Approved for public release, distribution is unlimited / Due to their unique expertise, military officers have always held a special position within Western society. Yet, while individuals who have demonstrated knowledge of warfare and prowess in battle have long been held in high regard by society and the members of their profession, it is those who have also demonstrated the ideals of citizenship and chivalry who serve as the icons for thoughtful military officers. The purpose of this thesis is to examine the evolution of the citizen-officer ideal- through a close study of historical and literary case studies. By establishing a common theme or values among completely separate exemplars of this ideal, a continuum joining Odysseus, Cincinnatus, Beowulf, and Gawain to Washington, Chamberlain, and Marshall might eventually be carried forward to the present and the modern military officer. Specific focus is given to the roles that classical notions of citizenship and the Code of Chivalry have played in shaping the ethos of the American officer. / Lieutenant, United States Navy

From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text. My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature. I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.

From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text. My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature. I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.

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Living in an era where success is embraced as a life style, raises concerns that the alternatives to become, to grow and mature have been limited to a single variety – one where only triumph matters. This is a view that is spread through contemporary popular culture, whether it be in social media, video games, tv-series, films or books. One of its origins can be found in Christopher Vogler’s dramaturgical template The Hero’s Journey. A common motif used in The Hero’s Journey is the Quest-motif; a knight on an adventure seeking the holy Grail; or Indiana Jones on search for the Arch. One of the foremost examples of the Quest-motif in English literature is the medieval poem Sir Gawain and the Green Knight, but the hero in this tale does not come of age through success, but rather through shame and failure. By comparing the original 1400-century alliterative poem Sir Gawain and the Green Knight, with the 2021 film adaption The Green Knight, and relating them to the Hero’s Journey, the aim of this essay is to show that the ways to become are altered in the adaptation and to argue that the film is moulded to fit with the Hero’s Journey. This essay proposes that contemporary story telling lacks alternative ways to become, since modern narrative structures are focused on Coming of Age through success in accordance with the Hero’s Journey. If storytellers can create a greater awareness of the discourse of success and how they themselves are subjects of malleability of this discourse, maybe the contemporary audiences will experience narratives that provide a variety of ways to become, creating a world shaped by diversity and inclusion.

No description available.