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English women writers of the eighteenth century manifested enthusiasm for a form best described as a framed-novelle sequence, that is, a form in which conversations between characters/narrators are interspersed with embedded narratives. This thesis argues that the framed-novelle, with its distinctive juxtaposition of narrative and critical conversation facilitated feminine intervention in the period’s political, social, and literary debates. It demonstrates that Delarivier Manley, Jane Barker, Eliza Haywood, Sarah Scott, Sarah Fielding and Jane Collier used the framed-novelle sequence to develop a feminine but nonetheless authoritative socio-critical voice which allowed them not only to intervene in contemporary literary debates about the risks and rewards of reading fictions (especially with regards to the wider significance of the feminocentric and apparently trivial matter of amatory, romantic tales)but also to construct timely argument about the effect of fictional exemplarity on readers. Consideration of the literary and cultural contexts of the framed-novelle’s production, specifically its relation to other forms of narrative sequences such as the oriental tale and the fairy tale collection and to the period’s ideals of sociable conversation and critical practice also allows this thesis to identify the framed-novelle’s importance within the larger field of eighteenth-century literary development. Through close readings in each main chapter of an earlier and later framed-novelle by each author, this thesis explores the distinctiveness and internal cohesion of the framed-novelle as a subgenre, while also recognizing the particularity of each writer’s protofeminist perspective on their accumulation of feminocentric tales.

A notorious challenge in the study of the diachrony of English is to determine whether developments in syntax, including changing frequencies of a particular construction, or word-order changes as suggested by perceived patterns in extant texts, represent genuine linguistic changes or are due to changes in conventions of writing. What is intuitively clear, however, even to a casual eye, is that a piece of English prose from, say, the 16th-century differs markedly from texts from the 18th-century. Yet such judgements cannot be based on syntactic changes alone, since essential grammatical features of Present-Day English are in place already by the end of the Late Middle English period. As a result, these differences are often simply ascribed to the notoriously elusive domain of style. The current study attempts to come to grips with the issue of period-specific conventions of writing by focusing on features of discourse structure and textual organisation as of the Early Modern English period. It can be positioned at the meso-level between large-scale quantitative approaches of sentence-level linguistic features and detailed, small-scale discourse-analytic studies of individual texts. Texts selected for the current purpose, manuals for equine care, derive from a sub-domain of instructional writing with a long history in the vernacular. As these texts share similar communicative purposes and deal with the same "global" topics of feeding and looking after a horse, any differences between them cannot be attributed to different genres or differences in subject matter. This permits us to zoom in on 'agnates', different ways of expressing the same meanings, and allows us to see how the stylistic options selected by authors achieve the various communicative goals that have to be negotiated, such as discourse coherence or the transition to new topics. The three main sections in this dissertation offer different ways to identifying developments in discourse organisation. The first section explores the traditional corpus-based approach that is frequently used to measure the parameter of "personal involvement", an indicator of periodic style. Initially, this approach restricts itself to measuring the contribution of frequencies of individual lexical items like first and second person pronouns. Next, this section will focus on the presence and linguistic realisation of the interlocutors of these instructional texts, i.e. the writer and the reader. The second main section will try to diagnose such varying styles by employing a completely data-driven, quantitative methodology which offers a linguistically unbiased and theory-independent perspective on the data in the corpus. This second approach offers cues as to how `subliminal' patterns of grammar may affect perceptions of style, and how quantitative measures may aid in assessing whether the texts in our corpus cluster in expected or unexpected ways. The third section draws on theories of referential coherence and textual progression. By charting the variation with which texts from different periods in the history of English apply conventions for discourse organisation, it offers an insight into developments of hierarchical discourse structures (i.e., coordinated versus subordinated discourse relations) and practices of co-reference. Taken together, these three independent measures offer a novel, multi-angled approach to stylistic developments in prose writing. Combining features `above the sentence' level which involve discourse and information structural changes, this dissertation affords a glimpse into the emergence of written textual conventions, or 'grammars of prose', in the history of English.

