For many years, scholars have thought that the manuscript source used by William Caxton to correct his first edition of the Canterbury Tales was a manuscript probably of the very best quality. In 1939, Thomas Dunn wrote a doctoral thesis on the subject, and for his research he used the Manly and Rickert collation cards. Technological advances made in the last decade of the twentieth century have made it possible to collate the witnesses of the Tales using computerised tools. This work presents an analysis of the stemmatically significant variants found in Cx2 and attempts to offer a plausible hypothesis concerning the position of the manuscript source of Cx2 in the textual tradition of the Canterbury Tales. This thesis is organised in eight chapters. Chapter 1 focuses on the scholarly work surrounding Caxton's second edition and his editorial practices; chapter 2 contains the bibliographical description of one of the copies of Cx2; chapter 3 studies the question of the order of the tales; chapter 4 offers a synthesis of what, for the purposes of this particular research, is understood as a textual variant; in chapters 5,6 and 7 the analyses of the data and some partial conclusions can be found. The findings of this work appear in the conclusions (chapter 8). There is an electronic appendix to this work in which data that were not deemed essential to its understanding can be found. The electronic appendix includes the complete collation of Cx2 against Cxl, collations of all the available witnesses and variants which were considered repetitive or uninformative. This work shows that witnesses of the text which have remained unclassified up to this point might be genetically related. Especially evident is the relationship between Ad3 Ch Ha4 and the manuscript source of W. It also appears that Cx2 shares with El and Gg variants which originated below the archetype. This thesis suggests that more work is required in order to clarify the stemmatic relations in the textual tradition of the Canterbury Tales.

<p>This dissertation investigates the text of Paul's Epistle to the Galatians and its history, how it changed over time. This dissertation performs a stemmatic analysis of 92 witnesses to the text of Galatians, using cladistic methods developed by computational biologists, to construct an unoriented stemma of the textual tradition. The stemma is then oriented based on the internal evidence of textual variants. After the stemma is oriented, the textual variants near the base of the stemma are examined and the text of Galatians is established based on stemmatic and eclectic principles. In addition, two branches of the textual tradition, the Western and the Eastern-Byzantine, are studied to assess the nature of textual variation in their history. This study reaches the conclusion that a modified stemmatic approach is an effective way to study both the text of a New Testament book and its history.</p> / Dissertation

While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued. This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.

While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued. This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.

While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued. This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.

While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued. This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.