DOCSLIB.ORG

The Poetics of the Elegiac Dream Vision in Middle English Literature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Poetics of the Elegiac Dream Vision in Middle English Literature The Poetics of the Elegiac Dream Vision in Middle English Literature By Benjamin S. W. Barootes Department of English McGill University, Montreal August 2014 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy © Benjamin S. W. Barootes, 2014 TABLE OF CONTENTS Abstract / Résumé …………………………………………………………………… i Acknowledgements …………………………………………………………………… iii INTRODUCTION Dream Vision, Elegy, and Late-Medieval English Poetry ……. 1 The Genre: The History and Legacy of the Dream Vision … 7 The Mode: Elegiac Poetry and the Dream Vision ……. 26 CHAPTER ONE The Doel-doungoun: Pearl, Elegy, and the Constraints of Poetic Consolation …………………………………………… 32 Pearl as Elegy …………………………………………… 35 Language and the Failures of Elegy ……………………. 43 Apostrophe and the Struggle of Elegy ……………………. 51 The Trajectory of Apostrophe in Pearl ……………………. 61 The Faunt and the Infantilisation of the Dreamer …….. 78 Correcting the Dreamer …………………………….. 88 The Two Languages ……………………………………. 94 The Eucharist and the End of the Poem …………….. 105 CHAPTER TWO “Now hit ys doon”: Lyric and Narrative in Chaucer’s Book of the Duchess ……………………………………. 119 The Book of the Duchess and the Poetic Career …………….. 128 The Dream Vision: Lyric and Narrative …………….. 132 An Early Experiment: The Complaint unto Pity …………….. 137 Chaucer’s Troubled Narrator and Froissart’s Paradis d’amour 143 The Man in Black and the Trap of Lyric ……………... 153 The Knight, the Narrator, and the Move toward Narrative ... 167 CHAPTER THREE Death Framed by Love: Charles of Orleans’ Fortunes Stabilnes 179 Charles of Orleans: Prince and Poet ……………………. 182 The Poem: Its Content, Structure, and Use of the Dream Vision Genre …………………………………… 186 Charles’ Dream of Age …………………………………… 197 The Dream of Venus, including the Vision of Fortune …… 202 The First Ballade Sequence and Poems of Absence ……. 211 The Grieving Lover: Songs of Mourning in the First Ballade Sequence …………………………… 216 The Immediate Aftermath: Ballades 58, 59, and 60 …… 220 Ballades 65, 66, and 67: A Brief Dream Vision and its Counterparts …………………………… 225 Charles and Venus: Sharing the Language of Grief …… 233 CODA …………………………………………………………………... 238 BIBLIOGRAPHY …………………………………………………………………... 242 i Abstract This dissertation examines how Middle English poets deployed the dream vision genre and the elegiac mode to explore the limitations of language and interrogate the art of poetry. Writing in the early decades of the vernacular literary tradition, these Ricardian and Lancastrian poets combine the ancient themes of mourning and the quest for consolation with the tropes of dream poetry developed throughout the late-antique and medieval periods. The elegist desires that language perform beyond its natural limits to transcend death and restore the lost beloved to the mourner. The flexibility of the dream allows the poet to probe the boundaries of language, and, in the best cases, to push his poetry beyond its usual constraints. In the first chapter, I demonstrate how the Pearl-poet uses the elegiac dream vision to investigate the constraints of poetic consolation and to imagine an elevated, celestial form of language that suffers from none of the failings of the mourner’s mundane tongue. My analysis of Chaucer’s Book of the Duchess shows the ways that the poem juxtaposes lyric and narrative forms of mourning and how the dreamer-narrator helps the sorrowful black knight move from the closed circle of repetitive grief to the vital progress of narrative. This shift, I argue, parallels the poet’s own literary movement from courtly lyrics to sustained narrative poetry. My third chapter, which focusses on Fortunes Stabilnes by Charles of Orleans, reveals how the poet renovates the love vision traditions to chart his dreamer-narrator’s journey through love, loss and sorrow, and the renewal of love following a successful process of mourning. The dissertation argues that the pairing of the elegiac mode and the dream vision genre was an important part of late-medieval poets’ efforts to establish and expand an English vernacular literature. ii Résumé Cette thèse examine la manière dont les poètes de l’anglais moyen utilisaient le genre onirique et le mode élégiaque pour analyser les limitations de la langue et s’interroge sur l’art poétique. Les poètes ricardiens et lancastriens, qui écrivaient durant les premières années de la tradition littéraire anglaise, combinaient les thèmes anciens du deuil et de la recherche de la consolation avec les tropes de la poésie onirique développés pendant la fin de l’antiquité et de la période médiévale. Les élégistes voulaient que la langue agisse à un niveau supérieur aux limites naturelles pour transcender la mort et ramener l’amant perdu au pleureur. La flexibilité des songes permet au poète de sonder les limites de la langue, et, dans des cas exceptionnels, d’amener sa poésie au-delà de ses contraintes