My dissertation reexamines Chaucer’s debts to the Consolation by reconciling Boethius’s Neoplatonic distaste for the material world with Chaucer’s poetic celebrations of the variety and sensuality of human life. I revise the understanding of Chaucer’s poetry by recontextualizing it within a new Boethianism that stems from Chaucer’s interaction with the scholastic commentary on the Consolation by Nicholas Trevet. Although critics have long known that Chaucer’s Boece extensively borrows from, glosses, and cross references with Trevet’s commentary, very little attention has been given to what effect this had on Chaucer’s Boethian poetry. My dissertation argues that through Trevet’s immensely popular commentary, Chaucer received a predominantly Aristotelian-Thomist reading of the Consolation, one that reinvents Boethius’s Neoplatonic rejection of the sensual world as an apologetically materialist philosophy. The Aristotelian-Thomist influence of Trevet’s commentary is most visible in Chaucer’s treatment of the human interactions with the temporal world: in the functions of sense perception, the working of memory, and the desire to foresee the unknown future. / text

Doctor of Philosophy / History / Michael Krysko / David R. Stone / This dissertation examines the shifting patterns of naval reform and the implementation of foreign technology in the Russian Empire and Soviet Union from Alexander III’s ascension to the Imperial throne in 1881 up to the outset of Operation Barbarossa in 1941. During this period, neither the Russian Imperial Fleet nor the Red Navy had a coherent, overall strategic plan. Instead, the expansion and modernization of the fleet was left largely to the whims of the ruler or his chosen representative. The Russian Imperial period, prior to the Russo-Japanese War, was characterized by the overbearing influence of General Admiral Grand Duke Alexei Alexandrovich, who haphazardly directed acquisition efforts and systematically opposed efforts to deal with the potential threat that Japan posed. The Russo-Japanese War and subsequent downfall of the Grand Duke forced Emperor Nicholas II to assert his own opinions, which vacillated between a coastal defense navy and a powerful battleship-centered navy superior to the one at the bottom of the Pacific Ocean. In the Soviet era, the dominant trend was benign neglect, as the Red Navy enjoyed relative autonomy for most of the 1920s, even as the Kronstadt Rebellion of 1921 ended the Red Navy’s independence from the Red Army. M. V. Frunze, the People’s Commissar of the Army of Navy for eighteen months in 1925 and 1926, shifted the navy from the vaguely Mahanian theoretical traditions of the past to a modern, proletarian vision of a navy devoted to joint actions with the army and a fleet composed mainly of submarines and light surface vessels. As in the Imperial period, these were general guidelines rather than an all-encompassing policy. The pattern of benign neglect was shattered only in 1935, when Stalin unilaterally imposed his own designs for a mighty offensive fleet on the Soviet military, a plan that was only interrupted by the outbreak of World War II.

This study examines both the theological aesthetics of George Herbert (1593-1633), English priest and poet, and those of his friends, the Ferrar family of Little Gidding, who founded a quasi-monastic religious community near Cambridge from 1624-1646. In their writings, Herbert and the Ferrars negotiated two traditional but usually competing aesthetic stances: the "beauty of holiness"; on the one hand, and austere plainness, on the other. They skillfully navigated between conflicting theological positions during the years leading up to the English Civil War. Chapter 1 reviews the historical connection between Herbert and Nicholas Ferrar (1592/3-1637) in light of recent revisionist biographies. It describes and contextualizes the anomalous and controversial devotional life at Little Gidding within the complex religio-political landscape of the 1620s and 1630s; it also argues for a shared theological aesthetic between Herbert and the Ferrars as evident in their collaboration on various projects. (Herbert also designated the Ferrars his literary executors.) Chapter 2 revisits the question of Herbert's paradoxical "plain style," a topic that has engaged scholars for decades, by exploring his poetic use of clothing images in conjunction with the Renaissance commonplace of the "garment of style." Chapter 3 examines in detail liturgical practice at Little Gidding, both the family's public and private worship life, as well as their extensive renovation of two churches. Here I argue that the community did not fit easily within any single category in the "worship wars" of the early seventeenth century, but instead drew upon influences across the liturgical spectrum, from Laudianism to puritanism. Chapters 4 and 5 explore how Herbert (in his poetry) and the Ferrars (in their religious dialogues called the Story Books) use narrative of various kinds, but especially parable and exempla, for catechetical ends, and emphasize the centrality of "true stories" to Christian belief. The conclusion argues that these texts present a theological aesthetic that is deeply connected to a lived, practiced ethics. This project fills in a major gap in Herbert studies while recovering important primary sources for the understanding of religion, literature and culture in early modern England. / 2018-04-30T00:00:00Z

