No description available.

Includes bibliography (leaves 709-711) and indexes. / lxix, 968 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Chronological survey of editions and criticisms of the Middle English lyric emphasising 20th century works. Summarizes the content of each work and conveys its style and the author's voice by means of quotations. A general introduction discusses critical trends and aspects of the genre. Concludes with indexes of scholars and critics ; subjects discussed ; first lines of poems listed in the Index of Middle English Verse and its Supplement ; and, a temporary index of poems not noted in either. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1999

Includes bibliography (leaves 709-711) and indexes. / lxix, 968 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Chronological survey of editions and criticisms of the Middle English lyric emphasising 20th century works. Summarizes the content of each work and conveys its style and the author's voice by means of quotations. A general introduction discusses critical trends and aspects of the genre. Concludes with indexes of scholars and critics ; subjects discussed ; first lines of poems listed in the Index of Middle English Verse and its Supplement ; and, a temporary index of poems not noted in either. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1999

In the individual grammars of time-bound speakers, as well as in the historical transmission of a language, prosodic and morphological domains are forced to interact. This research focuses, in particular, on stress, and its instantiation in different domains of the morphological structure. It asks what factors are involved in prioritising one system – morphology or stress assignment – over the other and how radical the consequences of this may be on the overall structure of the language. The data comes from two typologically distinct languages: Mapudungun (previously 'Araucanian'), a polysynthetic and agglutinating language isolate from Chile and Argentina documented for over 400 years; and English, far further into the isolating and fusional spectra, and documented from the 7th century onwards. In both languages, we focus on morphologically complex words and how they evolve in relation to stress. In Mapudungun we examine the entire historical period, while in English we focus on the changes from Old to Middle English (8th -14th centuries). The analyses show how different types of data (from acoustics, to native and non-native intuitions; from historical corpora, to present-day experimentation techniques), can be used in order to assess whether the prosodic system will accommodate to the demarcation of morphological domains or whether morphological structure is to be shoehorned into the prosodic system's rhythmic pattern. Original contemporary field and experimental work on Mapudungun shows stress to fall on right-aligned moraic trochees in the stem and word domains. This contradicts claims in the foot-typology literature, where Araucanian stress goes from left to right, building quantity-insensitive iambs. A reconstruction of the history of the stress system suggests a transition from quantity insensitivity to sensitivity and the establishment of two domains of stress, which ultimately facilitates the parsing of word-internal structure, emphasising the demarcative function of stress. In the case of Early English, the focus is on the prefixal domain. Here the optimisation of the stress system – also trochaic – is shown to reduce the instances of clash in the language at large. As a result, a split in the prefixal system is identified, where prefixes constituting heavy, non-branching feet are avoided – and are ultimately lost – due to clash with root-initial stress, while light and branching feet remain in the language. In this case, it is the rhythmic or structural role of stress that is emphasised. Language internal factors are evaluated – in particular morphological type and stress properties – alongside external factors such as contact (with Chilean Spanish and Norman French), in order to provide a more general context for the observed changes and synchronic structure of the languages. A key concept in the analysis is that of 'pertinacity', the conservative nature of transmission in grammars, which leads learners to perpetuate perceived core elements of the system.

The concept of the unknown captivated medieval theologians, mystics, lovers, and travelers for centuries, and yet literary scholars too readily reduce this topos to a romance trope. "Unknowing the Middle Ages" reconsiders the grounds of late-medieval literary discourse by showing how canonical Middle English literary texts eschew the historical knowledges that informed them and, instead, affirm impossibility as a productive site for a literary poetics. My dissertation identifies what I call a "poetics of unknowing" as an important component of a budding late-medieval literary discourse that offers a way to discuss not only what can be known, but also that which exceeds exegetical, geographic, historical, and sensory comprehension. "Unknowing the Middle Ages" makes its argument through four chapters, each of which focuses on a narrative tradition extending at least five hundred years. Each chapter follows a figure---Herod the Great, Prester John, the Pearl, and Criseyde---from the texts that established their axiological significance to their appearances in Middle English texts, which attempt to unknow these figures. In their Middle English narratives these figures negotiate between an inherited religious ethics and an intellectual context compelled increasingly by that which eludes comprehension. In each case, material concerns regarding the unknowable infiltrate the formal composition of the text itself, and resonate at the level of a literary ethics. The "poetics of unknowing" that inhabit these texts reveal an epistemology less encumbered by the practical demands of clarity to which other modes of medieval writing are beholden, and also---perhaps of interest to scholars of modern literature and contemporary theory---refute the critical tendency to view the epistemological valorization of the unknown as a distinctly modern phenomenon. / text

The Middle English lyric, “Sir John Doth Play,” narrated in the female voice clearly depicts rape by a male authority figure and the narrator’s distress over her unplanned pregnancy, yet has been repeatedly interpreted and introduced by critics as a love song portraying the interaction of a seductive village priest and a gullible maiden. As such, the lyric provides a unique perspective on the patriarchal nature of the twentieth century and the value of critically re-examining literature rather than canonizing accepted interpretations of literary work.

