http://hdl.handle.net/1842/3415 Sun, 19 May 2013 09:25:46 GMT 2013-05-19T09:25:46Z http://hdl.handle.net/1842/2616 Title: Andrew Marvell and Privacy Authors: McDonald, Keith A Abstract: As an elusive private figure who, by his own admission, was ‘inclined to keep [my] thoughts private’ and favoured ‘modest retirement’, Marvell experienced both extremes of private and public life in times when these structural concepts were developing into what have come to be known as the private and public spheres. Moreover, Marvell interacts with the concept of privacy in several ways: through a recurrent language of privacy throughout his work; the prosody and poetics of enclosure in his poetic composition; his choice to publish very little in a flourishing and popular print culture; and, crucially, his ability to conceal. Marvell’s mastery of ambiguity and ambivalence, the difficulty in ascertaining the chronology of many of his poems (which has tempted critics into categorizing his works too schematically), the limited biography, drawing us to the poems for evidence, and his ability to give little away: these factors combined make the paradigm of ‘privacy’ highly complex in his case. Marvell’s career overlaps the development of the private and presents the rising consciousness of the self from a literary perspective. This dissertation suggests that Marvell grew to favour privacy through his varied experiences and by becoming disconcerted with the agents of publishing and publicity. It also perhaps became an interest through which to frame his poetics as well as providing a life-model. I argue that current Marvellian critical orthodoxy, weighted heavily towards his political works, belies the private lyric poet, and, as his later public life appears to pose fewer questions regarding privacy, secrecy and anonymity, these issues which shroud the entirety of Marvell’s life and works are left behind. Following an overview of the development of the private in the seventeenth-century, I suggest three fronts by which Marvell interacts with privacy in different ways at different stages of his career: the dilemma of publishing in his early career; commentary on Cromwell’s switch from private to public life and Fairfax’s retirement; and later poetics of enclosure, assuming that some of his lyric verse was composed while engaged in public affairs at Westminster. Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/1842/2616 2007-01-01T00:00:00Z http://hdl.handle.net/1842/2599 Title: Imagination and Growth: Coleridge and Wordsworth in Germany (1798-99) Authors: Hunnekuhl, Philipp Abstract: On 16 September 1798 the packet boat with Dorothy and William Wordsworth, Samuel Taylor Coleridge, and his Nether Stowey friend John Chester on board sailed from Yarmouth to arrive in Hamburg three days later (Frank 220). Behind Coleridge and Wordsworth lay the year of shared creativity that Wordsworth refers to in the lines quoted above (Owen 270), and that culminated in the first edition of the Lyrical Ballads, published in Britain on 4 October 1798 (Gill Oxford DNB), a mere two weeks after its authors had disembarked in the German Hanseatic city. Before Coleridge and Wordsworth lay a long, fiercely cold winter of separation; the Wordsworths spent it in Goslar, a decaying medieval town in Lower Saxony, whereas Coleridge and Chester first stayed in Ratzeburg and then, in February 1799, moved on to the then thriving university town of Göttingen. While Coleridge was learning German and coming into close contact with German academia, the Wordsworths lived a secluded life in Goslar. Here, Wordsworth sought to compose The Recluse, his intended poetical masterpiece which envisaged Coleridge as a contributor of thought (Wu 189; 448), and which may have taken their shared creativity to a new level. Nevertheless, Wordsworth found himself unable to prolong this joint creativity through writing The Recluse in the absence of Coleridge, in whose company he had spent “virtually every day” of the preceding year (Wu 189). Instead, Wordsworth began his lasting poetical venture The Prelude – and, in that same narrow space and timeframe – composed the majority of the “Lucy Poems” (300; 326; 356). These poems will be referred to in inverted commas, since Wordsworth never grouped them as such; Victorian scholars initiated the grouping that has led to the modern canon (Jones 7). This paper focuses on how the months in Germany – from September 1798 to late April 1799 in Wordsworth’s case, and to July of the same year in Coleridge’s – influenced the poets’ joint as well as individual creativity. The paper’s central claim is that Wordsworth invented the character of Lucy in order to voice his anxiety about the endangered mutual creativity in Coleridge’s absence, and that the “Lucy Poems,” just as The Prelude, address Coleridge. The “Lucy Poems” complement and extend The Prelude; they leave Wordsworth with the composition of The Prelude as his poetic collaboration with Coleridge comes to an abrupt halt, while the “Lucy Poems” also pick up the reader where The Prelude leaves them, namely at the point in Wordsworth’s poeticised autobiography where he is about to meet Coleridge, and where their collaboration is about to begin. In all her luminous imagery, Lucy is the poetic personification, the enlightening “Phantom” of Coleridge’s and Wordsworth’s shared creative imagination behind the Lyrical Ballads that the poets envisaged to grow into The Recluse; she is the “happiness” of “that summer” of 1798 in The Prelude’s “Book Fourteenth.” Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/1842/2599 2007-01-01T00:00:00Z http://hdl.handle.net/1842/2118 Title: Planning the Linguistic Landscape: A Comparative Survey of the Use of Minority Languages in the Road Signage of Norway, Scotland and Italy Authors: Puzey, Guy Abstract: This dissertation explores the controversial nature of current policies on the use of minority language place-names on official signage in Norway, Scotland and in Italy. Following a survey of recent developments in the study of multilingual environmental text and an analysis of the functions of place-names, these controversies are investigated in detail, with reference to legislation and reactions from the public and the media. The formats of the signs themselves are also the subject of close examination. Selected municipalities in northern Norway have, in recent years, erected signs in Sámi and Kven, but some of these signs have been a target for vandals. In Italy, the Lega Nord (Northern League), a right-wing separatist party, has long campaigned for dialect place-names to appear on signs. New regulations now allow this, but it remains a contentious topic. Meanwhile, in Scotland, the recent introduction of bilingual Gaelic and English signs in areas that previously only had English signs is considered by some to be costly tokenism. The principal function of road signs is to direct travellers, however they can also act as markers of boundaries, including linguistic boundaries. In addition, signs provide visual evidence of place-names in the landscape. The study of place-names on signs is still developing, but such investigations can shed new light on the symbolic importance of place-names for identity. Thu, 26 Jun 2008 00:00:00 GMT http://hdl.handle.net/1842/2118 2008-06-26T00:00:00Z