If Robert Frost's poetry is to be fully prized, it must be recognized as possessing more than a single level of interpretation. Frost has long been thought to be a nature poet. Recent criticism, however, especially in the wake of Lawrance Thompson's biography, has begun to focus upon another Frost, a poet who wrote about the unhappinesses and barriers of human life as well as about the. sylvan beauty of his native New England.First and foremost, Frost was a poet of the human condition. His intent was to focus his gaze upon life. Life is shown in Frost's poems to contain many aspects of darkness which often seem concatenated in a series of depressions of the human spirit. Life, too, is occasionally terrifying, filling men with fear and uncertainty. One thing after another seems to attack the very vitals of man's contentment, and at times the unceasing nature of the attack would suggest man's ultimate defeat. This dissertation deals with several of these dark elements in Frost's poetry against which all of mankind must wage a continuing battle.Chapter one presents a view of the poet himself. If the-reader takes a brief but incisive look into the actual life of Frost, viewing the hardships, disappointments, fears, and failings of the man Frost, then the poet Frost will better be understood as a person capable of versifying about darker elements of the human condition. As a child, Frost was taught that a person must direct his powers against socalled insuperable odds if he is to succeed in a particular goal. This first chapter exhibits the forces against which Frost battled.The second chapter begins a discussion of dark elements of the human condition. Frost views man as being all alone in a seemingly unfeeling and unresponsive universe. Death presents itself as an answer, but man continues his search for the answer. Truth is the goal, but it is elusive, and comes only as a brief flicker. The search for what is true is often begun out of a sense of loneliness and frustration. Frost frequently indicated a human need for retreat from life's oppressiveness, but never did he indicate escape. He thought of escape as an act of finality, an act which can never be undone. Frost's symbol of escape, the "dark woods," must never be entered. Man must cope with his existence. He must not submit to the call of the unknown forest. When coping with life's hardships proves ineffectual, man must learn the value of "acceptance."The darkness of human loneliness is frequently the harbinger of man's most intense griefs. When man finds himself companionless, or when true communication has been interrupted between himself and his fellow men--at such times introspection becomes most intense. Too much introspection leads to a sense of alienation from the world and a desire to escape the world's influence.Even nature itself terrifies. Frost portrays nature as sometimes brutal and unfeeling, bestial. Man must control his fears of the natural world by exercising courage. Though natural forces are hostile, they do not act out of a design of evil. Nature is equally capable of benefitting man, breaking his darkness with images of light and hope such as stars, moon, and sun. These images point to the reality of Truth, to the existence of a reason for living, for struggling against life's oppressiveness. Thus, Frost did not allow the dark to go unbroken in his poems. He wished truth to be seen and recognized as the only force capable of dispelling the shadow of human ignorance and human despair, enabling man to survive in a milieu of darkness.It is hoped that this dissertation will familiarize the reader with an important but all-too-often neglected side of Robert Frost's poetry that needs to be understood if Frost is to be fully appreciated. If such is the case, the poet's image will not be tarnished as a result; rather it will know a brighter luster than when viewed from but a single angle, in a lesser dimension.

Thesis (M.A.)--香港中文大學. / Manuscript. / Includes bibliographical references (leaves 177-184). / Thesis (M.A.)--Xianggang Zhong wen da xue. / 前言 / Chapter 第一章 --- 符號哲學之輪廓　　　 --- p.0 / Chapter 第一節 --- 從理性批判到文化批判的發展 --- p.3 / Chapter 第二節 --- 符號之普遍功能與意識之普遍決定相 --- p.13 / Chapter 第二章 --- 意識之發展與相反關係 --- p.25 / Chapter 第一節 --- 表意知覺與神話世界 --- p.30 / Chapter 第二節 --- 表象之問題與直覺的世界 --- p.40 / Chapter 第三節 --- 概念形構與關係世界 --- p.52 / Chapter 第四節 --- 相關性與相互關係 --- p.61 / Chapter 第三章 --- 因果原則在古典力學中之地位　 --- p.68 / Chapter 第一節 --- 自然科學之特色　 --- p.72 / Chapter 第二節 --- 科學中的三類命運　 --- p.78 / Chapter 第四章 --- 順康德所說之軌約原則以衡定卡西勒說因果原則之確義 --- p.95 / Chapter 第一節 --- 康德說因果原則之兩個意義　 --- p.96 / Chapter 第二節 --- 因果原則作為虛的暫約原則 --- p.113 / Chapter 第三節 --- 因果原則作為實的軌約原則　 --- p.117 / Chapter 第五章 --- 現代物理學與因果原則之妥效性　 --- p.128 / Chapter 第一節 --- 殘然率、統計的定律及因果原則 --- p.130 / Chapter 第二節 --- 量子力學的因果性格　 --- p.137 / Chapter 第三節 --- 科學中的對象的意義 --- p.146 / Chapter 第六章 --- 因果原則與一些相關的問題　 --- p.156 / Chapter 第一節 --- 因果原則與觀念：聯想作用 --- p.159 / Chapter 第二節 --- 因果原則與數學式的連結 --- p.164 / Chapter 第三節 --- 自然律之普遍性與因果之必然性　 --- p.166 / Chapter 第四節 --- 因果原則與科學之基本性格 --- p.170 / 書目 --- p.177

There is no abstract available for this thesis.

No description available.

