Background: Grammars of Old English held at least until the 1960s that word orderin Anglo-Saxon texts was essentially “free”, that is, determined entirely or primarily by stylistic choice rather than syntactic rules.  Although prose word order has been shown to be regular in several models, the same cannot be said of poetry.  This study uses Nils-Lennart Johannesson’s Old English syntax model, operating within the Government and Binding framework, to establish whether the phrase structure of The Wanderer can fit into this model as it stands, and if not, whether a reasonably small number of additional parameters can be established in order to establish whether “free” word order is in evidence, or whether the word order of Old English poetry is regular in the same way as prose. Results: A full clause analysis showed that the majority of the clauses fit Johannesson’s model.  For those which did not, two modifications are recommended: non-compulsory movement of main verbs in main clauses from I to C; and the splitting and rightwards extraposition of the second part of coordinated NPs in which the first coordinated element is “light” and the second “heavy”.  This leaves a small number of clauses featuring constructions which do not occur frequently enough in the text to allow rules to be induced to explain them.  These must therefore be deemed irregular.  Conclusions:  While much of The Wanderer has been shown to be syntactically regular, some constructions could not be fitted into the existing model without the introduction of special parameters to excuse them.  This paper is intended as a pilot study for a larger project which will incorporate the other poems in the heroic tradition with the hope of inducing a complete syntax for them.  One part of that investigation will be to include these infrequent constructions in The Wanderer, to find comparable constructions in other poems and categorise them within the corpus.

Korea became a multicultural society through the influx of foreigners: migrant workers, international married couples, foreign students, and naturalized citizens. This social change challenges Korean churches to reflect on their mission styles and theology. The theology of the welcomed stranger is a theological response to the Korean context, requiring a profound understanding of globalization and migration. It focuses mainly on the lives of migrant workers in Korea and suggests a model of settlement for both Koreans and migrant workers for peaceful living while exploring a community of toleration, friendship, and harmony for co-existence and emphasizing social justice for the poor and marginalized. Interfaith dialogue between Korean churches and migrant workers is also an important facet of this theology. The introduction outlines my personal life story in relation to Minjung theology and the theology of the wanderer as preconditions to the theology of the welcomed stranger. Chapter One explains the theological responses to globalization and the context of globalization and migration while researching the role of international economic institutions and international laws for migrant workers and their families. Chapter Two explores the situation of migrant workers in Korea, especially women, while highlighting the work of Korean NGOs working for migrant workers and showing the viewpoints of NGO staff on globalization. Chapter Three reflects on Minjung theology and suggests its new responsibility in the era of globalization. Chapter Four considers the theology of the wanderer, comparing it with Minjung theology. Chapter Five outlines the theology of the welcomed stranger and argues for the virtue of a multicultural society, challenging Korean churches to understand the social reality of migrant workers and accepting them as “welcomed stranger.” Chapter Six emphasizes interfaith dialogue and relations between Korean churches and migrant workers, examining the religious context of Korea and the historical background of the Korean church. This chapter also provides the viewpoints of NGO staff in Korea on interfaith dialogue, supporting Korean churches and migrant workers to work together for the realization of a “basic human community,” which I understand as a response to the idea of the kingdom of God.

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This thesis is crafted as an explorative theoretical essay, which aims to disclose the continuities and shifts in constructions of Italian post-war identity through the lenses of Marxist theory and postcolonial film analysis. The research will attempt to locate three paradigmatic cases of post-war Italian cinema and their authors in relation to the historical context, as well as coeval political and theoretical developments in the country. In order to produce a cartography of the Italian social landscape and its spaces of marginality and exclusion, the reader will be guided through this analysis by following the adventures of a paradigmatic character type, whom I will call “the wanderer”, a figure whose itinerant quality reflects the marginality of a social position and attitude that can be summed up by as the “art of getting by” (l’arte di arrangiarsi). As I will show, this position and attitude play a central role in defining a particular identity in relation to established social norms. To trace the transformation of this character, then, is also to trace transformations in the nation’s self-understanding in relation to class, race, gender, and the external world. My interpretation is built on two main theoretical premises. The first one is Gayatri Spivak’s contention that the importance of aesthetics, and aesthetic education, lies in their capacity to mediate between idealism and empiricism, or ethics and social reality. The second premise follows Fredric Jameson’s hypothesis about the creative quality of realism as an aesthetic paradigm, assuming that its primary aim and function is not a representative one, but one of active re-creation of the social reality anew. For me, these two premises are linked by the primary role they assign to aesthetic representation – as connected with imagination – in creating new grounds for social change.

