C. Scott Littleton and Ann C. Thomas' assertion that the core of the Arthurian legends is ultimately rooted in a Sarmatian heroic tradition is challenged. It is argued that, at best, the Arthurian legends contain several names and motifs of possible Sarmatian origin that have been borrowed into what Arthurian scholars have long recognized as an inherently Celtic tradition. Several agencies for their introduction into the Arthurian cycle are considered. It is proposed that two names and at least one of the motifs were introduced by Iazyge cataphractarii stationed along Hadrian's Wall in 175 AD. The other motifs, however, are thought to have been introduced at a much later date --possibly by returning members of the crusader population in the East during the twelfth century. / Thesis / Master of Arts (MA)

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In the course of this dissertation, I will interrogate traditional representations of the heroic figure within the fantasy genre. I will argue that the tropes established by some of the most renowned fantasy texts are undergoing a process of evolution and that Steven Erikson (who is the special focus of my discussion) seeks to revision the heroic mould through his construction of Coltaine of the Crow Clan in Deadhouse Gates (2001). Deadhouse Gates centres on Coltaine, who is tasked with escorting tens of thousands of refugees across four hundred leagues of hostile territory. This re-evaluation of fantasy modes has significant ramifications for the future development of the genre as a whole. In order to explore how Erikson interrogates heroic representation, I briefly establish some of the distinctive characteristics of fantasy. I then explore how some major fantasy texts represent heroism, before investigating Erikson’s particular response to these traditions. / English Studies / M. A. (English)

In the course of this dissertation, I will interrogate traditional representations of the heroic figure within the fantasy genre. I will argue that the tropes established by some of the most renowned fantasy texts are undergoing a process of evolution and that Steven Erikson (who is the special focus of my discussion) seeks to revision the heroic mould through his construction of Coltaine of the Crow Clan in Deadhouse Gates (2001). Deadhouse Gates centres on Coltaine, who is tasked with escorting tens of thousands of refugees across four hundred leagues of hostile territory. This re-evaluation of fantasy modes has significant ramifications for the future development of the genre as a whole. In order to explore how Erikson interrogates heroic representation, I briefly establish some of the distinctive characteristics of fantasy. I then explore how some major fantasy texts represent heroism, before investigating Erikson’s particular response to these traditions. / English Studies / M. A. (English)

This thesis describes medical aspects of the expeditions of the Heroic Age of Antarctic exploration (1895-1922). It is divided into three sections. Section 1 describes the drugs and medical equipment taken to the Antarctic by these expeditions. There is an introductory discussion followed by papers on ophthalmic drugs, injections, inhalations and suppositories, oral drugs and topical preparations. Sledging medical cases are considered separately. Brandy was often used as a medicine and the medical uses of alcohol are described. Some expeditions took what were described as “medical comforts”. This term was sometimes used as a euphemism for alcoholic beverages but, in fact, encompassed a wide range of foods for invalids. Burroughs Wellcome and Co. supplied many of the expeditions with drugs and their medical chests. They used the expedition link in their advertising and the relationship between the expeditions and drug companies is described. Section 2 describes some of the medical problems encountered. The most serious problems were scurvy and a condition often called “polar anaemia”, which seems to be the same as a condition known at the time as “ship beriberi” and what is now described as “wet beriberi”. The controversy as to whether Captain Scott and his colleagues died of scurvy is also discussed. Other problems included frostbite and snow blindness. At least 11 general anaesthetics were given, including two for amputation of frostbitten toes. Psychological problems were common and there was some serious psychiatric illness including alcohol abuse. Section 3 describes the doctors and some of the research that they carried out. The most common research done by doctors was bacteriological. Most doctors collected biological data on the explorers including weights and haemoglobin measurements. This was largely for health monitoring but one doctor pursued physiological research. Three doctors and a medical student studied geology.

This thesis presents a series of case studies of early medieval narratives about the non-Roman, non-biblical distant past. After an introduction that briefly outlines the context of Christian traditions of historiography in the same period, in chapter two, I examine the Gothic histories of Jordanes and Isidore, and show how they present different methods of reconciling notions of Gothic independence with the heritage of Rome. Chapter three looks at the Trojan origin narratives of the Franks in the Fredegar chronicle and the 'Liber historiae Francorum', and argues that this origin story, based on the model of the Roman foundation myth, was a means of making the Franks separate from Rome, but nevertheless comparable in the distinction of their origins. Chapter four studies Paul the Deacon’s 'Historia Langobardorum', and argues that although Paul drew more on oral sources than did the other histories examined, his text is equally not a record of ancient oral tradition, but presents a synthesis of a Roman, Christian, and of non-Roman and pagan or Arian heritages, and shows that there was actually little differentiation between them. Chapter five is an examination of 'Waltharius', a Latin epic drawing on Christian verse traditions, but also on oral vernacular traditions about the distant past; I suggest that it is evidence of the interpenetration between secular, oral, vernacular culture and ecclesiastical, written and Latin learning. 'Beowulf', the subject of chapter six, is similar evidence for such intercourse, though in this case to some extent in the other direction: while in 'Waltharius' Christian morality appears to have little of a role to play, in 'Beowulf' the distant past is explicitly problematised because it was pagan. In the final chapter, I examine the further evidence for oral vernacular secular historical traditions in the ninth and tenth centuries, and argue that the reason so little survives is because, when the distant past had no immediate political function—as origin narratives might—it was normally seen as suspect by the Church, which largely controlled the medium of writing.

