<p>Hildegard von Bingen, a visionary abbess living in the tumultuous 12th century, recorded and interpreted three very powerful visions pertaining to Christianity. This dissertation is limited to the first image of Hildegard&rsquo;s last vision called De Operatione Dei, the Works of God, a cosmological vision about creation. Hildegard named this image <i>On the Origin of Life. </i> </p><p> The thesis of this dissertation suggests the four main characters in the first image of Hildegard&rsquo;s cosmological vision&mdash;the two-headed and four-winged red figure named <i>Caritas</i> standing on the serpent-wrapped monster&mdash;correspond to the four stages of Jung&rsquo;s individuation&mdash;encounter with the shadow (serpent), encounter with the soulimage (monster as Adam), encounter with the god-image (Caritas), emergence of the Self (godhead). Each of these characters and stages represent a level in what has been called by perennial philosophy the Great Chain of Being. Hildegard&rsquo;s vision represents the unfolding of Spirit into matter. Jung&rsquo;s individuation process describes the soul&rsquo;s journey back towards Spirit. </p><p> This work starts by introducing the vision and Hildegard&rsquo;s interpretation. Next it moves to what other authors have written. Since the vision is about creation the interpretation starts with the literalists&rsquo; view of Genesis and moves to the mystical interpretations of Genesis. Other creation stories including a serpent and a goddess amplify the interpretation. Then, using Jungian and alchemical symbols the images of this iv vision are further elaborated. The research follows the logic of the axiom of Maria, from the uroboros, to the hermaphrodite, to the trinity and ending with the <i> marriage quaternio</i>&mdash;two pairs of hermaphrodites. Byington&rsquo;s symbolic elaboration process is used to interpret the dramatic action of the vision thereby bringing the vision back to life as Hildegard might have experienced it. Finally, the parallel between Hildegard&rsquo;s vision and Jung&rsquo;s individuation process is explained in detail. The work ends with Hildegard&rsquo;s interpretation of why god created the world showing how it aligns with the goal of individuation, and how both are critical for the life of the soul in the 21^st century. </p>

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<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.)--Indiana University, Dept. of French and Italian, 2008. / Title from home page (viewed on May 7, 2009). Source: Dissertation Abstracts International, Volume: 69-07, Section: A, page: 2707. Adviser: Harry W. Storey.

Thesis (Ph. D.)--Catholic University of America, 1936. / At head of title: The Catholic University of America. "Lapidaire du roi Philippe": p. 111-125. Bibliography: p. 127-129.

Thesis--University of Wisconsin--Madison, 1928. / With this are bound 4 reprints: The lapidary of Alfonso X, from Philological quarterly, Vol. VIII, No. 3, July, 1929, p. 248-254 ; Noticias sobre la alquimia en el "Lapidario" de Alfonso X, de la Revista de filologia española, 1929, XVI, p. [161]-168 ; The Chaldean stones in the lapidary of Alfonso X, from Publications of the Modern Language Association of America, Vol. XLV, No. 2, June, 1930, p. 444-453 ; The Madrid manuscript of the Alfonsine lapidaries, from Modern philology Vol. XXIX, No. 1, August, 1931, p. 101-104. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 36-45).

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.

The manuscript Eg.3511 which contains a missal and kalendar written in the early twelfth century for the nunnery of S. Pietro in Benevento was bought by the British Museum in 1947. Until c. 1940 the missal had almost certainly been in the Biblioteca Capitolare at Benevento (ms.no.VI 29). The contents of the kalendar, which is rich in cults of local significance, reveal the intentions of the Beneventan princes to direct the religious sentiments of their subjects towards the capital, and thus to give some unity to their state. They underline also the importance of the city of Benevento as the link between the east and west of the Italian peninsula - between Byzantium and Rome. Comparison with other documents written in the principality of Benevento between the eighth and thirteenth centuries shows that the missal belongs to a definite liturgical type. A type which was derived from documents received from Rome in the mid-eighth century, before the Carolingian rulers adopted the policy of liturgical conformity with Rome. The Roman documents were altered slightly and adapted to the needs of the Beneventan Church. This new Romano-Beneventan use began its career at Montecassino and gradually ousted a more ancient liturgy, spreading as far east as Bari - and even to Dubrovnik on the coast of Yugoslavia. The conquest of the principality by the Normans in the eleventh century opened the Beneventan church to the liturgical developments which had taken place in north-west France, Norman priests brought to the south their own ordines for the celebration of mass, and added a large number of saints to the Sanctoral, but appear to have made few other changes to the books which they found in the former principality of Benevento. Thus the Romano-Beneventan use, which from the middle of the eighth century had developed in isolation from the liturgy of the rest of western Europe, continued to be the use of this region down to the thirteenth century.

The five MMS selected for consideration from among the eighteen known MSS. of the Chanson d'Aspremont have been chosen quite arbitrarily, the unity constituted by their all being preserved in the Bibliotheque national in Paris being merely of a practical interest. If other than practical justification is required, it is supplied by the discredit, into which the Lachmann method of classification has fallen since M. Bedier's revolutionary preface to his edition of the Lai de l'Ombre in 1913. Greater caution is now incumbent on the student of multiple MSS., and with the abandonment of the wild-goose chase for an archetype, the individual MS. acquires a new Independence and importance, and invites study on its own merits. In the case of the "Aspremont" MSS., already in 1890, Paul Meyer, noting their diversity, considered that the publication apart of several individual MSS. was a desirable preliminary to a critical edition, and this has already been realised for the interesting MS of Wollaton Hall. Strictly speaking, the study of one MS. involves the study of all the others: the present study, being, for practical reasons, chiefly concerned with the five Parisian MSS., cannot therefore pretend to completeness even for these but it may serve as a modest contribution towards their more complete study.