This study offers a narrative comparison of A Vision Showed to a Devout Woman and A Revelation of Love, the two texts created by the first known English woman writer, Julian of Norwich (c. 1343 – c. 1416). It focuses Julian as a storyteller rather than as a theologian, mystic or visionary, concentrating particular on her narrative strategies, that is, on the strategic use of formal narrative features and the changes in these between Vision and Revelation. This dissertation therefore examines Vision and Revelation in terms of three narrative features: plot, characterization and perspective or point of view (termed ‘focalization’ here). These three narrative features are brought into dialogue with Julian’s theology. Three analytical angles help shed more light on Julian’s innovative use of these structures in her works: modern narratology, Middle English literary theory and practice, and the texts’ own literary concepts and self-referential comments. Two central narratological methods are used throughout. The first is to make a distinction between narrator Julian, who tells about the events, and character Julian, who experiences the events. The second is distinguishing several hermeneutic layers or levels of signification in a narrative. Following narratologist Mieke Bal, this discussion distinguishes between fabula (the raw material), story (the content of the text) and text (the linguistic construct). On the basis of this exploration, this study argues that Revelation includes, expands and transforms the narrative structures of Vision, and thereby consciously draws more attention to the structures themselves. At the same time, however, within Revelation a similar narrative reshaping can be seen as between Vision and Revelation. That is, Revelation reshapes its own new narrative structures, in order to hint at God’s greater structure and envelop its own in His. This greatest structure, however, is only glimpsed. As regards these narrative structures, this study argues that linear finite narrative desire driving the plot of Vision is taken up into an endless, greater narrative desire in Revelation, creating a circular plot. At the same time, narrator Julian constructs an omnitemporal, non-sequential plot. Moreover, this analysis shows that the focalization already found in Vision is made more demonstrative in Revelation, while the narrator directs this gaze more towards the apophatic and what is always hidden. Finally, this study explores how many of the characters from Vision are made twofold in Revelation, while Revelation at the same time foreshadows the union this doubleness will achieve at the end of time. Revelation, in short, utilizes Vision’s structures and its own to implode structure.  Julian’s poetics thus is one of continuous developing and enveloping, which allows her to depict God, herself and the reader as characters in each other’s narratives and as participating in each other’s storytelling: she authorizes her own story by making it God’s and the reader’s as well. This more conscious structuring and simultaneous reshaping of the new structure in Revelation forms Julian’s most innovative narrative strategy and the most striking interaction between her art and theology: narrator Julian depicts her own storytelling as simultaneously participating in that of God and foreshadowing God’s ultimate storytelling at the end of time.

This thesis offers an assessment of late medieval public response to the crusades through an investigation of emotional rhetoric in the Middle English crusading romances. It argues that the prevailing climate after the fall of Acre in 1291 and the evacuation of the last Christian strongholds in the Levant was characterized by a mixture of enduring enthusiasm and fascination, but also of concern, anxiety, and self-questioning, engendered by the enterprise's failures. The loss of the Holy Land had enduring repercussions on Christian crusading mindsets, marking a culminating point in Islam's seemingly relentless victories in wars believed to be ordained by God, and the collapse of Christendom's ambitions to secure lasting dominion over Christ's patrimony. The late thirteenth century was also a turning point in the history of insular romance, with the progressive displacement of Anglo Norman by Middle English, expanding the genre's audience. Reworking the emotional depictions of their sources, authors or adaptors of late medieval English crusading romances engaged with, and elicited reflection on, the cultural anxieties of the time: man's relation to God, the workings of divine providence, Christianity's ascendency over Islam, human agency, the connection between morality and fortune, the bearing of motives on actions, and the moral limitations of violence.