This dissertation brings a new philosophical perspective to an important topic in the contemporary theology and science dialogue, specifically the theological reception of multiverse thought in modern cosmology. In light of recent cosmological speculation about the plausibility of a 'multiverse,' a cosmic ensemble in which our own universe is just one of many, theological responses have largely focused on the question of whether such a multiverse might be an alternative to divine design (or might itself be compatible with divine design). However, this approach neglects the fundamental metaphysical issues entailed in the multiverse proposal, including its entanglement of the one and the many (a paradox which has itself been a central concern of theological reflection), as well as its intimations of cosmic multiplicity, diversity, and infinity. In this dissertation I provide the first systematic theological engagement with these metaphysical implications. My approach is to draw on ancient and medieval resources (neglected not only in multiverse discussions but also in the theology and science field more generally) to show that the concept of metaphysical participation provides a particularly fertile ground on which theology can engage constructively with multiverse thought. To that end, I focus specifically on the participatory thought of Plato, Aquinas, and Nicholas of Cusa, each of whom seek to understand how a physical cosmos of complexity and immensity might share in divine existence of unity and simplicity. I bring their insights into interaction with a diverse range of contemporary theological, philosophical, and scientific figures to demonstrate that a participatory account of the relationship between God and creation argues for greater continuity between theology and the multiverse proposal in modern cosmology.

This thesis is divided into two sections; a theoretical section which looks at the analytic construction of collective identities, and a section which applies the theory to two Australian novels. The first four chapters use the theories of Roy Wagner, Benedict Anderson, Jacques Lacan and Homi Bhabha to look at the often unconscious construction of culture and national, and at the process of hybridity to which those constructions are continually subject.The next three chapters examine Glenda Adamss Games of the Strong and Nicholas Haslucks The Bellarmine Jug showing how an unconscious development of Australian themes runs through the novels, regardless of a lack of Australian characters and setting. The novels show the complex, unique and frequently misunderstood position Australia holds between the cultures, nations and civilisations of the East and the West.The conclusion draws together the principal arguments of the thesis and highlights some concerns which they imply for Australian and its national imagination.

The concept of the Victorian antitheatrical prejudice is both well-established and well-respected. This paper, however, examining the Victorian theatrical novel and the Victorian theater in terms of that prejudice, finds the ready assumption of the prejudice to be problematic at best. A close look at three novels that together span the early to mid-nineteenth century shows that, far from being ubiquitous and unilateral, antitheatricality was in many cases an anomaly; indeed, many of those novelistic elements that have long been assumed to be antitheatrical address different issues altogether. Employing close readings of the novels--Jane Austen's Mansfield Park, Charles Dickens's Life and Adventures of Nicholas Nickleby, and Geraldine Endsor Jewsbury's The Half-Sisters--along with an examination of historical documents, and utilizing as well current scholarship in Victorian theater and theatrical novels, I demonstrate that the Victorians were instead keen appreciators of theater, and that the Victorian "antitheatrical novel" was in many cases far more interested in the authenticity of human interplay than in the inauthenticity of staged role-play.

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Slavery, protected by the United States constitution, expanded as new territories opened up. Heated debate over abolition accompanied slavery’s expansion. In Kentucky’s constitutional convention of 1792, antislavery sentiments for abolition were countered by an argument for protecting slavery. This thesis analyzes the proslavery argument of lawyer George Nicholas who opposed the antislavery argument of minister David Rice. Analyzing that debate, this thesis argues that an entrenched, economic and legal, proslavery argument overcame a humane, moral, antislavery argument. Including an analysis of the consequences for African Americans, the thesis concludes how and why a growing minority of slaveholders was able to perpetuate slavery in the second constitutional convention of 1799. Consequently, Kentucky presents an important case study of how slavery took hold and expanded in a state where the majority did not own slaves.

The State Hermitage Museum in St. Petersburg as a royal collection and cultural treasury reveals the aesthetic preferences of a nation that has always stood on the cultural and geographical periphery of Europe. Initially an imperial collection under Peter I, patrons of the Hermitage focused attention on collecting canonical European paintings and also emulating Western models of display. In this way, the Russian aristocracy superimposed itself on Europe's culture through the construction of a collection to rival its great European contemporaries. / The development of a standardized practice of display has widely been studied in relation to Western museums but similar attention has not been extended to the State Hermitage Museum in St. Petersburg. I argue that Nicholas was able to use objects of art and strategies of display to assert a greater role in the European state system of the mid-nineteenth century. While the supposed transparency conveyed by the collection's public opening was meant to make Russia seem less threatening to Western powers, in reality the yolk of autocracy was as tight as ever.