Thesis (M.A.) B.Y.U. Dept. of English. / Bibliography.

Thesis (M.A.) B.Y.U. Dept. of English. / Electronic thesis. Bibliography. Also available in print ed.

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The figure of the Wandering Jew in British Gothic literature has been generally regarded as a static and romantic Everyman who signifies religious punishment, remorse, and alienation. In that it fails to consider the fact that the legend of the Wandering Jew signalled a noteworthy historical shift from theological to racial anti-Semitism, this reading has overlooked the significance of this figure's specific ethno-religious aspect and its relation to the figure of the vampire. It has hindered, consequently, the recognition of the Wandering Jew's relevance to the "Jewish Question," a vital issue in the construction of British national identity. In this dissertation, I chronicle the "spectropoetics" of Gothic literature---how the spectres, of Jewish difference and Jewish assimilation haunt the British Gothic novel. I trace this "spectropoetics" through medieval anti-Semitism, and consider its significance in addressing anxieties about the Crypto-Jew and the Cabala's role in secret societies during two major historic events concurrent with the period of classic Gothic literature---the Spanish Inquisition, a narrative element featured in many Gothic works, and the French Revolution, a cataclysmic event to which many Gothic works responded. In the light of this complex of concerns, I examine the role of the Wandering Jew in five Gothic works---Matthew G. Lewis's The Monk (1795), William Godwin's St. Leon (1799), Charles Robert Maturin's Melmoth the Wanderer (1820), Joseph Sheridan Le Fanu's "Carmilla" (1872), and Brain Stoker's Dracula (1897). In my conclusion, I delineate the vampiric Wandering Jew's "eternal" role in addressing nationalist concerns by examining his symbolic preeminence in Nazi Germany.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A. in Religion)--Vanderbilt University, May 2006. / Title from title screen. Includes bibliographical references.

The thoughts, dreams, symbols, and ideas that men use may be their own, but once they are uttered aloud or written down, they become the property of others as well. Legends grow, stories spread, symbolism multiplies, old ideas generate new ideas, and gradually these stories and symbols become the universal property of mankind. The legend grows and is used over and over again, changing, fusing, and transmuting. One of these legends is the story of the Wandering Jew. The plot of the early versions of the story is vague and conflicting. The sources are even more varied. The legend was well known throughout Europe, particularly in England, France, and Germany, during the Middle Ages as a folk tale and as a story in which the people firmly believed. During the Romantic period of literature, the figure captured the imaginations of writers, artists, and musicians. Today, Ahasuerus is a well-known symbol used by many writers. Another interesting legend originated in the Americas, the legend of the Three Nephites. Several studies have been made of this legend. The general conclusion of scholars seems to be that it is an outgrowth of the legend of the Wandering Jew. They claim that the origin is equally vague and that its prominent position in the Americas is due to the fact that Joseph Smith was familiar with the European legend; when he "wrote" his Book of Mormon, he decided to include this legend with a new, original twist. They argue that the stories exist in oral abundance because immigrating converts from Europe brought with them their native folklore and adapted it to their new theology. This study compares these two cycles of folklore in two main areas: the traditional form and the art form, discussing the origin and development of each. The study is of value for several reasons. The stories of the Wandering Jew have been misunderstood by many; and, as a result, many of the legends that scholars actually classify into this group do not belong there at all. They are, rather, simply legends that use an eternal wanderer motif. Among these legends one finds those of John the Beloved, the Flying Dutchman, the Wild Huntsman, and Cain, These people are not of the some legend as Ahasuerus, the Wandering Jew. They all use the sane central motif, that of an eternal wanderer; but each of these figures has a cycle of legends entirely his own. Too many scholars, in doing what they feel to be the definitive work on the subject, allow these figures to become fused and confused in their minds. They try to point to the Bible as the origin of the legend. Some refer to the Old Testament, some to the New Testament. Still other scholars tend to confuse Ahasuerus with another of the some name, an ancient Persian king living several centuries before Christ. These stories are all, of course, very interesting; but they are not versions of the legend of the Wandering Jew.

Theoretical ? practical work with theme The Flying Dutchman is inspiration legends about myth neveranding wander. Jude Ahasver and The Flying Dutchman have been symbolic protagonists this myth in our culture space. This work is about modifications legends. This work is about different creative branch of knowlendge and periods, which have been inspiration these stories. The practical work is realization ceramic objects. Objects are stylization to appearance historical Dutch ship (fluyt, smaller ship with three masts, with low draft, with pear ? shaped). It is symbol neverending wander along sea. Technological proces realization is specific variation middle ages smoke ceramics.

This dissertation examines Robert Penn Warren‘s use of Arthurian legend, Judeo-Christian folklore, Norse mythology, and ancient vegetation rituals in his first four novels. It also illustrates how the use of these myths helps define Warren‘s Agrarian ideals while underscoring his subtle references to these ideals in his early fiction.

The enduring, mythical and antisemitic figure of Ahasuerus is central to the unraveling and reframing of post-Shoah Jewish identity in Rabinovici’s novel Suche nach M for it serves as the mythological color palette from which Rabinovici draws his characters and, to extend that metaphor, how the Jews have been immortalized in European culture. There is no escape in Suche nach M. When painting the Jew, both Jews and non-Jews can only use brush strokes of color from the Christian-created palette of the mythic, wandering Jew, Ahasuerus, who is stained in the blood of deicide, emasculated, treacherous, and evil. He is the constitutional “Other.” By deploying Urie Bronfenbrenner’s (Bio) Ecological Systems Theory, the Mythic Jew and the Ikhud (“Fusion”) Models that represent an evolving psychosocial environment combined with personal reflection, this thesis explores how Suche nach M invokes yet critiques the process of Jewish male identity formation in postwar Austria. / Graduate