Cóir Anmann is a late medieval Irish tract made up of numerous 'entries', each of which purports to explain the meaning of a particular epithet associated with a character in early history or mythology. Two separate recensions of this tract have long been known to exist, but in the course of the present study a third recension was identified. One of the main purposes of this thesis is to provide diplomatic editions of these three recensions based on all extant manuscript copies. On the way to producing these editions the manuscript tradition of the tract is reviewed, and a stemma is drawn up for each of the recensions preserved in more than one MS text. English translations have also been made available. In the introductory discussion linguistic and stylistic evidence is used to establish a chronology in which the recensions can be placed relative to one another. To this end verbal systems for the recensions have been prepared. Since the entries in <I>Cóir Anmann </I>are founded on borrowings from pre-existing sources, extracts from independent tracts corresponding to material contained in it have been identified, and suggestions on how these were handled and adapted for use in <I>Cóir Anmann</I> have been advanced. Together with the conclusions reached as to the chronology of the recensions, this study enables the way in which the tract was compiled from disparate sources and 'grew' through the extant recensions to be discerned. The dates of works quoted in <I>Cóir Anmann,</I> internal references and certain aspects of the language are then reviewed to determine the approximate compilation period for each recension. In a final consideration of the development of the tract, this thesis examines histories and genealogies written in the Early Modern period and after for which <I>Cóir Anmann </I>itself served as a source of material.

The legend of Shambhala incorporated in the Tibetan Canon, has been one of the favourite motives of Tibetan Buddhism throughout the centuries. High lamas and laity alike venerated the legend connecting their innermost aspirations with it. For some it represents a mystical millennial country revealing itself only to the chosen ones, while others perceive it as a symbol of the hidden treasures of the mind. This way or the other, the legend of Shambhala remains a living belief for many. The present hardships of Tibet made the legend with its leitmotif of future victory of Buddhism, especially viable. / When the legend reached the West in the beginning of this century, it inspired many westerners including political leaders, and acquired diverse and innovative interpretations. / Conveying the ever cherished human dream of a better world beyond ours, the legend of Shambhala proved to be a ubiquitous symbol surpassing its original Buddhist framework.

The myth of Circe and Odysseus has been told, interpreted and retold from Homer's time to the present. This thesis begins with a detailed study of Homer's balancing of positive and negative elements of the myth and argues that Homer's Circe is connected with age-old traditions of goddess worship, particularly of Artemis of Ephesus. Chapters III and IV investigate the cultural context in which the purely negative Circe of the Homeric allegorists developed and how this allegorical Circe affected works by other ancient writers, particularly Virgil and Ovid. Later chapters demonstrate how this negative allegorical view of Circe prevailed through the Renaissance and seventeenth century, as evidenced in mythographies, Calderon's plays and by Spenser's Acrasia. The study concludes that allegorical interpretations of the Circe myth were founded on body-soul dualism, so that not until this belief is questioned and abandoned by Joyce and Atwood in the twentieth century are more original and/or positive Circes found.

