Psychobiography is a qualitative approach to exploring and understanding the life story of an individual through the lens of psychological theory. The application of theory is typically conducted on the finished lives of well-known or enigmatic people. This study explores and describes the psychological development across the lifespan of Winston Leonard Spencer Churchill, by applying the Individual Psychology of Alfred Adler. Winston Churchill voted the greatest Briton of the twentieth century, was an author, painter, adventure, soldier, politician and Prime Minister that led the United Kingdom during World War Two. Extensive data has been examined in this work to ensure an accurate description of Winston Churchill‘s life. Alexander‘s model of identifying salient themes was used to analyse the data within a conceptual framework derived from the theory. Churchill‘s difficult childhood motivated him to succeed, his passion for the nation of Britain and his dislike of the Nazi regime meant that Churchill was always abreast with current affairs, anticipating every possible scenario of attack. When the time came to fight the Nazi‘s Churchill was ready to die for his country. The research findings highlight Churchill‘s ability to rise above his childhood stigmas and surpass all expectations and so cementing his name into the history of a country he loved and a democratic world he hoped for. Alfred Adler‘s Individual Psychology proposes that an individual‘s potential weaknesses can be used as a means to strive and achieve greatness within their sphere of influence.

The early works of Hugo von Hofmannsthal reveal a strong dichotomy. On the one hand he is drawn towards a mysticism in which he is strongly influenced by the German Romantics, particularly Novalis. The Romantics' tendency to negate the value of temporal existence is reinforced in Hofmannsthal's thought by the influence of the late nineteenth century aestheticism of his colleagues Arthur Schnitzler and Leopold Andrian, as well as of his contemporaries, Stefan George and Gabriel d'Annunzio. Hence there is in Hofmannsthal's early works a mystic sense of a non-temporal, non-spatial, all-embracing existence. Yet at the same time there is also an increasing awareness of the value of this earthly life, the need for a willing acceptance of it and actual participation in it. The ambivalence of Hofmannsthal's attitude reaches a climax in the year 1894-95. In that year Hofmannsthal is forced out of a hitherto much sheltered life in which he could devote himself almost entirely to his learning and his art into contact with the real world. In the spring of 1894 he takes his law examinations, and in preparing for them he is conscious of passing out of the years of schooling and preparation into the years of maturity and responsibility. During the previous autumn he wrote to his friend Edgar Karg about the earnestness of life: "Ich will diesen Ernst heuer sehr ernst nehmen und iiber meine Pflichten und Rechte ein biflchen nachdenken: damit meine ich nicht die dumme Staatsprdfung. Eher meine ich den Beruf im tieferen Sinn. Es giebt so viel, das vielleieht zu-sammenbrechen wird. Die Zeit hat etwas aufregend sehones."¹ In July his friend Josephine von Wertheimstein died and, probably for the first time, Hofmannsthal felt death as personal reality.² In the autumn of the same year Hofmannsthal enters the military service where he will have to learn to face a real possibility of his own death, and where, again for the first time in his life, he would have to work in the service of others, and live in a disciplined system with them. All these experiences combine to break down the isolated and artificial life which he had enjoyed till that time. In the summer of 1894, in the space of a few days following the death of Prau von Wertheimstein, Hofmannsthal writes the four Terzinen uber Verganglichkeit, primarily an expression of his Romantic mysticism, and at the same time he works on his Marchen der 672. Nacht (completed the following year) which is a violent exposure of the meaninglessness of a life removed from social morality. The purpose of this thesis is to attempt to show the nature of Hofmannsthal's dualism through an analysis of these two major works of the crucial 1894-95 year in which the opposite poles of his thought are most evident. Before looking at the works themselves it will be necessary to turn to Ad me ipsum, Hofmannsthal’s notes on his personal philosophy as a background for the understanding of his works, and to consider this philosophy as it derives from Romantic thought and as it is expressed in some of the other early works. ¹ Oct. 10, 1893, "Briefe an Edgar Karg aus den Jahren 1892-95," N. Rds., Vol. 73, (1962), p. 590. ² Just the Christmas before Hofmannsthal had described Prau von Wertheimstein as one of those "Die uns mehr als alle anderen sind", with whom he felt a~mystic communion of souls. Gedichte, p. 516. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This study examines the literary works of the Argentine writer, Leopoldo Lugones (I874-I938), from an integral perspective. Although Lugones attained almost immediate recognition as one of the most outstanding and representative Argentine writers and published numerous books, he is known today primarily and almost exclusively for his contribution to the "modernist" movement in Argentina and Hispanic America. His poetry has not been duly considered within the context of the totality of his writings. The significance of the integral relationship that exists between his thought and his artistic expression has been neglected by his critics or at best only superficially viewed by them. This dissertation seeks to throw new light on the literary works of Leopoldo Lugones by examining the convergence of his thought and his art on a central issue identified in this study as "the quest for national identity in the writings of Leopoldo Lugones." The far-reaching effects produced by the cosmopolitan immigration and the positivist philosophy of progress, also of foreign origin, represented a contradictory view to Lugones's concept of the Argentine realities. His reaction is clearly evidenced by the intense and continuous search for an authentic national image for his country. The problem of national identity thus became one of the foremost preoccupations of his thought and a predominant theme of his writings. In order to counteract the European cultural influence in Argentina and the materialistic philosophy of non-Argentine origin, Lugones attempts to revive the "gaucho" legacy and to promote a departure from the prevailing materialistic interests by adopting a more meaningful system of values based on what he terms the principle of "spiritualization". Furthermore, the concept of "spiritualization" functions as an underlying theme in Lugones 's writings, securing the unity of the totality of his works. This study attempts to determine to what extent Lugones unfolds a systematic program corresponding to his ideal view of national identity, and how the author directs his aesthetic work to achieve his central objective. The first chapter of this thesis establishes the historical background of Argentina from the period of national emancipation (1810) to the generation of Leopoldo Lugones. The second chapter outlines a biographical profile of Lugones in an attempt to trace the personal traits that caracterize his literary creations. Chapters three and four examine respectively Lugones's concept of "spiritualization" and the author's concern with the cultural dimension of his native country. The fifth chapter approaches Lugones's treatment of national identity from the archetypal perspective, examining the author's deductions from the Greek myth of Prometheus, the national forefathers and the exemplary traits of the "gaucho". The sixth chapter investigates how the poetic writings of Lugones reflect the author's primary objective of the search for national identity. The analysis is centred on three principal areas: (1) the continuity of thought between the author's prose writings and his poetry, (2) the social function of aesthetics and (3) the role of poetry in the formation of a national language . The conclusion sums up the findings of this study, confirming that Lugones's literary creations represent a reflection of the objective formulated at the outset of his literary career. It may be restated, therefore, that the literary productions of Lugones confirm the author's intense commitment to the creation of a genuine national identity for Argentina. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