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第22515号 / 人博第918号 / 新制||人||220(附属図書館) / 2019||人博||918(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)准教授 桒山 智成, 教授 廣野 由美子, 准教授 池田 寛子 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

This study seeks to provide historical and literary contexts for elderly characters from English play-texts c.1580 to 1625. Its primary aim, from a literary perspective, is to draw attention to the ways that a better understanding of elderly characterisation can enrich the appreciation of much-studied play-texts, and to indicate some interesting features of more obscure ones. Its secondary aim is to suggest the value, for social historians of old age in early modern England, of play-texts as social evidence. I have examined most of the published extant play-texts of the period, and have found approximately 150 of these to be relevant (the most important of these are listed in the Appendix). Because of the problems of handling all aspects of such a large amount of material, I have chosen to consider the plays chiefly as texts to be read, with little reference to their performative aspects. However, I analyse the dramas as literary as well as social documents. Specific plays provide illustrations for observations and support for various hypotheses about dramatic representations of the elderly. In some instances, I address plays which have received little critical attention. The thesis falls into two parts. In the first three chapters, I discuss the socio-historical, cultural and non-dramatic literary contexts for representations of elderly men and women in play-texts. In chapters four through seven, I examine elderly characters in specific role or relationship categories: as sovereigns and magistrates, in sexual and marital relationships, and as parents. In the final chapter, I offer a detailed analysis of The Old Law by Thomas Middleton and William Rowley.

This thesis investigates the history of preposition stranding in the Modern English period from 1500 to 1900, in close relation with the prescriptive movement in the tradition of English grammatical thought. The aim is to assess, or rather re-assess, thee ffect and effectiveness of the (late) eighteenth-century normative tradition on actual language usage. The methodology lies in the comparison of a precept corpus, i.e.meta-linguistic comments, with a usage corpus, i.e. actual language practice. On the one hand, this study will provide insightful observations into the attitudes towards and conceptualisation of end-placed prepositions in the course of the eighteenth century, the age of prescriptivism. Evidence comes from a self-compiled corpus of observations made on this peculiar usage as gathered from a miscellany of precept works (1700-1800). On the other hand, this thesis will trace the diachronic evolution of the use of preposition stranding before, during and after the age of prescriptivism,as collected in two renowned historical corpora, namely the Early Modern English section of the diachronic part of the Helsinki Corpus (1500-1710) and the British part of A Representative Corpus of Historical English Registers (1650-1899). The evaluation of the evidence from precept and the evidence from usage will shed new light on (a) the origin of the stigmatisation of preposition stranding (micro-level), and(b) the role of the normative tradition on language variation and change(macro-level). First, contrary to what has been taken for granted in the literature hitherto, I will demonstrate that the proscription against ending sentences with prepositions does not go back directly to the late eighteenth-century heyday of publication of precept works (e.g. Robert Lowth's grammar) but to the mid/late seventeenth-century incipient stages of the prescriptive tradition embraced with ideals of correctness and politeness; especially, to the grammarian and rhetorician Joshua Poole and to the literary writer John Dryden. Language change can thus be observed as early as the early eighteenth century. Secondly, I will provide evidence to show that late eighteenth-century precepts did exert an influence on the use of preposition stranding. The effect is manifest in contemporaneous writings and the effectiveness extends into the early nineteenth century. Nonetheless, it is only a temporary one, as the trends reverse in the late nineteenth century when prescriptivism was fading away. It will be argued that the eighteenth-century normative tradition did not trigger linguistic change but rather reinforced an existing trend.

Between 1740 and 1770, a number of women writers choose to make explicit in their printed texts their collaboration with a ‘familiar’: a family member or close friend. In so doing, they strategically enact their personal relationships through the medium of print in order to claim for themselves a level of literary power and delineate the terms on which they entered the marketplace as authors. This thesis argues that familiar relations expressed along a horizontal axis – those of husband, wife, brother, sister and friend – offer a relatively flexible model of familiar relations in which women could acquire a level of agency in self-definition, supported by ideologies that valued women’s contribution to the polite sphere of sociable conversation. It demonstrates that Elizabeth Griffith, Sarah Fielding, Jane Collier, and Susannah and Margaret Minifie not only engage in collaborative literary production that is thoroughly inflected with the pressures of their historical context but that through familiar collaboration women writers display their professional authorial personae and generate social and literary criticism. Through close readings of carefully selected collaborative texts in the corpus of each writer, including the material history of the texts themselves, and the relationships expressed through those texts, this thesis highlights the complexity with which family relations interacted with print culture in the period. Far from using the familiar relation as a means of modestly retiring to the domestic sphere these women writers used their familiar relations as a basis from which to launch, describe and defend their authorial careers.

