Published also as Thesis (Ph. D.)--Columbia University, 1912. / "Gọngu-Hrólfs rimur": p. 78-99. "Gọngu-Hrólf as an historical character": p. 43-54. Reprint of 1912 ed.

No description available.

Published also as Thesis (Ph. D.)--Columbia University, 1912. / "Gongu-Hrólfs rimur": p. 78-99. "Gongu-Hrólf as an historical character": p. 43-54.

No description available.

Skuldbegreppet används inom olika områden. I Bibeln och andra mytologiska berättelser finns temat skuld beskrivet. Inom psykologin vrider och vänder man på skam- och skuldbegreppet inom flera olika inriktningar som psykoanalysen och existenspsykologin.  Syftet med denna uppsats i en komparativ litteraturstudie är att undersöka och belysa emotionen skuld ur olika perspektiv, och söka förståelse kring hur bearbetning av skuld påverkas av respektive perspektiv. Genom att jämföra tre samtida författare, Marianne Lerner, psykoterapeut som får representera psykologin. Harlan J. Wechsler, representerar judisk teologiskt perspektiv, och Rollo May, psykolog, som får stå för den existentiella inriktningen. Emotionen skuld är en komponent i varje enskild människans liv, som var och en hanterar både på ett medvetet och ett omedvetet plan. Skulden samverkar med andra emotioner och har en positiv och en negativ sida. Alla tre inriktningar har ett spänningsfält mellan temat god-ond som behöver internaliseras och samverka inom psyket i varje enskild människas liv. Förmågan att ta ansvar sker genom acceptans (existentialismen/May) integration av skuld (psykologin/Lerner) och att göra bättring (judisk teologi/Wechsler).

This project aims to take the investigation of food in early modern drama, in itself a relatively new field, in a new direction. It does this by shifting the critical focus from food-based metaphors to food-based properties and food-producing cook characters. This shift reveals exciting, unexpected, and hitherto unnoticed contexts. In The Taming of the Shrew and Titus Andronicus, which were written during William Shakespeare’s inn-yard playhouse period, the playwright exploits these exceptionally aromatic venues in order to trigger site-specific responses to food-based scenes in these plays. Ben Jonson’s Bartholomew Fair brings fair-appropriate gingerbread properties onstage. When we look beneath the surface of this food effect to its bread and wine ingredients, however, it reveals a subtext that satirizes the theory of transubstantiation. Jonson expands on this theme by using Ursula’s cooking fire (a property staged in Jonson’s representation of Smithfield’s Bartholomew Fair) to engage with the prison narrative of Anne Askew, who was burned to death in front of Bartholomew Priory on the historic Smithfield for denying the doctrine of transubstantiation. This thesis also investigates water, which, for early moderns, was a complex and quasi-mystical liquid: it was a primary element, it washed sin from the world during the Great Flood, it was a marker of status, it was a medicine, and it was a cookery ingredient. Christopher Marlowe not only uses dirty water to humiliate his doomed monarch in Edward II, but he also uses it to apportion blame to the king for his own downfall. In Timon of Athens, Shakespeare draws on the theory of the elements to cast Timon as a man of water, who, Jesus-like, breaks up and divides (or splashes around) his body at his “last” supper. Fully-fledged cook characters were a relative rarity on the early modern stage. This project looks at two exceptions: Furnace in Philip Massinger’s A New Way to Pay Old Debts and the unnamed master cook in John Fletcher’s The Tragedy of Rollo, Duke of Normandy. Both playwrights use their respective gastronomic geniuses to demonstrate the danger that lower-order expertise poses to the upper classes when society is in flux. Finally, this project demonstrates that a link existed between ornate domestic food effects and alchemy. It shows how Philip Massinger’s The Great Duke of Florence and Thomas Middleton’s Women, Beware Women use food properties associated with alchemy to satirize notions of perfection in their play-worlds.