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The thesis is a study of the development of a poetic technique and its increasing importance in the evolution of Apollinaire's poetic styles. In describing the technique as "violence" the thesis offers a definition not only of the technique itself but also of the intentions of the poet both in the composition of the poems and in their final effects. By analysing and attempting a critical explication of Apollinaire's poetry in chronological order, the thesis thus shows not only the development of the technique but also that this technique constitutes the underlying unity of Apollinaire's poetry which has traditionally been analysed in terms of conflicting influences and intentions. While accepting the importance of the influence of symbolism on the early poetry and even the permanence of certain aspects of this influence, the thesis shows the degree of originality present throughout the evolution of both the early poems and the later poems. Since supposed influences of the plastic arts, and in particular the development of Cubism, have often been assumed or even shown - although never satisfactorily - to be at the origin of Apollinaire's movement away from symbolism and more traditional forms of poetic expression towards experimental and concrete forms of poetry, the thesis gives due weighting to the presence of the techniques of violence in the early poetry and consequently proves Apollinaire's poetic development to be consistent with himself. Due emphasis given to the continuity of Apollinaire's techniques as well as to the consistency of such expressions of intent as the poet made, the thesis concludes that the originality of Apollinaire's poetry lies mainly in his exploitation of the techniques of violence.

This thesis describes the "shifting center-of-consciousness" literary technique and then presents a fictional work written by the author using that technique.

How does one teach the language and literature of the film? Where does one begin? What should be included in such a study? The answers to these questions do not exist and will not until much earnest effort and time have been spent toward their discovery. Certainly this thesis does not contain the final answers. It does contain some tentative answers, however, answers that can be put into practice in the classroom, examined, modified, rejected, or accepted. The ideas and suggestions are only invitations to explore; from such exploration will come the real advancements in this important field.

The purpose of this study was to investigate the relationship between mood and scores on the "Experimental Draw-A-Group Projective Technique for Measuring Interpersonal Responsiveness," a projective test devised by Cookerly in 1965.

The major theoretical position of this study was that the cognitive functioning of the creative individual, as compared with the non-creative normal, is characterized by the greater availability of mature operations as these operations are defined by the Rorschach. It was assumed that the "creative individual" is free to use his imaginal processes to enrich his perception of the world. This study recognized that the perception of good Gestalten of the world is a function of the perceiver, his needs, defense mechanisms, integration, and the characteristics of the stimulus-field. When the stimulus is ambiguous, as it is in the Rorschach, the perceiver has to draw on his own resources more heavily than if the stimulus was structured.