habituelles. Dans le premier chapitre de ma thèse, j’expose comment le poète de Pearl utilise le songe élégiaque pour explorer les limites de la consolation poétique et pour imaginer une langue supérieure et céleste exempte des fautes de la langue terrestre, telle qu’utilisée par le pleureur. Dans le deuxième chapitre, j’analyse l’ouvrage Book of the Duchess de Chaucer, dans lequel je présente les façons avec lesquelles le poème juxtapose deuils lyriques et narratifs, et comment le rêveur-narrateur permet au chevalier triste de sortir de son chagrin pour solliciter la vitalité du récit. Je suppose que ce changement est parallèle au mouvement littéraire du poète lors de sa transition des poèmes lyriques aux récits poétiques. Mon troisième chapitre, qui concerne le poème Fortunes Stabilnes par Charles d’Orléans, présente comment le poète reconstitue la tradition des visions amoureuses pour examiner le progrès du rêveur-narrateur lors des expériences de l’amour, de la mort et du retour de l’amour après le processus du deuil. Ma thèse propose que l’appariement du mode élégiaque et du genre onirique fut une part importante des efforts des poètes pour l’instauration et l’élargissement de la littérature du moyen anglais. iii Acknowledgements First and foremost, my sincere thanks go to Michael Van Dussen, who has supported this project since it was little more than the dream of a reluctant Romanticist. His guidance through the proposal and dissertation processes has been invaluable, and his generosity of time and intellect put me for ever in his debt. Thanks are also due to Jamie Fumo, whose graduate seminar introduced me to dream vision poetry. She has been a continual source of encouragement and advice. Conversations with Dorothy Bray helped to deepen my interest in medieval literature and taught me important lessons in collegiality. Friends in the English Department also deserve enormous thanks for their kindness, concern, and support these past six years. Joel Deshaye’s passion for the study and the teaching of literature continues to exemplify the pursuit of the intellectual life. Sir Ian Whittington has been a dear friend in scholarship, cups, and adventure. Ariel Buckley, who has suffered my humour and company more than most, has borne her burden with style and grace. Robin Feenstra kept me going with pep talks, late-night sessions, and the occasional piece of trumped-up flattery. Conversations with Naben Ruthnum tempered the said flattery, and his dedication to the craft of writing served as an important example throughout the course of the project. Amanda Clarke, Paula Derdiger, Justin Pfefferle, Matthew Milner, and Matthew Sametz have each helped me endure doctoral study and its corollary perils. My family, too, has provided strength and support these past six years. Thanks to my father Bryan Barootes, my mother Susan Weir, and to my step-mother Patty. To my grand-uncle Steve I extend my gratitude for sharing foolish morsels from his vast mental storehouse of poetry, song, and family fables; our discussions did much to keep me on the high road to reading. Financial support for this project came from several sources. Scholarships and bursaries from the Department of English, the Faculty of Arts, and a doctoral fellowship from the Social iv Sciences and Humanities Research Council have sustained me during my studies and allowed me to travel to three International Congresses on Medieval Studies at Kalamazoo where my commitment to the field continued to develop. The Faculty of Arts Graduate Student Travel Award and a Department of English travel grant allowed me to present parts of my research at the New Chaucer Society conference in July 2012. A final word of thanks goes to Mr James Burton Armstrong, a man of great learning and inquisitiveness, who imparted to me a love of literature and has been a source of encouragement since the first day of Grade 10 English in the autumn of 1998. It is to him that I dedicate this study. By the use of the language of sorrow I had for the time being obliterated my sorrow—so powerful is the charm of words, which for us reduces to manageable entities all the passions that would otherwise madden and destroy us. Gene Wolfe, The Book of the New Sun For Poesy alone can tell her dreams, With the fine spell of words alone can save Imagination from the sable chain And dumb enchantment. Who alive can say, “Thou art no Poet—may’st not tell thy dreams?” Since every man whose soul is not a clod Hath vision, and would speak, if he had loved, And been well nurtured in his mother tongue. John Keats, The Fall of Hyperion: A Dream 1 Introduction Dream Vision, Elegy, and Late-Medieval English Poetry Writing in the last quarter of the twelfth century, Matthew of Vendôme opens the second part of his Ars versificatoria, a manual for the composition of poetry, with a dream vision sequence.1 The narrator of the vision, who is not distinguished from Matthew the schoolmaster, relays a fictional dream in which he visits a verdant bower where “[f]lowers of every sort abound” (II.2).
