Thesis advisor: Robin Fleming / Britain’s long fifth century, 350-550 CE, was a period of transformative change across the island. It was not simply the end of one civilization and the beginning of another, but rather was a period during which people made meaningful choices about how important it was to them to continue acting like Romans or start acting like their new neighbors when the economy and social structures that had defined life in Britain for centuries dissolved. Historians can study material culture and burial practices to make these fifth-century inhabitants of Britain – invisible in the scarce textual accounts of the fifth century – visible in our historical narratives. Where living communities chose to bury their dead, what they chose to send with the deceased, and how they chose to build monuments to their memory can tell historians how they connected with or distanced themselves from the past that was, materially at least, rapidly disappearing and being replaced. Careful analysis of data from 8,602 burials in 102 cemetery populations, as well as burials of dogs and infants on settlements, indicates that changes in burial practices were the result not of migration from the continent nor the “fall” of Roman Britain, but rather were part of a larger shift from a society based upon Britain’s relationship with the Roman Empire to one based upon its local communities, whether composed of natives, or newcomers, or both. No matter where people came from, no two communities reacted to the upheaval of the fifth century in the same way, and there were no monolithic or universal ways of relating the past to the present and future. New practices appeared, and old practices continued, some of which were better suited to some fifth-century inhabitants of Britain than others.

Oxford Medieval Renaissance scholar C. S. Lewis wrote that a true literary myth uses a temporal series of images to build up in the reader's mind a single atemporal intuitive impression of the relationships of Man, Nature, and Super-Nature. / This dissertation demonstrates that underlying Lewis' own Space Trilogy is a literal image, one which is picturable. The Trilogy thus represents a literary "icon," both in form (as an artistic portrayal of a single object of contemplation) and in function (as a tool for religious devotion). / Lewis accomplishes this effect by conferring upon every detail of his stories a meaning beyond its immediate role in the storyline. Such significance is assigned from a modified medieval cosmology. / These clusters of details are found to align themselves along three mutually perpendicular coordinate axes of North-South, East-West, and Up-Down. When they are plotted as vectors in a three-dimensional abstract "literary space," a single figure emerges, one which also appears several places in Lewis' Chronicles of Narnia. / This picture is that of a central tree in a walled circular garden which forms the summit of a mountain. This first iteration is of a much more elaborate design constructed according to the medieval cosmological principles of the inversion of hierarchy, the reversal of perspective, and the macrocosm in the microcosm. / I believe that, for craftsmanship and self-consistency, C. S. Lewis' Space Trilogy represents in myth a parallel achievement to Dante's Divine Comedy in allegory. / Source: Dissertation Abstracts International, Volume: 52-04, Section: A, page: 1340. / Major Professor: Charles W. Swain. / Thesis (Ph.D.)--The Florida State University, 1991.

This thesis studies the collections of saints' relics preserved in English religious houses during the Middle Ages. It is based upon an examination of as many lists of relics compiled in these houses as it has been possible to find, together with such related material as is available. The first chapter discusses the attitude of medieval people towards relics in general, and also the present state of study of the subject of relic-veneration and the principles of this inquiry. All the available relic lists are then examined in turn, according to the type of religious house where they originated. In each case, an attempt is made to trace the development of the collection, by determining as far as the evidence permits, when and how it was built up and who were the leading figures in this process. Notice is taken where indications emerge of the many and varied purposes which relics served in the lives of the communities which preserved them and of society in general. The final chapter attempts to explain the fundamental importance by arguing, on the basis of the evidence presented, that each religious house's collections was in a sense, an expression of its own identity. Among the appendices a catalogue of relic lists sets outs as many lists, printed and unprinted, as it has been possible to discover and an index of Saints uses the information given in them to define the relic cults of individual saints in England, by establishing which list claimed relics of each saint. The texts of some important unprinted lists are given in a further appendix.

