English witches and SS academics: evaluating sources for the English witch trials in Himmler’s Hexenkartothek

Prior to WWII, Himmler organised a team of SS researchers to collate records of historical witchcraft trials that had taken place in lands of the expanding Reich. The ideological pretext for this undertaking was the collection of evidence demonstrating an anti-German crusade by the Church. While this was a figment of historical imagination, the SS pursued it doggedly against the backdrop of the Holocaust. Whereas trials that had taken place on historically German lands were often sourced from primary documents to which the researchers had access within Reich libraries, trials further afield were less rigorously sourced. Little was done to differentiate between primary and secondary or even tertiary sources. One SS source for English witch trials was a text by a German-Jewish literary scholar about witchcraft in Renaissance drama. Such critical indifference on the part of the SS is thought by some to render the archive of little interest, but examining the ideological underpinnings of Nazi reception of these materials can help situate these researchers among the turbulent social and political structures of the Third Reich and its uneven privileging of the intellectual fringe. This also constitutes the first critical/biographical analysis in any language of the sources for the English trial cards in the catalogue

Getting shot of elves: healing, witchcraft and fairies in the Scottish witchcraft trials

This paper re-examines the evidence of the Scottish witchcraft trials for beliefs associated by scholars with "elf-shot." Some supposed evidence for elf-shot is dismissed, but other material illuminates the interplay between illness, healing and fairy-lore in early modern Scotland, and the relationship of these beliefs to witchcraft itself

Literature, Gender and Politics During the English Civil War /

Title from publisher's bibliographic system (viewed on 25 Nov 2014)

'The silver cord': male labours in Hemingway

This thesis considers Hemingway’s engagement with childbirth in three separate but interrelated ways. The first is imitation of the ordeal, which he most closely enacts in his ritual engagement with fishing. The second is the interaction of male characters with actual childbirth, and how male characters, specifically doctors and fathers, react to birthing mothers and try to control the event. By managing the pain and the consciousness birthing mothers feel, male interference distorts the significance of the event for the mother. The third chapter considers Hemingway’s metaphorical identification as a birthing mother in his conception of his own writing process. Writers have traditionally referred to their books as ‘brainchildren,’ and using the method of examining colloquial metaphors proposed by George Lakoff and Mark Johnson in Metaphors We Live By (Lakoff [1980] 2003), we witness the extension of the metaphor to the writing and editing process by Hemingway. Fishing was more than an escape from writing for Hemingway – it was a vital part of his writing process. Fishing becomes a ritualistic engagement with the metaphor of birth, and birth becomes a metaphorical perspective of his writing process, and Hemingway engages continuously in both throughout his writing career.This thesis is not currently available in ORA

Milton and material culture

In contradistinction to critical trends which have rendered Milton’s thought disembodied, this thesis studies how seventeenth-century material culture informed Milton’s poetry and prose at the epistemic level and by suggesting a palette of forms for literary play. The first chapter explores the early modern culture of fruit. At the epistemic level, practices of fruit cultivation and consumption inform Milton’s imagination and his vocabulary, thereby connecting their historic-material lives with their symbolic ones. Milton further turns commonplace gestures of fruit consumption into narrative devices that frame discussions of agency, aspiration, sinful and right practice. The second chapter examines two floral catalogues to discover how they find shape through the epistemologies of flowers, ceremony, and decorative arts. Here material culture shapes literary convention, as one catalogue is found to secret ceremonial consolation in its natural ingenuousness, while the other’s delight in human physicality upsets the distinctions between inner virtue and outer ornament, faith and rite. In the third chapter, urban epistemologies of light, darkness, movement, and space are examined through urban phenomena: skyline, suburbs, highways, theft, and waterways. By interpellating contemporary debates, these categories anatomise fallen character, intent, action, and their consequences. Milton’s instinctive distaste for urban nuisances is interesting in this Republican figure and is subversive of some ideologies of the text. Discursive and material aspects meet again in the fourth chapter in a discussion of his graphic presentations of geography on the page. Usually prone to analyses of textual knowledge, they are also informed by the embodiment of knowledge as material object. Milton’s search for a fitting cartographic aesthetic for the Biblical narrative and for the rhetoric of his characters leads him to an increasing consciousness of the ideologies energising these material forms. The fifth chapter explores Milton’s engagement with forms of armour and weapons. Military preferences for speed and mobility over armour help Milton explore the difference between unfallen and fallen being. Milton also uses his inescapably proleptic knowledge of arms and armour as a field of imaginative play for representations that are both anachronistic and typological. These lead to a discussion of imitation in the mythic imagination. In each of these studies, we witness Milton’s consciousness of his temporal and proleptic location, and his attempts to marry the temporal and the pan- or atemporal. In the conclusion I suggest that Milton’s simultaneous courting of the atemporal while he is drawn to or draws on temporal material culture imply an incarnational aesthetic.This thesis is not currently available in ORA

