From Poesie to Poetry: Remaniement and Mediaeval Techniques of French-to-English Translation of Verse Romance, explores the use of remaniement, the art of rewriting, as the method preferred for vernacular translations of genres such as romance. A thorough history of the practice's principles are given, drawing on comments from Classical rhetoricians, patristic writers, authorities of the artes poeticae, and mediaeval translators employing the procedure. A textual analysis of the Middle English Amis and Amiloun follows, utilising a broadly structuralist approach which compares each individual episode and 'lexie' with its Old French and AngloNorman predecessors. This examination demonstrates remaniement to be the method used to translate the romance, highlighting both the important debt owed to the francophone traditions as well as the use of dynamic interpretation to lend the work salience to an English audience. A subsequent linguistic examination includes a new definition of formulae based on prototype theory which utilises mental templates to identifY occurrences. This permits the recognition of over 3000 instances of formulaic diction, many of which can be traced back to native preConquest traditions, as can certain aspects of verse and structure. What emerges, therefore, is a composite work heavily indebted to continental and insular French sources for content and some aspects of style, but largely readapted to lend it appeal to an early fourteenth-century Anglophone audience. The thesis therefore clarifies the establishment and use of remaniement, provides a detailed examp Ie of its use, and in doing so reveals the true extent of the oft overlooked debt owed to francophone traditions in creating English romances. By way of setting these dimensions into a wider context, the conclusion suggests such translations had a general effect on the development of a new insular style, setting standards for the independent creation of works in English as that language continued to re-establish itself as an accepted medium for literary expression.

This thesis seeks to address the literary, cultural and historical questions surrounding what I will suggest was the reconceptualization of fame in the second half of the eighteenth and the first two decades of the nineteenth centuries. The only previous analyses of celebrity in this period by Leo Braudy and by Frank Donoghue have claimed categorically that even though a democratization of fame occurred in this period only men had sufficient access to the fame machine and thus to the experience of the frenzy of renown. While I argue that this period witnessed the birth of modern concepts of celebrity, I will suggest that a modernization necessarily entailed a feminization of fame. Traditionally, heroic self-sacrifice had led to assured immortality, but with the rapidly expanding print culture of this period, celebrity was often instantaneous, achieved during a lifetime rather than a lifetime achievement. With the dissemination of the media, the rise of newspaper and periodicals and thus, more importantly, the increasing visibility of the celebrity as a person to be admired and emulated came the means to seduce an eager audience by manipulating one’s career or personal image. Opening with an examination of the confessional politics of Jean-Jacques Rousseau who sought and found a desiring audience for this outpouring of private sensibility and thus initiated a discourse of fame which no longer relied upon the classical stoicism apparent since Ancient Rome, I will investigate how women writers not only ‘puffed’ themselves in the press, but actively engaged in constructing distinct authorial personae in and through their writings. Far from cowering anonymously in the shades, women writers were actively seeking and achieving the limelight, attaining a level of cultural centrality previously thought by critics such as Braudy and Donoghue to be unattainable. Embracing the public and publicity itself, they took advantage of the shifting mechanics of celebrity to place their writings and, ultimately, themselves, on the rostrum, more than eager to gain literary laurels.

This study reviews a series of theoretical models and educational experiences, in order to examine how some of the claims made in the existing literature regarding the role of IT - mainly computer technologies - in writing instruction play out in the case of Italian as a Foreign Language (IFL). With this purpose in mind, this study examines a specific context - three IFL modules taught at the University of Warwick - and uses relevant teaching and learning experiences as a case-study and data sample. By using qualitative analysis supported by some quantitative methodologies, this study triangulates data from questionnaires, semi-structured interviews, focus-groups, field notes, classroom observation rubrics, as well as classroom artefacts, including online resources and educational software used over the course of the academic years 2004-2005 and 2005-2006. The data collected is filtered through a tripartite framework - learning/instructional environment, IFL tutors, and IFL students - designed to address the need expressed in the literature for analysis of multiple dimensions in complex interactions (Abbott, 1997; Athanases and Heath, 1995; Ramanathan and Atkinson, 1999; Snyder, 1997). The salient themes which emerge from the study are the critical roles of IFL tutors' and IFL students' expectations as well as the framework of values underlying these, along with particular features of information technologies themselves, in shaping participants' experiences and practices with respect to IT and writing, sometimes in unanticipated ways. Finally, the study considers the ways in which the results of the present research support, contradict, or expand existing literature, especially in relation to a number of specific factors, such as: the type of IT used in writing instruction; the physical configurations of IT-enhanced classrooms; and students' as well as tutors' approaches to learning and teaching IFL writing with and without technology. While the present work, like many other studies in the field of SLA and L2 writing, does not provide complete answer to the complex questions of language learning, it highlights the importance of both the instructional environment as well as the participants' framework of values. Only then, IT will be able to potentially enhance language instruction and become an integral component of learning. This research raises new questions, providing the basis for further research in the area of SLA theory and pedagogy.

