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1	A manifesto for nonsense : the futurist drive in Deleuze's poetics Palmer, Helen January 2012 (has links) This thesis presents a critical analysis of Deleuze’s philosophy of language, using and examining Russian and Italian futurist manifestos to draw out the ‘futurist’ aspects of Deleuze’s language and thought. These aspects constitute a poetics of Deleuze as well as a poetics of the avant-garde, presenting in both areas the celebrated, utopian state of language as dynamic, performative matter. The way in which futurist manifestos often attempt to perform and demand their aims simultaneously, and the temporal problems which arise due to this, is an operation which can be perceived in Deleuze’s writing. The difference between writing which describes a linguistic practice and writing which performs this linguistic practice is a temporal gap requiring a double operation of description and enactment, which the performative manifesto purports to fulfil. In both Deleuzian and futurist poetics, however, the fulfilment of this double operation can lead to problematic territory. Deleuze presents several linguistic practices in The Logic of Sense which can also be located in the writings of both Russian and Italian futurists, despite the differing political and aesthetic programmes of these variants of the movement. The common element identified and examined in this thesis is an accelerative drive to eliminate the temporal gap between items in an analogical equation so that synonymy is no longer an inexact science; the conjunction and the copula are truncated and cleave together, resulting in radical linguistic becoming. My argument is that minute technical linguistic modifications such as these operate synecdochically within futurist and Deleuze’s poetics, standing for their creators’ entire conceptual systems. Ultimately, the paradoxes inherent in the relationship between the radical fluidity of futurist nonsense and the radical fixity of its ensuing formalism provide a new way of thinking about Deleuze’s approach to language. 194 Other European Literature ; Philosophy
2	Reading the Body: Dismemberment of Saints and Monsters in Medieval Literature Aidan M Holtan (9086852) 27 July 2020 (has links) <p>While the body in medieval literature can be compared to a text, the nature of this text varies depending on the classification of the body in question. For a monster, the body is static: it indicates victory, marks borders, and is not engaged with beyond the initial dismemberment and display. Conversely, the saintly body is a dynamic body, constantly called upon to continue acting on behalf of the community in the form of miracles. The saintly body is a body in flux—changing and accruing narratives to itself over time. Despite these differences, however, the body itself exists on a spectrum, ranging from human to non-human, and from monstrous to beatific. I therefore further argue that it is the relationship of the deceased individual and the community that determines how a body is treated and understood after death, even if the postmortem body in question bears signs that could easily be interpreted as either monstrous or saintly. This reception, in turn, is reflected in the body’s role within the community.</p> Literature British and Irish Literature Other European Literature Medieval Old English Old Norse Body monster hagiography
3	Keeping The Girdle: Sir Gawain and the Green Knight, Cross-Dressing, and Gendered Communities Marisa J Bryans (13169511) 28 July 2022 (has links) <p> </p> <p>Gender, anxiety, identity, and Gawain’s impossible choice have long been identified and examined as worth studying in the fourteenth-century alliterative poem <em>Sir Gawain and the Green Knight</em>. By focusing on the different states of dress that Gawain finds himself in, the gendered behaviors he engages in, and the fact that he takes on and wears a piece of woman’s clothing as his own before his final encounter, it becomes clear that Gawain begins to utilize and slip into a gender fluid state of identity. His behaviors in Haut Desert cross gendered lines, but also the lines of private and public identity: Gawain’s fault is revealed at the Green Chapel, when the Green Knight reveals himself to be Bertilak as well as his knowledge of Gawain’s girdle. By taking up the green girdle, Gawain cross-dresses and gains access to alternative courses of action and paths towards virtue and survival. Upon returning to his court, his community must take on the girdle as a token of Gawain himself and integrate it in a way that allows for his gender fluidity to become enclosed within the borders of the chivalric community. Gawain’s survival and the benefit which he brings his court are materially represented by the girdle which stands for both the honorable and shameful, the knightly and the monstrous, and the feminine and masculine. </p> Gender history Gender studies not elsewhere classified British and Irish literature Other European literature cross-dressing feminine masculine Chivalric Monstrous Other Private Public Knighthood Self Gender
4	The King, the Prince, and Shakespeare: Competing for Control of the Stuart Court Stage Gabriel R Lonsberry (9039344) 29 June 2020 (has links) <div>When, each holiday season, William Shakespeare’s newest plays were presented for King James I of England and his court, they shared the stage with propagandistic performances and ceremonies intended to glorify the monarch and legitimate his political ideals. Between 1608 and 1613, however, the King’s son, Prince Henry Frederick, sought to use the court stage to advance his own, oppositional ideology. By examining the entertainments through which James and Henry openly competed to control this crucial mythmaking mechanism, the present investigation recreates the increasingly unstable conditions surrounding and transforming each of Shakespeare’s last plays as they were first performed at court. I demonstrate that, once read in their original courtly contexts, these plays speak directly to each stage of that escalating rivalry and interrogate the power of ceremonial display, the relationship between fiction and statecraft, and the destabilization of monarchically imposed meaning, just as they would have then.<br></div> Literature History Drama British and Irish Literature Other European Literature British History shakespeare king james henry frederick coriolanus pericles cymbeline the tempest the winter's tale henry viii two noble kinsmen ben jonson masque inigo jones oberon masque of queens tethys' festival barriers king's men love restored beaumont john fletcher Chivalry Protestantism george chapman thomas campion memorable masque masque of truth the lord's masque

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