This thesis provides a broad study of the tenurial, administrative and political history of Yorkshire in the first century of English feudalism. It begins by providing a new and more precise chronology for the Norman conquest of Yorkshire and illustrates the importance of castleries and hundreds in the process of take-over. In Chapter 2 the thesis reveals that in the fifty years following the Domesday survey the Normans extended the system of compact lordships based upon castleries, hundreds and hundredal castleries in order to bring the more remote parts of the county under control and to provide protection for its borders. The new men placed in control of these lordships played a vital role in the integration of Yorkshire within the royal system ofjustice and administration. Attention is then paid in Chapter 3 to the scale and pattern of Norman sub-enfeoffment in the period 1086 x 1135. The study throws new light on both the purpose of the system of military service introduced by the Normans and the reasons for the rapid expansion of monasticism in Yorkshire after 1100. Chapter 4 illustrates how after 1135 royal control over the local administration of Yorkshire disintegrated in the face of the political difficulties of King Stephen and the growing power of William earl of York, and Chapter 5 examines how King David of Scotland exploited Stephen's weakness in the northern England to extend his influence within the area. Chapter 6 considers the nature of some of the new enfeoffment tenancies recorded in the 1166 inquest and elucidates the reasons behind the reluctance of magnates to acknowledge their existence and pay scutage upon them. And finally, the thesis concludes in Chapter 7 with a major re-assessment of the nature and strength of lordship and the emergence of property right in the first century of English feudalism.

No description available.

Issued also as W.H. Trethewey's Thesis (Ph. D.)--Chicago University, under title: A critical edition of La petite philosophie ... / Half-title: ... Anglo-Norman text society, no. I. "The Petite philosophie is for the most part a relatively faithful translation of book one of the De imagine mundi libri tres ... This work was formerly attributed to Honorius Augustodunensis ... It is now well established that the author was not this Honorius but another called Solitarius or Inclusus."--Introd., p. liii.

Thesis (M.S.)--University of Wisconsin--Madison, 1974. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The art of Leonard Cohen has been the subject of several recent literary studies and numerous short reviews. Often superficial features of his work distract those studying him and lead them to conclusions which do not account for a number of more important qualities which lie at the center of his art. Cohen's point of view, as it is manifested in his art, is frequently given only cursory attention and this leads to a misinterpretation of his work. The critical approach used in this thesis is designed to illuminate Cohen's position in relation to his art and account for the various apparently contradictory features noticed in his work. This study consists of an examination of Leonard Cohen's prose and poetry from a critical perspective centering on Cohen's "willed self-alienated" point of view. The self-alienated center of consciousness from which Cohen's work originates is delineated and its adequacy as a source of aesthetic and philosophical values discussed. The method of inquiry is mainly interpretive, but Cohen's art is also discussed in relation to several of the main themes and conventions of modern literature from an historical point of view. The basic conclusion of this study is that Cohen's "willed self-alienated" point of view is the source of what are called dynamic aesthetic values. Willed self-alienation may briefly be defined as a chosen mode of existence in which the individual maintains a continuous process of negation of virtually all forms, systems, beliefs, and habits which are in themselves "static" and therefore contrary to life. This process results in a capacity to be self-creative because the individual feels no allegiance to a particular self-conception. Cohen uses this point of view in his art in a way that allows him to exhibit a variety of apparently contradictory traits. This fragmentation of the consciousness at the center of the art must be grasped if Cohen's work is to be fully appreciated. The basic impulse of the willfully self-alienated individual is to "become" other than he is at any particular point in time. The temporal emphasis for such a mode of existence is, therefore, the present moment. An aesthetic perspective emerges directly out of this situation. The main temporal focus of aesthetic concerns is the present and, in the arts, "moments" of perfection. Cohen's willed self-alienation does not permit him to dwell in single perfect moments like Breavman in The Favorite Game. Cohen is concerned with the eternal or expanded moment of consciousness in which the individual is aware of his life and creative ability. The values which emerge from Cohen's art are directly related to a fusion of his willed self-alienated point of view and dynamic aestheticism. / Arts, Faculty of / English, Department of / Graduate

"Norman Mailer has often been criticized on the grounds implied above. His naturalistic style has evoked revulsion, his political beliefs ridicule and reproof, and the sensational quality of his material the accusation of dishonesty. Confronted by the writings themselves, and by Mailer's nonfiction essays on art and politics, such reactions appear irrelevant. To the greater understanding of the man, in both artistic and political roles, this paper is devoted"--Introduction. / Carbon copy of typescript. / "August, 1957." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Louis Shores, Professor Directing Paper. / Includes bibliographical references.

Inaug.-diss.--Greifswald. / Lebenslauf.

This thesis is a comprehensive study of the poetry of Norman MacCaig. His poems have received relatively little critical attention and scholars appear to have concentrated on a few specific points such as MacCaig’s characteristic restraint or his inscription in a given literary tradition. Critics have notably pointed out different dichotomies in his works. I argue that these dichotomies are fundamentally interrelated. It is characteristic of MacCaig’s writing to simultaneously engage with and challenge philosophical and linguistic concepts and positions as well as literary traditions and stylistic choices. These dichotomies are both a cause and a symptom of this phenomenon. They take on a structuring role in a body of works often regarded as a collection of independent lyrics rather than a cohesive totality. The first half of the thesis will follow a thematic approach: considering first the poetic project MacCaig outlines and the interplay of celebration, faithfulness to the object and the problem of perception; then the treatment of religion and the divine by this notoriously atheist author and how it relates to his worldview. This will provide a basis to address MacCaig’s lifelong concern with the relationship between perception, language and description and what this entails for both his writing and his philosophical positions. In the second half of this study, I will address MacCaig’s engagement with tradition – and its limits – through consideration of three different modes and how they relate to his writing project: elegy, pastoral and amatory verse, regarding the latter two as specific examples of the former. Through these interconnected studies of MacCaig’s poetry, I argue that the critical tendency to either undervalue his central place or treat his works in a fragmentary fashion originates in MacCaig’s sense of the instability of our perceptions and our possible discourses about the world. This uncertainty at the root of his writing reflects his constant and often uncomfortable awareness of the elusive nature of existence and meaning – death and the limits of language threatening both his perception of the world he evinces such fondness for and his ability to write about it.

Thesis (PH. D.)--University of Chicago, 1913. / "Reprinted with additions from Modern philology, vol. XII, nos. 6 and 9." Includes bibliographical references (p. 9-10) Also available on the Internet.