Load more

Recommended publications
  • Under the Reign of Doubt.Htm
    Under the Reign of Doubt: Chaucer’s House of Fame and Narrative Authority Christopher B. Smith Department of English Villanova University Edited by Edward Pettit Geoffrey Chaucer’s House of Fame is an unusual poem by anyone’s set of standards. Its feast of colorful action and antic pace seem at times to overwhelm the reader, as it does the somewhat hapless narrator; for a rather brief work, it contains a great deal to puzzle over. That the text is made all the more baffling by an abrupt conclusion has led to much speculation from scholars regarding its finished or unfinished nature, especially pertaining to the identity of the man of great authority seen “atte laste” (The Riverside Chaucer 373, l. 2155), who, ironically, will remain indefinitely unseen. Attempting to whittle down critical concerns with the poem to this one question, however, would be overly reductive, just as showing aesthetic appreciation merely for the fanciful humor and bewildered awe that portions of Chaucer’s text exhibit — treating it as a sort of fantasy story with a mild moralistic bent on the capriciousness of fame — misses its deeper concerns. Stephen Knight sees the poem in contrast to the relatively simplistic Book of the Duchess, a work with an “unproblematic ideology,” as one with “epistemological, even ontological concerns”; rather poetically, he says it is “a winter dream” (Knight 28). If the knight of Book of the Duchess exhibited honor as an absolute (and likewise for the characters and relationships exhibited in Chaucer’s narrative forebears), the concept itself, as well as “the mechanics of fame,” are now illuminated as far more complex than in previous imaginings: just as the “physical nature of [an] inquiry” is dealt with in the vocabulary of medieval science, the work as a whole involves a highly developed philosophy (28-29).
    [Show full text]
  • The Dream Vision: the Other As the Self
    Linguistics and Literature Studies 6(2): 47-51, 2018 http://www.hrpub.org DOI: 10.13189/lls.2018.060201 The Dream Vision: The Other as the Self Natanela Elias Independent Scholar, Israel Copyright©2018 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The Middle Ages were hardly known for their response. Dream visions form a literary combination of openness or willingness to accept the other, however, sleeping dreams and waking visions. In other words, the research indicates that things were not quite as they seemed. structure of the dream vision enables the necessary state of In this particular presentation, I would like to introduce the repose which ironically may lead to a re-awakening in the possibility of resolving conflict (social, political, religious) search for Truth. Barbara Newman [1] claims that dreams of via literature, and more specifically, through the use of the this kind, "like waking visions, focus less on predicting the popular medieval genre of the dream vision. future than on achieving self-knowledge, entering vividly into past events, or manifesting eternal truths”. Keywords Middle Ages, Self, Other, English literature, According to William Hodapp [2], and as we will try to John Gower delineate in this work, the structure of such visionary texts can be outlined "in four movements: first, the narrator describes an experience that suggested his initial psychological state; second, the narrator recounts a new 1. Introduction experience detailing a changed state of consciousness during which he encountered other characters; third, the narrator In our day and age, as we attempt to aspire to tolerance and describes an exchange, in this case as a dialogue between the acceptance, we must still acknowledge the existence of narrator and these other characters, through which he gained animosity, intolerance and discrimination.
    [Show full text]
  • The Process of Salvation in <I>Pearl
    Volume 37 Number 1 Article 2 10-15-2018 The Process of Salvation in Pearl and The Great Divorce Amber Dunai Texas A&M University - Central Texas Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the English Language and Literature Commons Recommended Citation Dunai, Amber (2018) "The Process of Salvation in Pearl and The Great Divorce," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 37 : No. 1 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol37/iss1/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Analyzes the structural, aesthetic, and thematic parallels between C.S. Lewis’s The Great Divorce and the Middle English dream vision Pearl. By exploring the tension between worldly and heavenly conceptions of justice, value, and possession in The Great Divorce and Pearl, this study demonstrates Lewis’s skill at utilizing and updating medieval source material in order to respond to twentieth-century problems.