<p> In less than a decade since the onset of the global economic crisis, more than 2 million people have left Spain in search of work and the possibility of a livable existence. Many of these economic exiles are young and highly qualified, leading some to classify this exodus as a brain drain. Lingering labor market instability and growing mistrust in Spain&rsquo;s political system portend a challenging future for members of the so-called &ldquo;lost generation,&rdquo; both at home and abroad. Meanwhile, many questions remain about the lasting effects and repercussions of the crisis and massive departure of young Spaniards. </p><p> In response, the recession and ensuing surge in emigration have been popular themes of economic, demographic and sociological research in recent years; however, the cultural productions representative of this group remain relatively unstudied. The current investigation focuses on a selection of documentary films and fictional literature that portray the experiences of these highly qualified migrants. Through close analysis of these works, narrative patterns and trends appeared. These literary and audiovisual texts manifest the dialectical tensions of exile literature theorized by Sophia McClennen as well as the complex nostalgias of Svetlana Boym. They also reject and redefine the generational terms imposed upon them, express diasporic solidarity and call for political involvement and collective action. The rhetorical undercurrents at work in these constructions of individual and group identity suggest the emergence of an archetypal narrative of the new Spanish migrant. The cultural negotiations implicit in this narrative seem to confirm that sweeping but gradual societal changes are taking effect, even beyond Spain's borders.</p>

The thesis contributes to the current debate in the fields of adaptation studies and intersemiotic translation. Recent critical stances invite the re-evaluation of the traditional hierarchy which subordinates the target text to its original, and promote a description-oriented textual analysis of a key issue which is common to the texts involved in the adaptation process. By considering the relationship between literature and cinema, the present thesis explores scopophilia, or the love for looking at sexually stimulating scenes, as a key issue in the textual analysis of intersemiotic translation in four significant novels adapted to Italian cinema. Specifically, to put them in the order of the chapters, the thesis analyses scopophilia in Alberto Moravia’s L’uomo che guarda (1985) and the Italian translation of Jun’ichirō Tanizaki’s novel La chiave (1956), two literary works adapted to cinema by the Italian director of erotic cinema Tinto Brass (in 1994 and 1983 respectively), and Pier Paolo Pasolini’s Teorema (1968) and Giovanni Boccaccio’s Decameron (c. 1350-53), adapted for the screen by Pasolini himself (in 1968 and 1971 respectively). The case studies tackle issues related to adaptation of novels to films, but also issues concerned with the erotic, control and discovery, as well as other psychoanalytic notions which are related to scopophilia (e.g. sexual fetishism, Oedipus complex).

Thesis advisor: John L. Mahoney / An exploration of the spirituality present in seleceted poems of William Wordsworth. Occasionally reference his personal relationship to and influence of the Anglican Church, but is a study of the way he developed his own spirituality, not an argument for or against his classification as a "Christian poet." / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.

This research study examines two recent conceptualisations of leadership that have evolved from previous leadership research. They are the Level 5 leadership theory and the romance of leadership theory. These concepts have been chosen as they represent conflicting perspectives of leadership. The aim of this research study is to investigate whether a recent historical profile of publicity given to a prominent Level 5 leader lends itself to a romance of leadership interpretation. The present study addressed this aim by adopting a research methodology that is qualitative in nature and by utilising archival case history research and theory-based sampling. The two measuring instruments that were used are the items comprising the romance of leadership scale (RLS-C) and archival data. An exemplar of a Level 5 leader that has received ample press coverage, Bill Gates, was chosen. 201 articles from the following five sources and four years were collected and their content analysed: the Wall Street Journal, the Economist, Forbes, Fortune and Business Week in 1990, 1995, 1998 and 2006. The positive period included 1990 and 2006, and negative period 1995 and 1998. Once the 201 newspaper articles were randomly selected, the researcher analysed the content via 17 sub-categories. The eight sub-categories from the principles of Level 5 leadership were used as a criterion to find supportive evidence in the data for the Level 5 leadership theory. The researcher concurrently used the nine items from the RLS-C, which comprised nine sub-categories as a criterion to find supportive evidence in the data for romance of leadership theory. This research study resulted in a follower-centric, non-traditional recognition of leadership as it provided clear support for the romance of leadership theory. In the positive period, subcategory 1 and 5 dominated. Four trends were extracted: Ability, Image, Philanthropy and Innovation, constituting altogether 82 percent of the total propositions. Ability was the most salient trend. In the negative period, sub-categories 1 and 5 dominated. Five trends were extracted: Power, Image, Ability, Innovation and Competition constituting altogether, 85 percent of the total propositions. Power and Image were the most salient trends. Conceptual and methodological reasons for the findings were offered, followed by a discussion of the limitations and some theoretical and practical implications. Finally, future considerations for research were suggested.