李光雄. / 論文(博士) -- 香港中文大學硏究院歷史學部, 1996. / 參考文献 : leaves 156-180. / Li Guangxiong. / 序言 --- p.1 / Chapter 第一章 --- 傳統村儒之學養與社會職能 --- p.4 / Chapter (一） --- 村儒與紳士階層 --- p.5 / Chapter (二） --- 傳統村儒的學養和社會職能 --- p.9 / Chapter 第二章 --- 翁族之家世源流及其在海下的發展 --- p.15 / Chapter (一） --- 歸善的來客 --- p.15 / Chapter (二） --- 翁族在海下的發展 --- p.17 / Chapter (三） --- 翁族的長幼二房 --- p.21 / Chapter (四） --- 結語 --- p.22 / Chapter 第三章 --- 翁仕朝之生平及儒學品詣 --- p.35 / Chapter (一） --- 翁氏所處的時代背景 --- p.36 / Chapter (二） --- 翁氏儒學之承習 --- p.39 / Chapter 第四章 --- 翁仕朝對時代邅變之認識 --- p.60 / Chapter (一） --- 對鄉曲以外世界之理解 --- p.61 / Chapter (二） --- 對世變與時局的認識 --- p.63 / Chapter (三） --- 對傳統宗敎的信仰 --- p.67 / Chapter (四） --- 對基督敎的抗拒態度 --- p.72 / Chapter 第五章 --- 翁仕朝之社會職能（一） --- p.85 / Chapter (一） --- 敎育事務：從蒙館到新式學校的創設 --- p.85 / Chapter (二） --- 醫療事務：從懸壷ˇёإ梓到醫藥的分銷 --- p.95 / Chapter (三） --- 結語 --- p.103 / Chapter 第六章 --- 翁仕朝之社會職能（二） --- p.125 / Chapter (一） --- 堪輿事務：祖塋的遷葬 --- p.127 / Chapter (二） --- 個人及宗族資財的經理 --- p.132 / Chapter (三） --- 村族中一般事務的職能 --- p.136 / 結論 --- p.151 / 圖表 圖一：海下位置 --- p.24 / 圖二 ：翁族先祖遷移路線 --- p.25 / 圖三：海下翁族遷移路線 --- p.26 / 表一：海下翁族世系 --- p.27 / 表二 ：翁德金田產 --- p.28 / 表三：翁氏所藏經部書籍 --- p.50 / 表四：翁氏所藏啓蒙用書 --- p.105 / 表五：翁氏所藏新學制課本 --- p.106 / 表六：翁氏長壽堂在各商號寄售 藥散 / 藥膏（1 9 2 3 ´ؤ 1 9 3 9 ) --- p.111 / 表七：翁氏購入/承押禾田紀錄 --- p.141 / 附錄 翁仕朝的家藏圖書及文獻：一位 新界村儒史料的介紹 --- p.154 / 參考資料（一）翁仕朝藏書及文獻 --- p.156 / Chapter (二） --- 香港政府文獻 --- p.169 / Chapter (三） --- 中文書目 --- p.170 / Chapter (四） --- 英文書目 --- p.176