The writings of John Aubrey (1626-1697) cover a variety of subjects, including natural philosophy, mathematics, educational theory, biography, and magic, among others. His principal scholarly interest, however, was antiquarianism, the early modern discipline which embraced subjects such as archaeology, anthropology, and palaeography. This thesis is a study of Aubrey’s antiquarian writings within the context of the European Republic of Letters. It begins with a revisionary survey of antiquarianism in England, 1660-1720, and proceeds to map his personal contacts and library before studying each of his major antiquarian works in detail. Aubrey emerges from this as a product of his time, but somewhat unusual in his eclectic use of the antiquarian tradition and his blending of antiquarian and natural philosophical methodologies. He was receptive to the latest scholarship, regardless of its origin, and his antiquarian writings were never mere antiquarianism, but moved beyond technical scholarship to address wider issues concerning the origins of English culture, the evolution of religion, the antiquity of the earth, and the nature of human invention. Aubrey is now best known for his so-called Brief Lives, a series of biographies of contemporaries, and this thesis also includes a chapter studying the Lives as a form of antiquarianism. It argues that their keen observation and unconventional form are due to a mixture of antiquarian minuteness with traditions of Theophrastan character-writing and Tacitean historiography and that previous readings of them rely too heavily upon an outdated view of Aubrey as eccentric and peripheral to the larger intellectual movements of the century. This thesis concludes with a reassessment of Aubrey’s scholarship and an argument that the patterns revealed highlight the insufficiency of current theories of antiquarian development in the early modern period. It also argues for the “literary” quality of Aubrey’s work and emphasises the importance of reading his antiquarian texts within the context of early modern definitions of literature.

This thesis is a cultural history of the textual afterlives and poetic appropriations of John Donne's verse. I use print and manuscript miscellanies, hitherto unstudied commonplace books, letters, diaries and seventeenth and eighteenth century criticism to ask, who was reading Donne and in what physical forms? By looking at allusive strategies and reading practices of the time, I demonstrate how many different Donnes can be identified when we strip away modern notions of what 'Donne' is and seek multiple afterlives. I nuance the idea of Donne as a determinedly coterie poet, suggesting his print presence might have looked to his early audience like a strategic writer who had not, despite Izaak Walton's narrative, closed off the possibility of public authorship. I find there was a period of radical re-appropriation and re-reading of Donne in the seventeenth and eighteenth century: Donne was as a guiding influence to canonical poets. Rochester is perhaps the poet whose voice most vividly recalls Donne's swaggering persona and intricately-constructed rendering of apparent spontaneity. Katherine Philips's verse makes sophisticated use of Donne's voice in her intimate quasi-erotic verse; I contrast this with the voice of her poems written for state occasions to show how Donne becomes a resource for self-revelation. Dryden offers a sustained critical vision of Donne: although, as the primary mercenary proponent of mass popular literature, he may seem initially wholly unDonnean, I show how his verse both explicitly and obliquely negotiates with Donne's wit and form. I end by looking at the problematic offered by the negotiates with Donne's wit and form. I end by looking at the problematic offered by the dual critique and celebration in Pope's versification of Donne's Satyres, and at the Dunciad, to see where the limits of allusion come up against Pope's cacophonous multiplicity of voices. These four poets take different threads from Donne's canon to different ends and, in so doing, create different Donnes.

"The Devil in the Detail" explores the rationality of magical belief on the early modern English stage. I examine how demons and demonic magic were depicted in the theatre, arguing that playwrights ascribed a sense of realism to the devil’s methods. In explaining the devil's modus operandi and exposing the limitations of his magic, the stage validates supernatural belief and depicts the devil’s craft as plausible. More broadly, this thesis is situated within the ongoing debate over the relationship between magic and scientific thought in early modern Europe, confirming that demonology was not an irrational superstition but a valid pre-science. Set against a background of witch persecution and the widespread belief that demons were a material reality, the devil was both the subject of prevalent intellectual inquiry and a popular figure on the early modern English stage, featuring in at least fifty-two plays between 1509 and 1638. Underpinning this particular brand of entertainment is a cohesive and consistent ontological framework that dictated the extent to which the devil could - and could not - operate in the material world, entirely in keeping with the dominant demonological thought of the time. "The Devil in the Detail" focuses on seven devil plays: Marlowe's Doctor Faustus (c.1590), Greene's Friar Bacon and Friar Bungay (c.1590), John of Bordeaux (c.1590), Jonson's The Devil is an Ass (1616), Dekker, Ford and Rowley's The Witch of Edmonton (1621), Brome and Heywood's The Late Lancashire Witches (1634) and Shakespeare's The Tempest (1611). In each chapter, I demonstrate how these texts both adhere to orthodox demonology and emphasise the devil’s humanlike qualities. The final chapter presents the case for demonism in The Tempest.