Thesis--Aarhus universitet. / Summary in Danish. Bibliography: p. 289-297.

Thesis (Ph. D.)--Ludwig Maximilians Universität zu München, 1927. / Issued also as monograph; München : Knorr & Hirth, 1927. Includes bibliographical references (p. 99-[102]).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1965. / Typescript. Vita. Includes bibliographical references.

Thesis--Université de Paris. / Pages i-ix duplicated. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin, Madison, 2005. / UMI number: 3200047. Includes bibliographical references (p. 128-134). Also available on the Internet.

Thesis (Ph. D. in Spanish and Portuguese)--Vanderbilt University, May 2006. / Title from title screen. Includes bibliographical references.

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of English. / Includes bibliographical references (leaves 102-104).

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-07-31Bitstream added on 2014-06-13T19:55:16Z : No. of bitstreams: 1 cabrinijunior_pt_dr_assis.pdf: 440636 bytes, checksum: 11f0fd091a77b7dae9851f16f38de83c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O outono foi uma das estações preferidas dos autores da era T´ang (618-907) e de Camilo Pessanha (1867-1926), escritor português, residente, por muitos anos, na China. A China é um país profundamente confucionista, budista e taoísta. Muitos comentadores já aludiram à proximidade entre a poesia de Pessanha e a doutrina de Buda, mas nenhum crítico, que saibamos, aproximou-a da doutrina de Lao-tzu (século VI a.C.). Nosso trabalho, portanto, procura salientar os pontos de contato entre a poesia de Camilo Pessanha e o Tao Te Ching, livro fundador do Taoísmo, provavelmente escrito por Lao-tzu, e fulcral no pensamento chinês, que Pessanha tanto admirava. / Autumn was a major theme for T´ang poets (618-907) as well as for Camilo Pessanha (1867- 1926) – Portuguese writer who lived in China for many years. China is profoundly affected by the doctrines of Confucius, Buddha and Lao-tzu (respectively, Confucianism, Buddhism and Taoism). Many essayists pointed out the resemblances of Buddha in Pessanha´s poetry, but none, till now, as we know, pointed out, in his work, the resemblances of Lao-tzu (VI c. B.C.). So, we tried to do this: to make clear how “Taoist” is the poetry of Pessanha, by comparing it with the Tao Te Ching, a major book for Taoism.

Wuthering Heights is a composite of opposites. Its two houses, its two families, its two generations, its two planes of existence are held in place by Emily Bronte's careful manipulation of repetitive, yet differentiated, symbols associated with each of these pairs. Using symbols to develop her polarities and to unify them along the imaginatively rendered horizontal axis connecting Wuthering Heights and Thrushcross Grange, the vertical axis connecting the novel's several "heavens" and "hells," and the third dimensional axis connecting the spiritual and corporeal worlds, Emily Bronte gives the divided world of Wuthering Heights an almost perfect symmetry. This study divides the more than seven hundred symbols into physical and nonphysical. The physical symbols are subdivided into setting, animal life, plant life, people, celestial objects, and miscellaneous objects. The fewer nonphysical symbols are grouped under movement, light, time, emotions, concepts, and miscellaneous terms. Verticality and thresholds, the two most important symbolic motifs, are drawn from both physical and nonphysical symbols.

This thesis investigates how Old English poets understood the processes of signification and interpretation through analysis of depictions of poor interpreters and the use of 'sign terms' such as tacen and beacen in the longer Old English poems. The first chapter deals with the Beowulf Manuscript, the second and third chapters consider Elene and Andreas within the network of related poems found in the Vercelli Book and the begin- ning of the Exeter Book, the fourth chapter is on the Junius Manuscript, and the conclusion looks at the use of the 'bright sign' motif across all four major poetic codices. I suggest that there is a 'heroic sign-bearing interpreter' character-type which several of the poems utilize or ironically invert, and that poor interpretation is nearly always asso- ciated with hesitation, which often resembles acedia. I also argue that there is greater nuance in the poems' depictions of modes of understanding than has previously been acknowledged: Eve in Genesis B does not stand for the senses which subvert the mind, but rather models the limits of rational thought as a means of understanding God, and Elene does not depict a simple opposition of letter and spirit, but a threefold mental pro- cess of learning about the Cross with analogues in exegesis and Augustine's Trinity of the Soul. Finally, I argue that there is a 'bright sign' motif which functions within a brightness-sign-covenant concept cluster, whose evocation as a traditional poetic unit is not identical to the denotation and connotation of its constituent parts. These strands of inquiry taken together demonstrate how Old English poems invest signs with significance by tapping into a specifically poetic network of allusion.