Research into the representation of the main character Sara in each Western film adaptation created in the twentieth century. The thesis focuses on gender stereotypes and the representation of the...Show moreResearch into the representation of the main character Sara in each Western film adaptation created in the twentieth century. The thesis focuses on gender stereotypes and the representation of the significance of friendship, imagination and intelligence.Show less
This thesis analyses George R.R. Martin’s fantasy series A Song of Ice and Fire from a medievalist perspective. By comparing Martin’s representation of several significant themes to his medieval...Show moreThis thesis analyses George R.R. Martin’s fantasy series A Song of Ice and Fire from a medievalist perspective. By comparing Martin’s representation of several significant themes to his medieval and medievalist sources, we can see how he deviates from his sources to problematize the medieval. Firstly, Martin’s portrayal of women is discussed, highlighting strong female characters such as Daenerys. Another important aspect that is addressed is chivalry, discussing both the romantic side of chivalry and court life, as well as chivalry in regards to honour and righteousness. Altogether, this thesis analyses how Martin’s depiction of gender roles and chivalry may be interpreted as subverting the medieval ideals that Martin so clearly based himself on.Show less
This thesis examines the debate surrounding the genre of historical fiction, taking on a postmodern view of historical writing. Subsequently, this thesis places Deborah Harkness' All Souls trilogy...Show moreThis thesis examines the debate surrounding the genre of historical fiction, taking on a postmodern view of historical writing. Subsequently, this thesis places Deborah Harkness' All Souls trilogy in this debate, which is a historical fantasy series. Through an analysis of Harkness' novels, in particular their fantastical elements and fantastical protagonist, this thesis concludes that history, fiction and fantasy are intertwined in the novels and therefore are able to appropriately fit together as subjects. The notion that these seemingly opposing elements are in fact quite alike undermines some critics' distinctively negative assessment on the genres of historical fiction and historical fantasy.Show less
The aim of this thesis is to examine Henri-Georges Clouzot’s questioning of French morality in La Vérité (1960). La Vérité, which translates as The Truth, is not merely a courtroom drama about a...Show moreThe aim of this thesis is to examine Henri-Georges Clouzot’s questioning of French morality in La Vérité (1960). La Vérité, which translates as The Truth, is not merely a courtroom drama about a crime passionnel; a closer look reveals that this film directed by Clouzot does not aim to judge its accused; instead, it is society’s morality that is put on trial. Viewing La Vérité resembles being prosecuted for lack of self-reflection. Clouzot holds up a mirror to the audience who are helplessly subjected to witnessing how Dominque Marceau becomes entangled deeper and deeper in a web of moral prejudice and prejudgement, only to realise that the spider is not solely the président des assises, nor the jury; it is primarily the observer who is responsible for Marceau’s predicament. In short, the truth seems susceptible to moral standards, but how, then, is the truth in fact true? And, moreover, how can truth and justice be compatible when morality interferes? Obscured by a dramatic veil of passion and beauty, these are questions that Clouzot presents his 1960s French audience and, although it was over fifty years ago, these are still very relevant questions to address. By means of his inconclusive subtlety, Clouzot asks for an active-reflexive commitment to his pursuit and he expects the viewer to put in effort and contribute by taking a standpoint through active reasoning and reflective thinking. Although engaging and innovative, La Vérité leaves a bitter taste as the ending is disquieting to an audience who accept the mirror that Clouzot is handing and take a close and honest look at its reflection.Show less
An edition of a devotional treatise on the seven deadly sins from Princeton University, Garrett MS 143, fols. 21v-26v. This treatise is yet unpublished.