Unrealistic representations of love have rarely been studied across popular music genres. The lyrics of the top songs in five of the most popular genres (Country, Hip Hop/R&B, Pop, Rap, and Rock) during the periods of 1991-1995 and 2011-2015 were coded for specific love myths. The results of the study show that the overall average of love myths found in popular music genres remain consistent over time. More specifically, based on the amount of myths per song, there was an average of .7056 myths per song in the 1990s and an average of .7504 myths per song in the 2010s. However, there are significant changes in mythical content over time and genre. This research should serve as a foundation to further study the prevalence and influence of love myths of popular music throughout both time and genre.

This dissertation restores the validity of an interdisciplinary use of the term "Mannerism" to the student of the Humanities interested in Italian sixteenth-century visual arts, music, and literature. The concept is not advocated as a movement (an -ism), but as a necessary critical category, a definable style, and a rich cultural period. Mannerism as a period style is most polemical, and more recent critical approaches have discredited the study of "style" in general. Still, the awareness of--and desire for--radical departure from the the High Renaissance ideals among mid-to-later Cinquecento painters, writers, and musicians testifies to the existence of Mannerism. Powerful evidence to this effect is located in specific shared attributes of many paintings, poems, and madrigals--as well as theoretical writings--of the second half of the sixteenth century. A correct understanding of these art works is tied to establishing the historical and stylistic context, which is best described by the concept of Mannerism. / Specific and contrasting definitions of Mannerism are documented in the first part of the study, which also discusses the etymology of the concept, the language of interart studies, and the fall from grace of Zeitgeist within cultural history. A survey of modern criticism of the term/category reveals multiple problems of definition and approach, but none powerful enough to warrant a call to abandon the term. The analysis of criticism offered spotlights concepts which are intended to free art works from the traditional strictures of "Renaissance" and "Baroque." / These broad concepts are then tested for their usefulness in three chapters, and each art form addressed speaks in differing but clear ways of Mannerism. A focus on the fresco painting in Florence and Bologna in the 1580s by Bernardino Poccetti and Annibale Carracci serves to approach Mannerism through the "back door." The lesser-known Poccetti represents the fading stages of Mannerism in the visual arts, while Annibale is one of the first spokesmen for anti-Mannerism. Correspondences between the Gerusalemme Liberata by Torquato Tasso and the Maniera then provide the avenue for a discussion of shared Mannerist aesthetics in painting and literature. Finally, significant similarities in the theory, language, and function of Cinquecento art and music point to the limited role, yet very real presence, of Mannerism in music. / Source: Dissertation Abstracts International, Volume: 54-10, Section: A, page: 3621. / Major Professor: David Darst. / Thesis (Ph.D.)--The Florida State University, 1993.

This dissertation compares Maggie, A Girl of The Streets, by Stephen Crane, and Marthe, Une Fille, by Joris-Karl Huysmans, in terms of setting, characterization, and style in order to give a new perspective on the careers of these two talented authors, and on the popular genre of the naturalist prostitute novel. / In the Introduction, the purpose and structure of the dissertation are explained. Then, in chapter one, the development of the literary schools of realism and naturalism is traced from Diderot's "drame bourgeois" to such nineteenth-century writers as Balzac, Flaubert, and Zola in France, and to such American authors as Melville, Twain, Howells, and Garland. Further, the lives of Crane and Huysmans up to the time of the publication of the two novels are examined to show important formative influences. In addition, a breif discussion is given about the theoretical tenets of literary impressionism, a technique central to the composition of Maggie and important to an understanding of much serious fiction produced from around 1880 to 1920, both in Europe and in the United States. / Chapter two deals with the destructive urban setting of each novel, examining the New York and the Paris of the Nineteenth Century to demonstrate the extent to which each author has been faithful to reality in his portrayal of the evils of city life, among them disease, poverty, alcoholism, and immorality. In chapter three, possible sources and influences for each novel are presented, and the main characters are discussed in terms of their symbolic significance and their interaction in each novel. Chapter four exposes the heavy impressionism of Crane, the latent impressionism of Huysmans, and other stylistic elements like the use of argot, color and sound imagery, and animality in both works. / In the conclusion, the implications of the triumph of science in the latter part of the Nineteenth Century are examined, and the two novels' portrayals of the sinning woman are contrasted. Further, critical attacks on Crane's naturalism are discussed and a new source for Crane's slum stories is proposed in the deterministic tenement novels of Edgar Fawcett. / Source: Dissertation Abstracts International, Volume: 48-03, Section: A, page: 0644. / Thesis (Ph.D.)--The Florida State University, 1987.