Arnold Schoenberg's Second String Quartet, Op.10, completed in 1908, is the last of his works in which a key signature is used, and is generally regarded as a transitional work leading towards his 'atonal' period. Each of the first three movements has a key signature, whereas the last movement has no key signature--a characteristic of his later atonal works. / This study traces how the harmonic language evolves over the four movements of the quartet. The present analysis of each movement shows the structural procedures, the nature of the polyphony and the compositional techniques employed, including those which result in the dissolution of tonality. These changes contribute to the significance of the quartet as a critical work within the transition from the tonal to atonal medium.

This study provides a contribution to an understanding and an interpretation of Frost's poetry. It emphasizes the relationship between his life with his wife and their children and the thematic content in the poetry.At his mother's knee, Frost learned to look for the two-sidedness of every aspect of life. This dualism of nature and of human nature is the key to understanding his poetry. Humans must be ready both to build and to refuse to build walls, both literally and symbolically.The paper singles out and discusses the central themes in Frost's poetry: communication, escape-return, sexism, fear, and love. Other important themes discussed include: farming, fulfilling household responsibilities, and facing tragedy, death, and old age.Structurally, Frost expressed these themes most often through the use of physical barriers, barriers which were nearly always symbolic of emotional conflicts. It is oftena lack of communication which results in a fear of separation or isolation, and fear is contrasted with security: love and togetherness. The woods and darkness are symbolic of a fear of the unknown, as are the repeated appearances of strangers, tramps, and intruders so frequent in the poems.There are descriptions of actual places and events in Frost's life which inspired many of the poems. The paper points out many of the actual landmarks, e.g., the stone wall which divided the fir trees from the apple orchard, the birch trees, the brooks, paths, woods, and even the red sleigh, each of which were to receive such a prominent place in world literature.The study presents an analysis of Frost's poetic style: his use of balance, contrast of light and dark imagery, and the clashing of antithetical elements which resounds throughout his poetry.It also deals with the less-publicized side of Frost's life, the "darker side," which includes his contemplation of suicide, his threats to members of his own family (sometimes with revolver in hand), and the numeroustragedies in his personal life, including the suicide of his son, Carol.The study includes a treatment of such delicate subjects as Frost's habit of sleeping in his mother's room throughout highschool (for fear of the dark) and his relationship with his secretary-companion, Kathleen Morrison, following his wife's death.The poems are divided into those reflecting Frost's childhood, adolescence, and adulthood. The latter category is the most significant and is comprised of poems reflecting Robert's courtship of his wife (poems of rejection and reconciliation), their marriage, and his life following her death.The overall significance of this study is in that it establishes the important influence Frost's marriage had upon his poetry. In spite of conflict and tensions, the marriage of Robert and Elinor Frost was one that "...rested on a true and deep bond, one that made the poetry possible. Elinor...provided judgment, encouragement, and the necessary faith" to enable Robert to be the creative artist that he was. If it were not for his responsibilities to his family, he might never have overcome his fear of speaking before large groups or have become as endeared to the American public.

