel allows for a different interpretation of one of the most famous fresco programs. Abundant marks appear on figures in the scene of Hell in the Last Judgment, and are analyzed in terms of the medieval concepts of optics and sight, as well as in respect to class. At Issogne Castle, visitors inscribed graffiti on figures and scenes to represent their responses to key social issues. These included questions of class and occupation, along with political and religious concerns. Contextualizing graffiti in this way enables contemporary scholars to uncover a more complex and subtle understanding of the conversations on the wall in the late medieval and early modern periods through case studies of two monuments of art history. / Dissertation/Thesis / M.A. Art History 2012

This thesis examines the visionary writings of Elisabeth of Schönau, a nun of Schönau monastery, which was a double house in the diocese of Trier between 1152 and 1165. I argue that Elisabeth’s works dynamically engaged various religious audiences (monastic and clerical) in order to provide spiritual guidance to diverse types of people (monks, nuns, abbots, abbesses, and clerics). Elisabeth’s writings not only represent the self-reflection of a twelfth-century woman visionary, but also demonstrate the ways in which Elisabeth forged her spiritual authority by reacting to, and at times anticipating, the reception of her visions by her community. While Elisabeth rhetorically described herself as a passive receptor of divine knowledge, she actively worked to shape the practice of worship first within her monastic community and then, once her authority grew beyond Schönau, amongst a wider audience.