Revisiting the origin and development of pleonastic that in English

The origin of pleonastic that can be traced back to Old English where it could appear in syntactic constructions consisting of a preposition + demonstrative pronoun (i.e. for þy þat, for þæm þe) or a subordinator (i.e. oþ þat). Its diffusion with other subordinators is considered an early Middle English development as a result of the standardization of this item as the general subordinator in the period, which motivated its use as a pleonastic word in combination with all kinds of conjunctions (i.e. now that, gif that, when that, etc.) and prepositions (i.e. before that, save that, in that). Its use considerably increased in late Middle English, declining throughout the 17th century. The list of subordinating elements includes relativizers (i.e. this that), adverbial relatives (i.e. there that) and a number of subordinators (i.e. after, as, because, before, beside, for, if, since, sith, though, until, when, while, etc.). The present paper pursues the following objectives: a) to analyse the use and distribution of pleonastic that in a corpus of early English medical writing (in the period 1375-1700); b) to classify the construction in terms of the two different varieties of medical texts, i.e. treatises and recipes; and c) to assess the decline of the construction with the different conjunctive words. The data used as sources of evidence come from The Corpus of Early English Medical Writing, i.e. Middle English Medical Texts (MEMT for the period 1375-1500) and Early Modern English Medical Texts (EMEMT for the period 1500-1700).

Mapping the Liminal Experience of Eastern Europe in Selected American Works, 1965-2002

The purpose of this dissertation is to study literary representations of Eastern Europe in the works of celebrated and less-known American authors, who visited and narrated the region between the mid-1960s and early 2000s. The main critical body focuses on Eastern Europe before 1989 and encompasses three major voices of American literature: John Updike, Joyce Carol Oates, and Philip Roth. However, in the last chapter I also explore American literary perceptions of the area following the collapse of communism. Importantly, the term “Eastern Europe” as used in this dissertation is charged with significance. I approach it not only as a space on the map or the geopolitical construct which emerged in the aftermath of the Second World War, but rather as a conceptual category and a repository of meanings built out of fact and fantasy: specific historical, political and cultural realities interlaced with subjective worldviews, preconceptions, and mental images. The critical framework of this dissertation is twofold. I reach for the concept of liminality to elucidate the indeterminacy and malleability which lies at the heart of the object of study—the idea, image, and experience of Eastern Europe. Bearing in mind the nature of the works under analysis, all of which were inspired by actual visits behind the Iron Curtain, I propose to interpret these transatlantic literary journeys in terms of generative experience, where Eastern Europe is mapped as a liminal space of possibility; a contact zone between cultures and, potentially, the locus of self-discovery and individual transformation. If liminality is the metaphor or a lens that I employ in order to account for the nature of the analyzed works and the complex terrain they map, imagology, whose purpose is to study the processes of constructing selfhood and otherness in literature, provides me with the method and the critical vocabulary for analyzing selected literary representations. The dissertation is divided into six chapters, the last of which serves as coda to the previous discussion. The first two chapters constitute the critical foundation of this work. Then, in chapters 3, 4, and 5 I study American images of Eastern Europe in the works written by John Updike, Joyce Carol Oates, and Philip Roth, respectively. The last, sixth chapter of this dissertation is divided into two parts. In the first one, I discuss new critical perspectives and avenues of research in the study of Eastern Europe following the collapse of communism. Then, I carry out a joint analysis of four works written after 1989 by Eva Hoffman, Arthur Phillips, John Beckman, and Gary Shteyngart. The dissertation ends with conclusions in which I summarize my findings and reflections, and suggest implications for future research. As this dissertation seeks to demonstrate, Eastern Europe portrayed in the analyzed works oscillates between contradictory representations which are contingent upon a number of factors, most importantly who maps it and in what context. Even though each experience of Eastern Europe is distinct and fueled by the profiles, identities, and interests of the characters and their creators, I have found out that certain patterns of othering are present in all the works. Thus, my research seems to suggest that there is something of a recurrent literary image of Eastern Europe, which goes beyond the context of the Cold War. Accordingly, while this dissertation hopes to be a valid contribution to the study of literary and cultural mappings of Eastern Europe, it also generates new questions regarding the current, post-communist representation of the area and its relationship to the national tropes explored in my work.