Arthur Stringer (1874-1950) was one of Canada's first professional authors. A prolific writer, he published fifty-nine books, including thirty-eight novels and fifteen volumes of poetry. His work is now out of print and unduly ignored. The dissertation comprises an annotated selection of Stringer's correspondence and a discussion of him as man of letters. The Introduction draws on Stringer's personal papers--including unpublished manuscripts, notebooks, and correspondence--to illustrate his working methods, his relationship with editors and publishers, and the role he played in the literary community. The letters selected show Stringer handling the daily problems of authorship, giving support to other Canadian writers, and (in the letters written for publication) discussing literature and literary criticism. The dissertation includes a chronology, a check-list of Stringer's books, notes on his correspondents, and a list of the repositories of his letters.

No description available.

La siguiente tesis tiene como fin profundizar los conocimientos respecto de la plasticidad, sensorialidad de los objetos, seres y escenas, de la poesía de José María Eguren, cualidad principal de esta obra según consenso de la crítica, indagando por los rasgos concretos y constantes de su lengua poética. En pro de tales fines, la investigación y el análisis del estilo se llevó a cabo principalmente en función de dos estratos lingüísticos a los que la crítica no había dedicado la atención suficiente: el metro, enfocándose de manera especial en el ritmo de cantidad (medidas versales y estróficas); y la sintaxis, confiriendo una atención casi exclusiva a las relaciones entre las oraciones (parataxis e hipotaxis). A su vez, fueron consultados libros y artículos especializados con el propósito de adscribir las conclusiones a los planteamientos de la tradición crítica, bien que esto se diera por concurrencia o contradicción. Como resultado de las indagaciones primeras, se concluye que la plasticidad de determinada expresión reside en primera instancia en el plano léxico: la selección y creación de palabras. De ahí que el sonido y la sintaxis no puedan cumplir más que una función de apoyo, secundaria. Sin embargo, este estudio demostrará dos descubrimientos que se consideran claves para la comprensión del tema descrito. El primero, un fenómeno de estilo que comprende manifestaciones de los dos estratos lingüísticos de interés, es lo que se ha convenido llamar “poética del detalle”. Esta directriz expresiva, o poética, consiste en una actitud creativa propia de Eguren de construir una voz poética sensitiva, capaz de atender las manifestaciones mínimas, de breve extensión, de aquello que contempla y de ofrecer congruentemente un enfoque especial a las imágenes otorgando un realce a las palabras. Tal directriz se concreta, en el plano de la sintaxis, en la independencia de estructuras oracionales ocasionada por el empleo de la parataxis (yuxtaposición y oraciones independientes) y la evasión de la subordinación. Sin embargo, esa peculiaridad se apoya también en la división estrófica y las medidas de los versos que tienden a evitar los efectos de la subordinación incluso dentro de las mismas oraciones, pues separan las funciones sintácticas en la entonación. El segundo descubrimiento consiste en la confirmación de la hipótesis de la síntesis lingüística como directriz del estilo poético de José María Eguren, planteada por César Debarbieri y en la que coinciden distintos críticos. 6 Por cuestiones metodológicas, esta tesis se divide en tres capítulos que progresivamente se adentran en el problema. Los capítulos siguen el siguiente esquema temático: - Capítulo primero: A modo de introducción, presenta las opiniones de otros críticos y poetas que dan cuenta del carácter eminentemente plástico de la poesía egureniana, con el fin de confirmar que esta impresión deviene en consenso crítico. Además, se da cuenta de los planteamientos más relevantes llevados a cabo por otros críticos y lingüistas respecto de la lengua poética de Eguren y la posible explicación de su plasticidad. En otro ámbito, en un esbozo teórico, se aborda el tema general de las imágenes y la dimensión imaginativa de la lengua. - Capítulo segundo: Sobre el análisis cuantitativo y cualitativo del empleo de conjunciones, se llega a la conclusión de la preferencia de José María Eguren por las oraciones simples e independientes; por lo que se plantea la hipótesis del estilo paratáctico y de su influjo sobre las formas métricas. El estudio del empleo de las formas métricas demuestra que existe una actitud paratáctica y que busca la independencia no solo mediante la sintaxis sino también mediante el sonido. Se expone con claridad la hipótesis de la “Poética del detalle”. - Capítulo tercero: Por medio del análisis de poemas concretos se prueba la existencia funcional de una poética del detalle en sus distintos modos de realización. / Tesis