Black-and-white colobus monkeys are renowned for their impressive vocal behaviour, but up to date there have been only very few systematic efforts to study this. These monkeys are able to produce loud and low-pitched roars that transmit over long distances, which has lead to the assumption that these calls function in inter-group spacing and male-male competition. The fact that the monkeys sometimes produce the same calls to predators as well, has not received much attention so far. This thesis presents a detailed description of the form and function of the anti-predator behaviour of one species of black-and-white colobus monkeys, the Guereza (Colobus guereza), with a specific focus on their alarm calling behaviour. A second aim was to determine the effects of predator experience on their anti-predator behaviour, with a specific focus on call comprehension and production. Data were collected from two populations of Guereza monkeys in the Budongo Forest Reserve, Uganda, that differ in predation pressures experienced by their main predators: leopards, eagles and chimpanzees. Results showed that Guerezas use a basic form of zoo-syntax in order to compose predator-specific call sequences that vary in the number of roaring phrases and snorts. These sequences are meaningful to recipients, at least at the level of the predator class, but there were also indications for additional levels of encoded information: Guerezas appear to have evolved a second system, based on acoustic variants of individual phrases, which allows them to narrow down the information content of call sequences, generating the potential to communicate highly specific information by using a mix of syntactic and semantic cues. The monkeys’ vocal behaviour was influenced by predator experience, but not strongly so. Monkeys without prior experience with leopards lacked some of the behavioural nuances seen in leopard-experienced monkeys, but they nevertheless responded appropriately to visual and acoustic leopard models, suggesting they had retained the basic capacities to recognise this predator type as relevant and dangerous. Results are discussed in light of the comparative approach to the study of human language evolution. Although human language is unique in a number of ways, for example through its use of complex syntax and intentional semantics, some animal communication systems have revealed similar features, and Guerezas, the first member of the colobine family to be studied in this respect, are no exception. The Guerezas’ alarm calling behaviour is complex and flexible, and these monkeys have provided another piece of empirical evidence that is directly relevant for the comparative approach to human language evolution.

The Great Gatsby by F. Scott Fitzgerald encapsulates the Roaring Twenties, a period of social and political change. The economy is thriving, and the American Dream, with its promise of monetary wealth, happiness and upward mobility, is seemingly within reach. Females gain suffrage, and a New Woman emerges, the flapper, who can be seen challenging stereotypical gender roles with her short skirts and bobbed hair. Ostensibly enjoying increased freedom, she dances the night away at speakeasies, a cigarette in one hand and a drink in the other, defying Prohibition. This essay aims to evidence that the American Dream as constructed in the novel is a dream available only to the male gender, as the women remain shackled by a patriarchal society. By looking at The Great Gatsby through a feminist lens and with the help of well-established concepts within feminist critical theory and feminist narratology, this essay analyzes how the female characters are portrayed, along with their language, and their actions. The result reveals that in Gatsby’s world women orbit around the men, maneuvering for their attention, affection, and material wealth. Any transgressions of stereotypical gender roles result in punishment: loss of status, withheld affections, dismissal, or death. Consequently, instead of following their own American Dream, women are limited to pursuing the man who most successfully embodies it. Thus, for the females in The Great Gatsby, the American Dream stays an elusive idea as they remain reliant on the men to manifest it.

This dissertation attempts to fill a void in early modern English drama studies by offering an in-depth, cross-gendered comparative study emphasizing representations of women’s discursive agency. Such an examination contributes to the continuing critical discussion regarding the nature and extent of women’s potential agency as speakers and writers in the period and also to recent attempts to integrate the few surviving dramas by women into the larger, male-dominated dramatic tradition. Because statements about the nature of women’s speech in the period were overwhelmingly male, I begin by establishing the richness and variety of women’s attitudes toward marriage and toward their speech relative to marriage through an examination of their first-person writings. A reassessment of the dominant paradigms of the shrew and the silent woman as presented in male-authored popular drama—including The Taming of the Shrew and Epicene—follows. Although these stereotypes are not without ambiguity, they nevertheless considerably flatten the contours of the historical patterns discernable in women’s lifewriting. As a result, female spectators may have experienced greater cognitive dissonance in reaction to the portrayals of women by boy actors. In spite of this, however, they may have borrowed freely from the occasional glimpses of newly emergent views of women readily available in the theater for their own everyday performances, as I argue in a discussion of The Shoemaker’s Holiday and The Roaring Girl. Close, cross-gendered comparison of two sets of similarly-themed plays follows: The Duchess of Malfi and The Tragedy of Mariam, and A Midsummer Night’s Dream and Love’s Victory. Here my examination reveals that the female writers’ critique of prevailing gender norms is more thorough than the male writers’ and that the emphasis on female characters’ material bodies, particularly their voices, registers the female dramatists’ dissatisfaction with the disfiguring representations of women on the maledominated professional stage. I end with a discussion of several plays by women—The Concealed Fancies, The Convent of Pleasure, and Bell in Campo—to illustrate the various revisions of marriage offered by each through their emphasis on gendered performance and, further, to suggest the importance of the woman writer’s contribution to the continuing dialectic about the nature of women and their speech.