This dissertation examines the relationship between wisdom and identity in Old English and Old Norse-Icelandic literature. At present, the study of medieval wisdom is largely tangential to the study of proverbs and maxims. This dissertation makes wisdom its primary object of study; it sees wisdom not just as a literary category, but also as a cultural discourse found in texts not usually included in the wisdom canon. I therefore examine both wisdom literature and wisdom in literature. The central characteristic of wisdom, I argue, is its liminality. The biblical question “Where is wisdom to be found?” is difficult to answer because of wisdom’s in-between-ness: it is ever between individuals, communities, and times (Job 28:12 Douay-Rheims). As a liminal discourse, wisdom both grounds and problematizes identity in Old English and Old Norse-Icelandic literature. After a preliminary chapter that defines key terms such as “wisdom” and “wisdom literature,” I examine heroic wisdom in three characters who are defined by their wise traits and skills and yet who are ultimately betrayed by wisdom to death or exile. The implications of this problematic relation to wisdom are then examined in the next chapter, which analyzes the composition of wisdom in proverb poems. Like the wise hero, the poets represented in these poems blend their own voices with the voice of community, demonstrating that identity is open and therefore in need of constant revision. Next I examine how the liminality of wisdom is embodied in the figure of the wise monster, who negatively marks the boundaries of society and its desires. This then leads to a study of the reception of wisdom in chapter six, which focuses on instruction poems. Like narratives of wise monsters, these texts present lore as the nostalgic remnant of a tradition that defines identity, in this case the identity of a community. However, nostalgia assumes loss, and these texts also reveal an underlying fear that wisdom, the basis of the community’s identity, will be forgotten. Whether communal or individual, identity in this literature is both formed and threatened by liminal wisdom. / Thesis (Ph.D, English) -- Queen's University, 2014-05-08 15:35:46.885

This thesis deals with the short story “Wanderer, kommst du nach Spa ...” (1950) by the German author Heinrich Böll (1917-1985). The well-established interpretation of this famous short story is that it deals with the dismal fact that the Nazis ended the development of Western culture, which cumulatively had been on its way since Greek antiquity. In this paper another reading is proposed, namely that the short story sheds light on the influence of the Romantic era in Germany and that a certain interpretation and use of Romanticism provided some of the seeds to the obscure ideas of the Nazi era. Research on Böll´s early writings is presented. The notion of cultural memory is introduced. The intertextual connections between Bölls text and other texts are being uncovered. Most fruitful proves the connection between “Wanderer” and the poem “Der Spaziergang” (1795) by Friedrich Schiller (1759-1805) to be. “Wanderer” can be read as a satirical version of Schillers poem. Reasons for Böll to choose Schiller’s elegy as a target are discussed at length. A parable in the story, ”wie ein Gesicht eines Schlafenden” / like a face of a sleeping person, unfolds an undertext to the short story, a Catholic text. Jesus, the Holy Communion, prayers and the eternal cross are present. Wanderer can be read as a requiem over the young soldier. Further, the inability of the wounded soldier to connect to his surroundings is interpreted as a parallell to Germany at the end of the war; the Nazis had stolen the Heimat from the people and it was no longer possible to interpret the world as something you belonged to. While Heinrich Böll on the surface of the text tries to recapture the German language from its nazi-poisend condition, the protagonist within the text regains his identity by means of his own handwriting - a part of his language.

This dissertation is divided into six chapters. The first chapter explains the purpose and significance of the study. The second chapter presents an analysis about Wanderer Fantasy, D.760 composed by Schubert, employing Schenker analysis to elucidate important motives. Chapter 3 provides an analysis of Schubert-Liszt, Wanderer Fantasy for Piano and Orchestra, S. 366 and shows how Liszt transcribed the original to emphasize certain motives, and further, describes the development of the piano history. Chapter 4 delves into an analysis of Schubert-Liszt, Wanderer Fantasy for Two Pianos, S. 653a transcribed by Franz Liszt and further explains the historic development of piano, in particular Érard's grand piano. Chapter 5 explains the analysis of Schubert-Liszt, Wanderer Fantasy for Piano Solo, S.565a and expands upon Érard's grand piano. Finally, Chapter 6 leads to this paper's summary and conclusion.