As Gertrude Stein's creative interests had such an incredibly broad scope, an approach to her as an author requires a narrow focus. The intent of this thesis is to explore Gertrude Stein's grammatical theory. Stein believed that literature, if it were to be effective, had to reflect the contemporary scene; that is, the setting should be in the present while the subject matter should concern itself with the "universal." Moreover, the style of the writing, the way each line was composed, should somehow complement subject matter and setting. The way in which Stein proposed to match grammar and the contemporary scene in prose fiction is the subject of this thesis.The thesis is divided into three chapters, and the chapters are intended to move progressively -the second chapter builds and expands upon the first, and the third chapter builds and expands upon the first two. Thus, the first consideration is punctuation. Stein's theory on punctuation is of primary importance; a close examination of why Stein felt it was necessary to discard nearly all of the conventional punctuation marks serves to introduce the highly complex and abstract grammatical theory. After a distillation of the theory from her lectures and books has been achieved, the theory can be applied to the prose itself and whether or not the theory was successful in practice can be evaluated. The second chapter on words and the third on sentences and paragraphs follow the same pattern of organization as the first chapter. The conclusion attempts to quickly sum-up and to provide this writer's answer to the question which remains: did Gertrude Stein's grammatical theory prove successful when put into practice in the prose fiction?In each chapter, then, the primary emphasis is placed upon the extracting of the grammatical theory from the mass of Stein’s work dealing with the subject. As a result of this necessary to attempt to define in concrete terms what Stein meant by her abstract theories. And finally, the theory must be applied to the prose work whether the theory did or could work. The thesis concentrates on Stein's early work, Three Lives, and uses this work as the testing ground for the theory because the use of essentially one book serves to keep the analysis within workable boundaries and because Three Lives is, in my view, the most accessible and thematically sustained work of all her serious prose pieces. I have, nonetheless, considered several of the later Stein pieces in an attempt to provide a more extensive analysis of the grammatical theory.

Sir Norman Angell (whose full name was Ralph Norman Angell Lane) was a British journalist who exerted a great deal of political influence. Toward the end of his life, he granted the collection of his personal papers to the Ball State University Library. A number of these documents are In German, and this thesis is an English translation of them, to make their contents more readily available to those students and faculty members who work with them.Several of the articles included here were written by Norman Angell and published in German newspapers. while it is certain that Sir Norman knew German, this translator has been unable to determine whether he himself or some other translator sot his articles into German. This translator consulted dictionaries when necessary; she also referred to several books and to the Ball State Library micro-cards of the Reichstag minutes for aid in deciphering hand-written names and titles.

There is no abstract available for this dissertation.

Norman Angell, most often remembered as the author of The Great Illusion, (1910), was also a member of the British Parliament from 1929 to 1931 and deserves to be remembered for the overall political career that this brief stay in Commons represents. Although Angell was never a popular political figure--the vast working class public failed to identify with him--he was not without great influence during the period in which the Labour Party went from one of ridicule and political obscurity to one of power and respectability. This study analyzes Angell's career in light of his impact on Labour Party leaders, particularly Edmond Dene Morel and James Ramsey MacDonald.The Angell-MacDonald relationship was a complex and ironic one. Although of similar ideological persuasion, neither assumed a dominant role in their relationship. They were both proud, vain and stubborn men, a fact which precluded their assuming a leader-follower relationship. Angell's relationship with Morel was equally full of irony since Morel, the most vociferous member of Labour's intelligentsia in 1924, epitomized the radical element which Angell desired to eliminate in the Labour Party. The fact that Angell had the confidence of both men and wrote many of Morell's articles criticizing MacDonald's policies in 1924, even though he publicly supported "Ramsey," is a measure of his intangible role in the drama of the First Labour Government.Angell's involvement in the personal lives as well as the political careers of these two antagonists predated the First World War. This is significant for several reasons. For one, Angell was instrumental in bringing these strange bedfellows together in 1914 through their co-founding of the Union of Democratic Control. Secondly, it contradicts the current notion that Angell was never greatly interested in politics. Thirdly, it shows that Angell was never completely satisfied with the nonpolitical peace movement which his Great Illusion fostered.Historians have so completely equated "Norman Angellism" with Ralph Norman Angell Lane that this study takes on an added dimension. It offers a perspective from which to view Angell if any future biography is to do justice to the man. Contrary to current thinking Angell was a politician; he eagerly sought a political identity and wanted political power. This study also shows that Angell, although often a man of great vision, should not be remembered as a prophet of the contemporary experience, but rather, as a spokesman for the nineteenth century. Angell was and even saw himself more as a product of the nineteenth century British liberal tradition than as a twentieth century man. Although he held twentieth century economic views, he actually mirrored the social, political, and cultural philosophy of the nineteenth century English middle class. He never altered his greater conception of English society even in the face of new economic and political realities.The tragedy of Angell's being remembered as the author of The Great Illusion is therefore twofold. It not only hides the historical significance of his political career but reflects adversely on the real thrust of his life. Internationalism and pacifism, the two "isms" most often referred to in conjunction with his seminal work, mask his most basic instincts. Norman Angell might have been an internationalist and a pacifist, but, Ralph Lane was a Nationalist and a British patriot of the first rank.

There is no abstract available for this dissertation.

Habilitationsschrift--Berlin--Freie Universität. / Bibliogr. p. 334-335.