'A treatise of algebra historical and practical' (London 1685) by John Wallis (1616-1703) was the first full length history of algebra. In four hundred pages Wallis explored the development of algebra from its appearances in Classical, Islamic and medieval cultures to the modern forms that had evolved by the end of the seventeenth century. Wallis dwelt especially on the work of his countrymen and contemporaries, Oughtred, Harriot, Pell, Brouncker and Newton, and on his own contribution to the emergence of algebra as the common language of mathematics. This thesis explores why and how A treatise of algebra was written, and the sources Wallis used. It begins by analysing Wallis's account of mathematical learning in medieval England, never previously investigated. In his researches on the origins and spread of the numeral system Wallis was at his best as a historian, and initiated many modern historiographical techniques. His summary of algebra in Renaissance Europe was less detailed, but for Wallis this part of the story set the scene for the English flowering that was to be his main theme. The influence of Oughtred's Clavis on Wallis and his contemporaries, and Wallis's efforts to promote the book, are explored in detail. Wallis's controversial account of Harriot's algebra is also examined and it is argued that it was better founded than has sometimes been supposed and that Wallis had direct access to Harriot's algebra through Pell. Many other chapters of A treatise of algebra contain mathematics that can be linked or traced to Pell, a hitherto unsuspected secret of the book. The later chapters of the thesis, like the final part of A treatise of algebra, explore Wallis's Arithmetica infinitorum and the work which arose from it up to Newton's foundation of modern analysis, and include a discussion of Brouncker's treatment of the number challenges set by Fermat. The thesis ends with a summary of contemporary and later reactions to A treatise of algebra and an assessment of Wallis's view of algebra and its history.

Orientador: Gladis Massini-Cagliari / Resumo: O objetivo desta dissertação é a análise da atribuição do acento no galego-português, período trovadoresco, tomado a partir de sua realização nas cantigas religiosas remanescentes - as Cantigas de Santa Maria, de Afonso X. Desta forma, esta dissertação consiste no estudo de um aspecto da Fonologia do Português Medieval, na sua dimensão prosódica, a partir de uma comparação das características lingüísticas das cantigas medievais profanas (estudadas anteriormente por Massini-Cagliari, 1995, 1999) com as religiosas. A tese de Massini-Cagliari (1995) inaugura no Brasil a metodologia empregada na presente pesquisa. Tal metodologia centra-se na busca das características prosódicas de línguas mortas ou de períodos passados de línguas vivas na estrutura métrico-poética da poesia sobrevivente. Em parte, a proposta baseia-se em metodologias adotadas em trabalhos anteriores sobre outras línguas (sobretudo inglês) - especialmente Halle e Keyser (1971). Mas, na maior parte, baseia-se na observação da estrutura das cantigas medievais galegoportuguesas e de como a contagem das sílabas poéticas e a concatenação dos acentos (poéticos) deixa entrever as características da língua sobre as quais os versos são construídos. Assim, a partir do diálogo estabelecido com a tese de Massini-Cagliari (1995) - e sobretudo com a versão revista e publicada dessa tese (Massini-Cagliari, 1999) -, o objetivo foi observar se, no discurso religioso, muito mais rico em léxico do que as cantigas de amigo estudadas por Massini-Cagliari, podem ser encontrados padrões não mapeados por essa pesquisadora em sua análise. A análise feita no interior do quadro teórico inaugurado pelas teorias fonológicas nãolineares, especialmente pela Fonologia Métrica Paramétrica de Hayes (1995), mostrou que, nas cantigas religiosas, há padrões prosódicos, quanto ao acento...(Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This dissertation aims to analyse stress attribution in Medieval Portuguese. The corpus is composed by Alfonso X’s Cantigas de Santa Maria. In this way, it studies one aspect of Medieval Portuguese Phonology, on its prosodic dimension, establishing a comparison of the linguistic characteristics in religious and secular medieval cantigas (studied previously by Massini-Cagliari, 1995, 1999). Massini-Cagliari (1995) thesis inaugurates in Brazil the methodology used in the present research. Such methodology is based on the search of prosodic characteristics of dead languages or past periods of alive languages in the metrical poetic structure of the surviving poetry. The proposal is partly based on methodologies adopted in previous works about other languages (mainly English) - especially Halle and Keyser (1971). But for the most part it is based on medieval cantigas structure observation and on the abstraction of Galician- Portuguese linguistic characteristics from scansion of poetic syllables and concatenation of poetic prominences. This dissertation establishes a dialogue with Massini-Cagliari (1995, 1999), objecting to verify whether it is possible to find in the religious discourse of Cantigas de Santa Maria (lexically richer than the secular cantigas de amigo) prosodic patterns that could not be found previously in Massini-Cagliari approach. The data are analysed from Non-Linear Phonology theoretical approach, especially Parametrical Metrical Phonology - Hayes (1995). The results show that there are, in Alfonso X’s Cantigas de Santa Maria, prosodic stress patterns that could not be found in cantigas de amigo, such as non-adverbial oxytones ended by light syllables and paroxytones ended by closed syllables (mainly by nasal consonants). Concerning these exceptional patterns, this dissertation proposes that, in the case of paroxytones ended by closed syllables, the final nasal is extrametrical, because there is in fact variation between the forms. / Mestre