    [Show full text]
  • 'To Tellen Al My Dreme Aryght': Text World Theory and Reading The
    ‘To tellen al my dreme aryght’: Text World Theory and Reading the Medieval Dream Vision in Geoffrey Chaucer’s The House of Fame Jonathan Lobley The use of the dream vision in Chaucer’s The House of Fame (c.1387) (HoF) serves not only to transport the reader through the subconscious experience of the dreamer, but must also serve as a medium through which to expose the fragile platform of history and philosophy, a platform, as Stephen Russell suggests, that is built on the ‘tyranny of the written word’ (Russell 1988: 175). In an attempt to emulate the dream experience, Chaucer’s oneiric images and structure at times verge on the surreal. However, as T. S. Miller posits, despite the ‘disorientating shifts of scene and surprising imagery’, the HoF ‘remains structured by a sequence of distinct interior and exterior spaces through which its narrator-dreamer passes’ (Miller 2014: 480). Whilst this accounts for the spatio-temporal tracking of the narrator-dreamer within the text itself, literary criticism does not sufficiently explain the reader’s cognitive process as they attempt to map and construct their own cognitive model of the world in which the dreamer moves. Thus, this essay will use Marcello Giovanelli’s (2013) adaptation of Joanna Gavins’ (2005, 2007) and Paul Werth’s (1995, 1999) original Text World Theory (TWT) models to assess how a reader is manoeuvred through the abstract notion of a literary sleep-dream world. In doing so, I hope to uncover some limitations in the above Text World Theory models when applying them to Chaucer’s medieval dream vision.
    [Show full text]
  • The Chaucerian Dream Vision and the Neoconservative Nightmare
    Page 2 Strange Bedfellows: The Chaucerian Dream Vision and the Neoconservative Nightmare Drew Beard A dazed­looking young woman in a flowing white gown wanders down a suburban street, encountering a little girl in a frilly white dress; like the young woman, she is blond and we see that she has used chalk to sketch on the sidewalk the abandoned house standing before them. When asked if she lives there, the little girl giggles and says that ‘no one lives here.’ The young woman asks about ‘Freddy’ and is told: ‘He’s not home.’ In an instant, the sky darkens and it begins to rain heavily, washing away the chalk drawing of the little girl, who has disappeared. Reluctantly drawn into the house, the young woman finds herself trapped inside, surrounded by the anguished cries of children, as a tricycle comes crashing down the staircase. Attempting to escape, the young woman opens the front door and finds herself not outside but once again in the front hallway of this house of horrors, a nightmarish re­imagining of a family home. As the door slams shut behind her, it becomes clear that there is no escape.(1) She is trapped inside the horrific dream vision that forms the narrative basis of the A Nightmare on Elm Street franchise, the postmodern counterpart of the dream visions dating from the 14th century. Characterized by what Deanne Williams refers to as a ‘dynamic relation between text and commentary,’(2) the medieval ‘dream vision’ is defined by its allegorical orientation, an emphasis on the surreal or absurd, and a subjective and flexible reality.
    [Show full text]
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • A Study of the Rap Music Industry in Bogota, Colombia by Laura
    The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals.
    [Show full text]
  • The English Dream Vision
    The English Dream Vision ANATOMY OF A FORM J. Stephen Russell The English Dream Vision ANATOMY OF A FORM By J. Stephen Russell The first-person dream-frame nar­ rative served as the most popular English poetic form in the later Mid­ dle Ages. In The English Dream Vision, Stephen Russell contends that the poetic dreams of Chaucer, Lang- land, the Pearl poet, and others employ not simply a common exter­ nal form but one that contains an internal, intrinsic dynamic or strategy as well. He finds the roots of this dis­ quieting poetic form in the skep­ ticism and nominalism of Augustine, Macrobius, Guillaume de Lorris, Ockham, and Guillaume de Conches, demonstrating the interdependence of art, philosophy, and science in the Middle Ages. Russell examines the dream vision's literary contexts (dreams and visions in other narratives) and its ties to medieval science in a review of medi­ eval teachings and beliefs about dreaming that provides a valuable survey of background and source material. He shows that Chaucer and the other dream-poets, by using the form to call all experience into ques­ tion rather than simply as an authen­ ticating device suggesting divine revelation, were able to exploit con­ temporary uncertainties about dreams to create tense works of art. continued on back flap "English, 'Dream Vision Unglisfi (Dream Vision ANATOMY OF A FORM J. Stephen Russell Ohio State University Press • Columbus Copyright © 1988 by the Ohio State University Press. All rights reserved. Quotations from the works of Chaucer are taken from The Complete Works of Geoffrey Chaucer, ed.