The Oxford School of children's fantasy literature : medieval afterlives and the production of culture

This thesis names the Oxford School of children’s fantasy literature as arising from the educational milieu of the University of Oxford’s English School during the mid-twentieth century. It argues that J.R.R. Tolkien and C.S. Lewis lay the foundations for the children’s fantasy genre by introducing an English curriculum at Oxford in 1931 (first examined 1933) that required extensive study in medieval literature, and by modelling the use of medieval source material in their own popular children’s fantasy works. The Oxford School’s creative use of its sources produces medieval ‘afterlives,’ lending the Middle Ages new relevance in popular culture. This research directly compares medieval literature to children’s fantasy works by Tolkien, Lewis, and four other Oxford-educated children’s fantasy authors in order to reveal the genre’s debt to actual medieval texts and to the Oxford English syllabus in particular. The four authors are Susan Cooper, Kevin Crossley-Holland, Diana Wynne Jones, and Philip Pullman. This thesis situates the tendencies of medievalised children’s fantasy in relation to Lewis and Tolkien’s personal and scholarly convictions about the patriotic, moral, and aesthetic qualities of medieval literature and folklore. Building on the theories of Michel de Certeau, this thesis demonstrates how Oxford School fantasy produces new mythologies for England and argues that, as children’s literature, these works have an implicit didactic function that echoes that of the English School curriculum. This thesis traces the attempts of some Oxford School authors to navigate or explode generic conventions by drawing upon new source material, and contends that the structures and hierarchies that underpin the genre reassert themselves even in texts that set out to refute them. It suggests that such returns to the norm can produce pleasure and invite diverse reading, growing out of the intertextual associations of each new rewriting.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Toying with the book: children’s literature, novelty formats, and the material book, 1810–1914

This thesis examines the book in the nineteenth century by way of an unusual corpus: movable and novelty books for children, drawn from the Opie Collection of Children’s Literature at the Bodleian Library. It argues that these items, which have been either ignored or actively dismissed by scholars of children’s literature, are of two-fold significance for the history of the book: they encourage a sense of the book as a constitutively (rather than an incidentally) material object, and they demand an understanding of reading as not just a mental activity, but a physical one as well. Each of the first five chapters of the thesis centres on a different format. The opening chapter discusses the Regency-era paper doll books produced by Samuel and Joseph Fuller, exposing the tension between form and content in these works. The second chapter looks at Victorian panorama books for children, showing how the panorama format affects space, time, and the structure of any text accompanying the image. The third chapter reads the pop-up book’s key tension—the tension between surface and depth in the pursuit of an illusion of three dimensions—in terms of flat, theatrical, and stereoscopic picture-making, three other nineteenth-century pictorial modes in which an illusion of three-dimensionality is important. The fourth chapter traces self-reflexive accounts of printing, publishing, and the material book in dissolving-view books produced by the German publisher and printer Ernest Nister at the end of the nineteenth century. The fifth chapter positions the late nineteenth-century mechanical books designed and illustrated by Lothar Meggendorfer in terms of two material analogies, the puppet and the mechanical toy or automaton. The final chapter synthesizes evidence as to how the movable book could and should be read from across formats, foregrounding in particular the ways in which the movable embodies reading.This thesis is not currently available on ORA