Habilitationsschrift--Freiburg i.B. / Includes indexes. Includes bibliographical references (p. [335]-346).

Habilitationsschrift--Freiburg i.B. / Includes indexes. Includes bibliographical references (p. [335]-346).

Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 336-360). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963442.

Thesis (Ph. D.)--University of Notre Dame, 2009. / Thesis directed by Ralph McInerny for the Institute of Medieval Studies. "April 2009." Includes bibliographical references (leaves 380-393).

Thesis (Ph. D.)--University of Wisconsin, Madison, 1977. / Vita. Includes bibliographical references (leaves 367-377).

When an author produces a frame narrative, she simultaneously makes language both a represented object and a representing agent; when we imagine framed speech, we imagine both the scene its words represent and a mouth that speaks those words. Framed language is thus perfectly mimetic: the words we imagine being spoken within the fictional world are the same we use to effect that fiction's representation. Since its first function is to represent itself, the framed word acts both to push us out of the frame into our own temporality and to draw us into fictional times and spaces. This dissertation explores how first Dante and subsequently his successors, Boccaccio and Chaucer, deploy this structural feature of frames to engage difficult philosophical and theological disputes of their age. In the Divine Comedy, framed language allows Dante to approach the perfect presence of God without transgressing into a spatial conception of the divine. Intensifying Dante's procedure in his House of Fame, Chaucer forecloses the possibility of representation; he transforms every speech act into an image of its utterer rather than its referent, thus violently thrusting us back into the time we pass as we read. Boccaccio--first in his Ameto then in the Decameron--eschews this framed temporality in favor of the temporality of the fetish: while his narratives threaten to dissolve into their basic linguistic matters, the erotic energy of the people that populate those narratives forces them to cohere as fully imagined spaces and times. Finally the Chaucer who writes the Canterbury Tales fuses his initial reading of Dante with Boccaccio's response to it; he constructs the Canterbury pilgrims as grotesques who each open up a limited angle of vision on the time and space they collectively inhabit. These angles overlap and stutter over one another, unsettling the easy assignations of identity any given pilgrim would enforce on a tale or agent within the narrative. In doing so, Chaucer makes the temporality within his Tales strange and poignant in a way that fully mimics our own experience of extra-narrative time.

The aim of this work is to present depiction of seven deadly sins in the Italian literature of 14th century. To achieve this goal the thesis analyses the writings of the three most important writers of that period. The main texts that are analyzed in this work are: an allegorical epic poem La divina commedia (The Divine Commedy) by Dante Alighieri, a collection of novellas Il Decameron (The Decameron) and allegorical poem Ninfale d'Ameto (The Comedy of Fiorentine Nymphs) by Giovanni Boccaccio, and last but not least Francesco Petrarca's latin writing Secretum meum (My Secret Book). The thesis is divided into eight chapters. The first three chapters have an introductory character. There is introduced the concept of sin in general, the traditional catholic concept of seven deadly sins, as well as the historical context of Italy in 14th century. The fourth chapter is the beginning of the focal part of the thesis. There are subsequently presented Dante, Boccaccio and Petrarca, and their concept of deadly sins, their ideas on the relationship between the sins and love, on the relationship between the sins and the virtues, as well as their thoughts on causes of deadly sins and on possible ways how to avoid them. The thesis is then concluded with eighth chapter, which summarizes what has been found in the...

Tesis para optar al grado de Magíster en Literatura / En consecuencia, el presente trabajo intentará determinar, por una parte, en qué sentido el poema capital de Dante supone un momento fundamental para la historia del realismo europeo desde la perspectiva desarrollada por las obras del romanista alemán, mientras por otra, hará visible la red de relaciones, ideas y confluencias que, atravesando la obra del estudioso en cuestión, hacen de la Divina comedia el eje primordial de su interés.

[No abstract available] / Arts, Faculty of / English, Department of / Graduate

The purpose of this thesis is to determine the importance of biographical inreading to a study of Dante Gabriel Rossetti's The House of Life. Although most of Rossetti's critics have predicated a biographical imperative in examining this work, the validity of their approach can be seriously questioned. The tendency to employ biographical criticism perhaps stems from an excessive concern on the part of both biographers and critics with the sensational details of Rossetti's life. Because of this concern, The House of Life has been treated more as an autobiographical record than, as an integral work of art. It is necessary to re-examine the poem through some approach other than the biographical. Chapter One outlines three standard approaches to the study of literature. The first, the historical or extrinsic, includes the study of the poet's biography as well as the various external influences on him. The second, the organic or intrinsic, concentrates on internal aspects of the literature, such as imagery and form. The third, the synthetic, is a more fluid approach than the other two in that it attempts to employ all available tools of literary criticism, including biography. Chapter Two reviews certain pertinent facts about Rossetti's life and considers a number of biographies and biographical studies which have appeared since his death, and which, to a considerable extent, have created an inaccurate legend about him. Chapter Three considers the specific problem of biographical inreading in The House of Life, and discusses some of the criticism based on that inreading. It also traces the general development of The House of Life from the two essentially biographical preliminary versions (the Fortnightly Review sonnets, and the Kelmscott sonnets) to the complete version of 1881. Chapter Four examines The House of Life as a work of art rather than as a biographical document. A reading of the poem is suggested in which The House of Life is seen as a series of cycles depicting the "transfigured" life of the poet. An exegetical analysis of The House of Life necessarily involves the critic in an examination of biographical data. However, once the development of the sequence has been traced, the critic must employ intrinsic criteria in order to determine the essential structure of the poem. In other words, the best approach to The House of Life synthesizes both the extrinsic and intrinsic methods of criticism. / Arts, Faculty of / English, Department of / Graduate