The present analysis is intended to shed some light on Forster&amp / #8217 / s use of myth, recurrent mythical images and archetypal patterns in his works. This study analyses Forster&amp / #8217 / s archetypal images making particular references to his major works namely, short stories, Where Angels Fear to Tread, A Room with a View, The Longest Journey, Howards End and A Passage to India. The study is confined to the functions and significance of the mythical images and archetypal patterns represented in the aforementioned works. Forster tried to reflect the insecurity and rootlessness of modern life through mythical motifs / he showed a modern man who has become alienated from himself and nature. Forster&amp / #8217 / s most obvious use of mythology is found in the short stories, which are fantasies. It is a mythology which stems from earth and nature, the two elements which act as unifying forces throughout his fiction. It is interesting to note further that this preoccupation with earth and nature is carried into all the other novels before A Passage to India. Forster&amp / #8217 / s use of classical myth and his general attitude toward nature and earth are found in all his fiction. The method used is archetypal criticism / it deals with archetypes which are primordial images perceived across cultures, inherited from time immemorial, issuing from a &amp / #8216 / collective unconscious&amp / #8217 / . An archetype is a mythic symbol, which is deeply rooted in the unconscious, more broadly based on a foundation of universal nature than an ordinary literary symbol, and is more generally expressive of the elemental in man and nature. Chapter one identifies the dominant archetypal approaches and further selects the most appropriate framework for a study of myth and archetypes in Forster&amp / #8217 / s work. Chapter two deals with nature archetypes which find their best expression in Forster&amp / #8217 / s short stories. Chapter three and four focus on Forster&amp / #8217 / s character archetypes in his A Room with a View, and Where Angels Fear to Tread. Chapter five attempts to explore the tragic and heroic aspects of the character archetypes in The Longest Journey. Chapter six deals with Forster&amp / #8217 / s use of archetypal symbols in Howards End. Chapter seven focuses on Forster&amp / #8217 / s prophetic vision in A Passage to India, in which Forster exhibited a prophetic tone of voice and extended the scope of his archetypes. The purpose of this dissertation is to analyse E. M. Forster&amp / #8217 / s use of myth, recurrent mythical images and archetypal patterns in his efforts to communicate his vision of life. This study argues that Forster progresses from fantasy to prophecy. Depending on this progress, Forster&amp / #8217 / s archetypes evolve. This investigation familiarises the reader with how mythical motifs and archetypes enable the author to communicate his vision of reality, which is essentially timeless. Keywords: Mythology, Archetype

The exegesis will elaborate on the research process undertaken to write a collection of short fiction. The creative work is a collection of ten stories linked thematically by an archaeological approach to character psychology, expression and action. Some of the stories also explore the influence of popular culture and cultural archetypes on the characters. Important contemporary influences in terms of both content and style have been the short stories, Wheat by Tracy Slaughter (2004), Walking to Laetoli by James George (2004) and Aquifier by Tim Winton (2004). The introduction of the exegesis outlines my interests in the modern ‘slice of life’ story, in the conflict and tensions that occur between emotional and chronological time, and in Charles May’s assertion that short stories, through their use of metaphor, are a vehicle for exploring mythological perception. The theorists who most influenced my research and creative writing are then highlighted and their contribution to my understanding of narrative technique is discussed. Four main narrative techniques are emphasised, and illustrated with reference to particular stories from the collection. The techniques discussed are all related to the fundamental craft issue of show don’t tell. Finally the exegesis touches on the difficulty a writer has in being an objective reader of their own work. [Note: the creative work is embargoed until 31 March 2013.]

The exegesis will elaborate on the research process undertaken to write a collection of short fiction. The creative work is a collection of ten stories linked thematically by an archaeological approach to character psychology, expression and action. Some of the stories also explore the influence of popular culture and cultural archetypes on the characters. Important contemporary influences in terms of both content and style have been the short stories, Wheat by Tracy Slaughter (2004), Walking to Laetoli by James George (2004) and Aquifier by Tim Winton (2004). The introduction of the exegesis outlines my interests in the modern ‘slice of life’ story, in the conflict and tensions that occur between emotional and chronological time, and in Charles May’s assertion that short stories, through their use of metaphor, are a vehicle for exploring mythological perception. The theorists who most influenced my research and creative writing are then highlighted and their contribution to my understanding of narrative technique is discussed. Four main narrative techniques are emphasised, and illustrated with reference to particular stories from the collection. The techniques discussed are all related to the fundamental craft issue of show don’t tell. Finally the exegesis touches on the difficulty a writer has in being an objective reader of their own work. [Note: the creative work is embargoed until 31 March 2013.]

Thesis (Ph. D.)--Yale university, 1902. / Also available in digital form on the Internet Archive Web site.

Thesis (M.A.)--Simon Greenleaf School of Law, 1982. / Includes bibliographical references (leaves 86-91).

Thesis (Ph.D.)--McMaster University, 2003. / Advisor: Alvin A. Lee. Includes bibliographical references (leaves 275-288). Also available via World Wide Web.

Thesis (M.A. 1979) from the Department of German, University of Adelaide, 1978.