This thesis explores aristocratic female inheritance and property holding in the thirteenth century, a relatively neglected topic within existing scholarship. Using the heiresses of the earldoms and honours of Chester, Pembroke, Leicester and Winchester as case studies, this thesis sheds light on the processes of female inheritance and the effects of coparceny in a turbulent period of English history. The lives of the heiresses featured in this thesis span the reigns of three English kings: John, Henry III and Edward I. The reigns of John and Henry saw bitter civil wars, whilst Edward’s was plagued with expensive foreign wars. The heiresses discussed here inherited the lands of some of the most important honours in England and the partition of these patrimonies between female coheirs undoubtedly had an effect on landholding and political society. There were numerous instances when the property rights of female coheirs were negotiated and compromised. Nonetheless, the property rights of women with regard to inheritance, marriage portion and dower were protected by law and remained important to the crown. As wives and widows, these women had an interest in the lands they had inherited and regularly participated in the legal disputes surrounding them. An examination of the roles these heiresses played in these suits and more generally in English society demonstrates the different avenues by which noblewomen could exercise agency in the thirteenth century.

Orientador(a): Gladis Massini-Cagliari / Resumo: O objetivo da presente tese é estudar as fricativas (sibilantes e chiantes) nas cantigas trovadorescas, a partir das relações existentes entre letras e sons e as possíveis grafias nas cantigas religiosas e profanas. O corpus é composto por 50 Cantigas de Santa Maria (CSM), das 420 cantigas marianas em louvor à Virgem Maria, compiladas em galego-português por Afonso X, e por 150 cantigas profanas, sendo 50 cantigas de amigo, 50 cantigas de amor e 50 cantigas de escárnio e maldizer. A metodologia utilizada baseia-se na análise das rimas e das variações gráficas presentes nas cantigas trovadorescas, o que nos possibilitou um estudo inédito sobre a realização fônica das fricativas (sibilantes e chiantes) de uma época da língua em que não há mais falantes vivos. Além disso, fez parte dos procedimentos metodológicos de nossa pesquisa a consulta a glossários, rimários e dicionários do português medieval, material que nos auxiliou no mapeamento das rimas nas cantigas medievais. A análise do sistema consonantal do Português Arcaico (PA), para estabelecer se havia ou não oposição entre os sons representados pelos grafemas focalizados, foi embasada no modelo estruturalista de Pike (1971 [1947]) e em obras que retomam o modelo de Pike, como Cagliari (2002), Souza e Santos (2012), Ferreira Netto (2011), Pickering (2010). Através da análise dos dados, verificamos que as consoantes fricativas na posição de onset silábico nas cantigas religiosas e profanas se comportam de maneira um pouco di... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The objective of this thesis is to study (sibilant and nonsibilant) fricatives on medieval cantigas as from the existing relation among graphemes and represented sounds and possible spelling in religious and secular songs. The corpus is composed by 50 Cantigas de Santa Maria (CSM in Portuguese acronyms), extracted from 420 Marian songs to worship the Virgin Mary, compiled in Galician-Portuguese by Afonso X, and 150 secular songs, composed by 50 cantigas de amigo (= friend songs), 50 cantigas de amor (= love songs) and 50 cantigas de escárnio e maldizer (= satirical songs). The methodology is based on the analysis of rhymes and spelling variations presented on medieval songs, in order to study the phonetic realization of fricatives from a language time with no more living speakers. In addition, our research consultation on glossaries, rhyming dictionaries and dictionaries of medieval Portuguese was part of the methodological procedure. The analysis of the consonantal system of archaic Portuguese (PA in Portuguese acronyms) to establish whether there was or not opposition among sounds represented by the focused graphemes was based on the structuralist model of Pike (1971 [1947]) and on contributions which resume Pike's model, as Cagliari (2002), Sousa and Santos (2012), Ferreira Netto (2011), Pickering (2010). Through data analysis, we verified that fricative consonants on onset syllabic position present a little different behavior in religious and secular cantigas. Sounds repr... (Complete abstract click electronic access below) / Doutor

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