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The seventeenth-century epic poem Paradise Lost is one of the most widely studied texts in all of literary history. The work, written by John Milton, depicts Satan's fall from Heaven and subsequent deeds on Earth and in Hell. One of the more remarkable and, often, most overlooked scenes in the story involves the distinctive personification of Sin and Death. Milton depicts Sin as the daughter of Satan, with no mention of a mother, born through a process of spontaneous generation. Satan then becomes so captivated by his daughter's wickedness that he forces himself upon her, causing Sin to bear a son, Death. This illustration is striking, especially given that it also appears in the opening pages of the fourteenth-century Mirour de l'Omme (c. 1376) by John Gower. In both Milton and Gower's poems, Satan, Sin, and Death are personified as having this familial, incestuous relationship which ultimately creates the world's evils. Their depictions are not merely reminiscent of one another, but rather, often match up in nearly identical fashions. John S. P. Tatlock was the among the first to notice these similarities, but was also quick to express his hesitance to say with any sort of assurance that Milton had read Gower: "Since only one manuscript of the Mirour is known, and that was never published until seven years ago [1899], the chance is infinitesimal that Milton ever heard of the poem. But that his and Gower's sources are ultimately the same seems to me highly probable." Yet to date, no studies have been conducted to determine which shared sources could possibly lead Milton and Gower to construct such similar personifications of Sin and Death. Indeed, John Fisher notes that currently "the influence of the Mirour upon Paradise Lost remains an open question." It is upon this open question that I now attempt to help fill this century-old void in literary research / Master of Arts

This dissertation tries to locate Milton's optimistic view of man and nature as expressed in Comus, Doctrine and Discipline of Divorce, and Paradise Lost in the long tradition of natural law that goes back to Aristotle, Cicero, and Aquinas.

No final da década de 1960 e início da seguinte, dentro do contexto que se convencionou chamar de cinema experimental ou de vanguarda norte-americano, um número sem precendetes de cineastas dedicou-se à elaboração de filmes-diário ou autobiografias filmadas. Esse movimento é acompanhado, no caso de alguns dos realizadores, por um interesse por outras formas (literárias ou pictóricas) de autorre- presentação e escrita de vida e por um esforço reflexivo sobre as possibilidades, usos e potências dessas formas no cinema. Partindo do entendimento que a autobiografia transforma-se em um campo de interesses para cineastas, críticos e público apenas a partir deste momento, esta tese pretende abordar como ela é formulada e inventada por cineastas como uma forma possível para o cinema. A partir da análise de textos e filmes de três cineastas centrais para essa elaboração, notadamente Stan Brakhage, Jonas Mekas e Hollis Frampton, demonstramos o papel do gênero na transformação de um panorama artístico e criativo. De um lado, como se verá, a autobiografia afirma-se e inventa-se como uma tentativa de dialogar e responder a uma história artística que incluí o próprio cineasta, de outro, ela propõe-se como um lugar de singularização e transformação dessa história. / On the threshold of the seventies, the autobiographical genre emerged as one of the main tendencies of the north-american avant-garde film. This event was followed by a growing interest in other forms of self representation and life narratives in painting and literature and by an intellectual effort to reflect on the uses, qualities, possibilities and predecessors of the new form in film. Understanding that autobiography becomes a field of interest for filmmakers, critics and public alike only at this moment in time, this dissertation intends to broach how autobiography is fashioned by filmmakers into a form viable for cinema. Relying on a vast documentation of writings by Jonas Mekas, Stan Brakhage and Hollis Frampton, three filmmakers whom we consider to be central to the understanding of the genre as such, and on close readings of their autobiographical films we demonstrate the role played by the genre in the transformation of a creative and artistic environment. As will be seen, the emergence of the genre responds to a historical and aesthetic transformation in experimental films and offers itself as a peronal narrative for this changing history.

No final da década de 1960 e início da seguinte, dentro do contexto que se convencionou chamar de cinema experimental ou de vanguarda norte-americano, um número sem precendetes de cineastas dedicou-se à elaboração de filmes-diário ou autobiografias filmadas. Esse movimento é acompanhado, no caso de alguns dos realizadores, por um interesse por outras formas (literárias ou pictóricas) de autorre- presentação e escrita de vida e por um esforço reflexivo sobre as possibilidades, usos e potências dessas formas no cinema. Partindo do entendimento que a autobiografia transforma-se em um campo de interesses para cineastas, críticos e público apenas a partir deste momento, esta tese pretende abordar como ela é formulada e inventada por cineastas como uma forma possível para o cinema. A partir da análise de textos e filmes de três cineastas centrais para essa elaboração, notadamente Stan Brakhage, Jonas Mekas e Hollis Frampton, demonstramos o papel do gênero na transformação de um panorama artístico e criativo. De um lado, como se verá, a autobiografia afirma-se e inventa-se como uma tentativa de dialogar e responder a uma história artística que incluí o próprio cineasta, de outro, ela propõe-se como um lugar de singularização e transformação dessa história. / On the threshold of the seventies, the autobiographical genre emerged as one of the main tendencies of the north-american avant-garde film. This event was followed by a growing interest in other forms of self representation and life narratives in painting and literature and by an intellectual effort to reflect on the uses, qualities, possibilities and predecessors of the new form in film. Understanding that autobiography becomes a field of interest for filmmakers, critics and public alike only at this moment in time, this dissertation intends to broach how autobiography is fashioned by filmmakers into a form viable for cinema. Relying on a vast documentation of writings by Jonas Mekas, Stan Brakhage and Hollis Frampton, three filmmakers whom we consider to be central to the understanding of the genre as such, and on close readings of their autobiographical films we demonstrate the role played by the genre in the transformation of a creative and artistic environment. As will be seen, the emergence of the genre responds to a historical and aesthetic transformation in experimental films and offers itself as a peronal narrative for this changing history.

The Lost River Groundwater Drainage Basin in Warren County, Kentucky, is a karst drainage system encompassing 55 square miles (143 square kilometers) developed within the Mississippian St. Louis and Ste. Genevieve Limestones. Near the contact between these two formations are two bedded chert units, the Lost River Chert Bed (Elrod, 1899) within the Ste. Genevieve and the Corydon Chert Member (Woodson, 1983) of the St. Louis, which appear to be perching layers to shallow karst groundwater flow. Groundwater may be seen flowing on top of these beds in various cave streams and at swallets and springs throughout the basin. In order to compare the vertical positions of these layers to shallow karst groundwater flow, geologic structure maps of the Lost River Chert Bed and the Corydon Chert Member were prepared for the basin, along with a contour map of the water table (at or near which shallow karst groundwater flow is assumed to take place) over the same area. These surfaces were digitized, then contoured and compared using SURFACE II and DISSPLA computer graphics systems. Correlation was accepted for points where the water table is either 20 feet (6.1 meters above or below the top of the two chert layers. The water table (at baseflow conditions) was found to correlate with the Lost River Chert Bed over 42.6% of the basin, as well as 40.7% for the Corydon Member. Shallow karst groundwater flow is found to correlated with bedded chert layers over 83.3% of the study area, and therefore it is concluded that chert layers have a dominant effect on the vertical position of groundwater flow within the Lost River Groundwater Drainage Basin.