    [Show full text]
  • Les « Chançons » De Charles D'orléans
    Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 34 | 2017 Du meurtre en politique Les « chançons » de Charles d’Orléans Une énigme en mouvement Mathias Sieffert Édition électronique URL : http://journals.openedition.org/crm/14544 DOI : 10.4000/crm.14544 ISSN : 2273-0893 Éditeur Classiques Garnier Édition imprimée Date de publication : 31 décembre 2017 Pagination : 201-220 ISSN : 2115-6360 Référence électronique Mathias Sieffert, « Les « chançons » de Charles d’Orléans », Cahiers de recherches médiévales et humanistes [En ligne], 34 | 2017, mis en ligne le 31 décembre 2020, consulté le 25 janvier 2021. URL : http://journals.openedition.org/crm/14544 ; DOI : https://doi.org/10.4000/crm.14544 © Cahiers de recherches médiévales et humanistes LES « CHANÇONS » DE CHARLES D’ORLÉANS Une énigme en mouvement Il est des termes dont ­­l’usage fréquent obscurcit peu à peu le sens. Ainsi en va-t-il du mot chanson, que son omniprésence dans les diction- naires de musique médiévale, les ouvrages philologiques et les éditions critiques, rend problématique : il est parfois difficile de distinguer ­­l’acception médiévale et ­­l’acception moderne. ­­L’introduction du bel inventaire des rondeaux et refrains de Nico van den Boogaard donne une idée frappante de cette ambivalence. Le critique nomme chanson « toutes les ­­compositions monodiques destinées à être chantées, et divi- sées en strophes », ­­c’est-à-dire les « chansons dites à forme fixecomme ­­ la ballade (…) », mais aussi les « chansons définies le plus souvent par leur sujet, telles que les pastourelles, les chansons d’amour,­­ les chansons religieuses (…)1 ». Le mot chanson sert à désigner, on le voit, toutes sortes de poèmes chantés ou chantables, sans prendre en ­­compte le fait que certains ­­d’entre eux sont bel bien présentés ­­comme « chansons » dans les manuscrits, quand d’autres­­ sont plus volontiers présentés par une annonce formelle ou thématique (ballade, pastourelle…)2.
    [Show full text]
  • How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • MILLIYON Lights Are Spotlighted
    MILLIYON Lights are spotlighted. Cheers are echoed. Crowds are screaming after many rocked stages. Lives are impacted and forever changed through an experience rendered as “Milliyonic,” a new movement led by God and spearheaded by a young man who aims to challenge the hearts of people to live passionately for Christ. Just who are we talking about here? His name is Milliyon. And while his name is vastly known from the “Cajo Famly” and “Kingdom Business” tours with gospel artist Canton Jones, and for being featured on a song entitled “Bended Knee” on Deitrick Haddon’s “Church On The Moon” which debuted at #1 on the Gospel Billboard charts,” he also wrote the hit song “Holy Ghost Holiday” on James Fortune’s record “Encore” which debuted at #2 on the Gospel Billboard chart. He’s twice been nominated as hip hop artist of they year by G.C.M.A and shared the stage with mainstream artists such as: Rick Ross, T-Pain, Kirk Franklin, Mary Mary and Jazzy Phae, and his mission still, is to shake the world into an undeniable knowledge of who God is. His music is an extensive tool to help spread the word across the world. His approach is unheard of, his lyrics are irrefutably dope and his lifestyle is identically mirrored to the word of God. Now, with Milliyonic Pure Culture his own label imprint, a new stage is being set for his debut album, Live Milliyonic, produced by Milliyon, Randy “Big Ran” Hairston (Oukast, Mase, Cam’ron, V.I.C, Canton Jones) and Brandon “Black Knight” Peavy (BK, Flame, Melinda Watts).
    [Show full text]
  • Vol. 27 Write Stuff
    Examination Book Name___________________________________The Write Stuff Subject__________________________________Showcase of Student Writing Date__________________Book2017 No.___________27 THE WRITE STUFF Volume 27, 2017 Language and Literature Department Cape Cod Community College West Barnstable, MA 02668 1 Editor: Michael Olendzenski Editorial Board George Albert Patricia Allen Rachael Bancroft Kerry Drohan Rebecca Griffin Richard Norwood Production Staff Cindy Pavlos 2 Table of Contents You Never Forget the First Time Rachid Arnick....................................................................page 4 My Identity Chanda Uy.........................................................................page 7 Embrace Tony Mase ......................................................................page 10 When I Write My Next Essay Lina Takahashi...............................................................page 13 Plastic Bag Ban in Plymouth, Massachusetts Marielle DeSisto ............................................................page 16 Sleep and Dreams : A C o g n i ti v e S t a te Benjamin Thompson..................................................page 20 On the Granter of Victory: Constantine Benjamin Thompson................................................... page 25 Let the Music Take Control Arrianna Angelique Prentiss ..............................................page 31 American Policy Failure Regarding Jewish Refugees During WWII Mandred Henry............................................................page 35 "Drown" by Junot
    [Show full text]