This thesis presents a research question that relates to some of the key issues in literary gender studies, queer studies, romance studies, and psychoanalysis: what is the role of the reader’s...Show moreThis thesis presents a research question that relates to some of the key issues in literary gender studies, queer studies, romance studies, and psychoanalysis: what is the role of the reader’s gender and sexuality in the appreciation of (certain popular) genres that offer non-heteronormative representations of desire?Show less
In the His Dark Materials trilogy, Philip Pullman attempts to adapt John Milton's Paradise Lost. In doing so, Pullman inverts the theological message at the heart of Milton's epic poem. This thesis...Show moreIn the His Dark Materials trilogy, Philip Pullman attempts to adapt John Milton's Paradise Lost. In doing so, Pullman inverts the theological message at the heart of Milton's epic poem. This thesis looks at the adaptation process, identifying its features and the motivations that go along with it.Show less
The portrayal of Christ in Old English verse has hardly been analysed in relation to medieval doctrine, Christology (i.e. the person and nature of Christ) in particular. This thesis attempts to...Show moreThe portrayal of Christ in Old English verse has hardly been analysed in relation to medieval doctrine, Christology (i.e. the person and nature of Christ) in particular. This thesis attempts to fill this gap in the literature on Old English Christian verse by offering an analysis of the dual nature of Christ in the Old English poems Christ I (or Advent), Christ II (or The Ascension), Christ III (or Christ in Judgment), The Dream of the Rood (or The Vision of the Cross), and The Descent into Hell. This thesis shows that the Anglo-Saxon poets responsible for these poems heavily rely on biblical and liturgical images, light imagery, and heroic imagery in their depiction of Christ’s divine nature. Christ’s humanity proves a more delicate topic as each poet approaches it in his own way and does so with caution, probably because of the fierce debates about Christ’s human nature in the Anglo-Saxon Church. Moreover, even though in different ways, these poems portray a fully united human-divine Christ, thus conforming to the orthodox principle of Christology that Christ is both fully God and perfectly human. In presenting Christ in such a fashion, the Anglo-Saxon poets refute the active Christological heresies of their time, such as Arianism and Adoptionism.Show less
This MA thesis examines the representation of the Fall of Man in John Milton’s 'Paradise Lost' from a Lacanian angle. Using Lacan’s ‘Mirror Stage’ and his tripartite schema of the ‘Real’, the ...Show moreThis MA thesis examines the representation of the Fall of Man in John Milton’s 'Paradise Lost' from a Lacanian angle. Using Lacan’s ‘Mirror Stage’ and his tripartite schema of the ‘Real’, the ‘Imaginary’, and the ‘Symbolic’ orders as a template, I will address the repercussions of the Fall and establish to what extent the move from the Real, through the Imaginary, to the Symbolic can be seen to be mirrored in the move from a pre-lapsarian state to a post-lapsarian reality in 'Paradise Lost'. In the first chapter, I argue that, since God exists in perfect proximity to the Real-like Word, Satan embodies the post-lapsarian Symbolic word in and through his separation from God's prototypical, pre-lapsarian language. In chapter two, I extend this main argument and apply it more locally to the Edenic level of Adam and Eve and their respective relationships with the Word of God. The Fall of Man, then, comes to feature as the event that introduces the Lacanian Symbolic order to Eden, by the hand of Satan, its prime instigator.Show less
Gawain was one of the most popular Arthurian figures in medieval literature, featuring in numerous texts both as a protagonist and as a supporting character. Scholars have studied Gawain’s...Show moreGawain was one of the most popular Arthurian figures in medieval literature, featuring in numerous texts both as a protagonist and as a supporting character. Scholars have studied Gawain’s reputation and representation in literature in detail, yet the significance of marriage or of the absence of marriage in Gawain romances has been overlooked. This thesis examines Gawain’s relationships with women and his attitude towards women and matrimony in medieval romances, studying his portrayal both as a lover and as a husband in a selection of thirteenth to sixteenth century French and English Arthurian romances. I use a new, interdisciplinary approach by applying the framework of New Historicism to the romances I examine, and by discussing the themes of marriage and love in light of the texts’ cultural and political backgrounds and literary sources. My claim that the English Gawain’s motives and behaviour are portrayed as more virtuous and courteous than the French Gawain’s, both in pre-marital and marital relationships, is supported by a careful close reading and analysis of The Wedding of Sir Gawain and Dame Ragnelle, Sir Gawain and the Carle of Carlisle, Sir Gawain and the Green Knight, Ywain and Gawain, De Coniuge Non Ducenda; and Le Chevaliers as Deus Espees, Le Chevalier à l'Épée, and La Mule Sans Frein. Gawain marries more often in the English romances in this corpus, for the purpose of preserving his courtesy, that of others, or to stabilise a conflict; while he is more frivolous and rarely marries in the French romances. The married state contradicts elements of Gawain’s traditional French and English characterisation and is therefore almost always an imbalance and a temporary state which authors must right in the romances’ denouements. Based on my findings and discussion, I conclude that the various uses of marriage in the romances’ plots and Gawain’s different portrayals as a husband reflect regional and national traditions, as the romances were tailored to ruling elites with different concerns and backgrounds. The use of the culturally charged theme of marriage in Arthurian romances allowed authors to infuse romances with symbolical meaning.Show less
This thesis employs queer and psychoanalytic theory in order to analyze three Gothic texts from the Romantic Period: William Godwin's 'Caleb Williams' (1794), Mary Shelley's 'Frankenstein' (1818),...Show moreThis thesis employs queer and psychoanalytic theory in order to analyze three Gothic texts from the Romantic Period: William Godwin's 'Caleb Williams' (1794), Mary Shelley's 'Frankenstein' (1818), and James Hogg's 'Justified Sinner' (1824). Through close readings, this thesis argues that the male protagonist's 'double' is a manifestation of his repressed homosexual desires. Do to societal pressure for normative behaviour, the protagonist experiences opposing feelings of desire and homophobia, ultimately causing his isolation and self-hatred.Show less