This thesis is an investigation of Middle English insanity language. It analyses change in the Middle English lexical field of INSANITY, the semantic structure of lexemes wod and mad, and compares INSANITY conceptual metaphors in Middle English and present-day English. The INSANITY lexical field is an ideal one to study language change, due to socio-cultural changes since the Middle Ages such as advances in medical knowledge, the development of the field of psychiatry and legal changes protecting people with a mental illness from discrimination. The general theoretical aims were to examine a) change in conceptual metaphor, and b) semantic and lexical change with a particular focus on the decline in use of adjective wod. The theoretical frameworks are cognitive linguistics, prototype theory, and conceptual metaphor theory, and the data is derived from Middle English corpora and other sources. The INSANITY database I created for this study consisted of 1307 instances of mad, wod and near-synonyms in context. The main results can be divided into three groups. Firstly, the lexical field study demonstrates that various intra-linguistic and socio-cultural phenomena effect lexical change. Using case studies amongst others of the decline of wod in the Wycliffite Bible and of Caxton's translations from French, and a systematic variation across genre, I argue that the important factors are i) the arrival of new medical loanwords such as frensy, lunatic and malencolie; ii) the early re-emergence of the vernacular in medical texts starting in the twelfth century, and the development of a new medical register; iii) the so-called medieval 'inward turn'; iv) changes in the neighbouring lexical field of ANGER. Secondly, the semasiological study of wod and mad shows that the meanings of these two lexemes are structured and change in line with the central tenets of prototype theory, i.e. as described for diachronic prototype semantics by Geeraerts (1997). The path of mad's semantic development does not parallel that of wod after the thirteenth century. Mad's senses do not have the emphasis on wildness and fury that the senses of wod do. A particularly interesting finding is the semantic change from a sub-sense of adverb mad and adjective mad, 'unrestrained', leading in present-day English to a new delexicalised and grammaticalised sense of mad, where its use as an intensifier enhances scalar quantity and quality. Thirdly, the conceptual metaphor study demonstrates that predominantly the same conceptual metaphors are seen in both Middle English and present-day English, with some exceptions such as the concept of insanity being related to moral decline, as evidenced in the dearth of FALLING metaphors for insanity in present-day English. Conceptual metaphors such as INSANITY IS ANOTHER PLACE are evidenced in present-day English expressions such as out of her senses, or not in my right mind. In 1422, Thomas Hoccleve could write of a dysseveraunce between himself and his wit, or about his wyld infirmitie, which threw him owt of my selfe, illustrating the same underlying concepts. Other INSANITY conceptual metaphors which remain unchanged are GOING ASTRAY, LACK OF ORDER, LACK OF WHOLENESS, DARKNESS, FORCE, PRISON and BURDEN. Because of its unique approach in combining onomasiological and semasiological approaches with a conceptual metaphor study, this study reveals not only specific patterns of change, but differences in the rate of change on the lexical and conceptual levels. Lexical change driven by the need to be expressive, and reflecting socio-cultural changes such as changes in medical knowledge, can be seen to happen rapidly over the Middle English period. However, underlying conceptual change is barely discernible even over a much longer period of time from Middle English to present-day English. This research is significant because it provides a basis for future analysis of insanity language in other periods and contexts. It also contributes to the study of semantic change in general, highlighting the insights that can be gained by combining different types of data-driven analyses.

This thesis responds to a lack of information regarding reading practice in literature in early Middle English. Here, reading is often used as a metaphorical or symbolic act - representing piety, devotional practice, or intellectualism - but how reading took place, how users engaged with books, is rarely figured. Other seams of evidence are therefore needed to access the reading process. The corpus of manuscripts on which I focus consists of thirty-three multilingual books containing English, Latin, and French produced in England between 1066 and c. 1300. Using this corpus, and inspired by the work of Leah Price, Juliet Fleming, Kathryn Rudy, and others, I seek to test the boundaries of what has previously been considered permissible evidence for reading, thereby adjusting and expanding current conceptions of the range of activities and practices high medieval book use entailed. The thesis begins with a case study of some important readers: scribes. In chapter one, using the seven surviving copies of Poema Morale as a corpus I read against current critical considerations of variance in manuscript transmission as a sign of 'scribal authorship' in order to establish practices of scribal reading. Chapters two and three go on to demonstrate how these 'scribal readers' prefigured a work's use as they copied, particularly when they chose to introduce or exclude textual apparatus in the form of titles, capitals, or paraph marks. The final part of the thesis examines the retrospective evidence of use left by readers who marked and altered their books to determine the extent to which readers conformed to the practices imagined by manuscript producers. As a whole, then, the thesis showcases the variegated nature of reading practice - from critical analysis to nugatory scanning - and the alternative uses for books in English in this period. It shows that vernacular reading was a work of 'embodied intellectual labour' that benefitted from the material form of the book, and that engagement and manipulation of this form was not just tolerated, but expected, and perhaps actively encouraged.