This dissertation is an examination of the characteristics of Phillis Wheatley's couplet poems in the areas of meter, rhyme, and syntax. The metrical analysis employs Morris Halle and Samuel Jay Keyser's theory of iambic pentameter, the rhyme examination considers the various factors involved in rhyme selection and rhyme function, and the syntactic analysis is conducted within the theoretical framework of a generative grammar similar to that proposed in Noam Chomsky's "Aspects of the Theory of Syntax" (1965). The findings in these three areas are compared with the characteristics of a representative sample of the works of Alexander Pope, the poet who supposedly exerted a strong influence on Wheatley, a black eighteenth century American poet.

Beowulf's contest with Grendel has universally been read as an assertion of heroic agency. Yet as I demonstrate, this purportedly neutral convention derives from the misreading of a riddle design that invites and then disrupts expectation in the accidental denouement of Grendel's self-destruction. As an alternative to heroic misprision, I locate Beowulf's salient analogues in the poetic hagiographies, Andreas and Juliana. Within these poems I demonstrate a distinctive Christian critique, which defines heroic order through its assertion of loyalty to insiders and enmity to outsiders, and aligns with René Girard's anthropology in marking enmity both as a source of social cohesion and instability. I also demonstrate a distinctive "crossover poetics" that switches godly and demonic attributes between the opposed communities. As this crossover design gives rise to tropes of heroic-hagiographic hybridity, it exposes a biblical prophetic distinction between the physical realm of objects, actions, and words, and the metaphysical realm of emotional, ethical, and relational principles--a distinction by which the poem locates the origin of enmity in the idolatrous gestalt of egoistic materialism and the origin of loyalty in the covenant ethos of transcendent affiliation. This crossover design, moreover, functions in rapprochement with heroic culture, to affirm the godliness of loyalty and reject demonic enmity, while also interrogating the idolatrous potentiality of Christian discourse. As an alternative to the instabilities marked within heroic social order, the hagiographies offer a new social order based in a two-fold conception: a Christological model that entails compassion for enemies and self-sacrificing obedience to the covenant ethos, and a prophetic model that resists violent contagion through egoistic effacement, entailed in acts of divine praise and benevolent prayer. Lacking these redemptive disciplines, Beowulf's pagan fictive world nevertheless incorporates the same hagiographic critique, but through dystopian patterns of demonic inversion. Thus, Beowulf synthesizes the cardinal hagiographic elements--the same narrative arcs, lexical patterns, and crossover poetics--in a drama that schools its audience in prophetic discernment: to see the essential, defining reality beneath the surface of human events and to recognize patterns of divine retribution as paradoxical enactments of demonic self- destruction.

This thesis proposes that the current popularity of heroic fantasy arises from the genre's capacity to reveal "meaning" to the alienated subject within late modernity. While consumerism potentially undermines the subject's sense of stability both as an individual and as a member of a coherent and unified social group, the hero's journey conveys a compelling model for attaining a purposive subjectivity by acting on behalf of the broader community. However, this "healing" message is in turn appropriated by multinational corporations and nation states for financial advantage. Heroic fantasy can thus be read at various points of its production and consumption as both legitimating and contesting dominant institutions and ideologies.With particular reference to the books and films of The Lord of the Rings and Harry Potter, ontological security is discussed at both individual and collective levels across three horizons: commodification, gender, and nationalism. A combination of close textual analysis and the application of core concepts from cultural studies - particularly ethnographic study, hegemonic power relations and political economy - provides the methodological flexibility necessary to trace consumers' contradictory and ambivalent responses to the three themes: the anti-materialist message incorporated in the genre's moral economy is jeopardised by the rampant commodification of the texts; the normative masculinity and emphasised femininity common to the genre is contested by female readers; and the utopic visions of a secure and homogeneous community are exploited by the New Zealand government rebranding the country as Middle-earth. These arguments are oriented toward a New Zealand perspective; interviews with readers of Harry Potter and a discussion of the World Premiere of Peter Jackson's film adaptation of The Return of the King in "Wellywood" contribute to this specific context.This thesis therefore asserts that once heroic fantasy is placed in the contexts of production and reception conflicting trends are revealed, suggesting that the social impacts of heroic fantasy are complex and equivocal. Although the genre is readily commodified by the very system that it retaliates against, analysis suggests that heroic fantasy resists reification into a single dominant discourse as appropriation is never absolute.