This study confronts a problem in labour history revolving around the place of women in the paid workforce which has been present in western society since industrialisation, which in Australia’s case dates from the 1860s and 1870s. This problem emerges forcefully over one critical debate: the rate for women’s wages compared with that of men’s. An analysis of the Council of Action for Equal Pay (CAEP) 1937-1948, brings into focus the complex questions associated with the issue. Women’s place in the paid workforce had to be reconciled with their assigned primary role in society as wives and mothers and the designated duty of the male as the family breadwinner who had an unassailable right to paid employment at higher rates of pay than women.

This study confronts a problem in labour history revolving around the place of women in the paid workforce which has been present in western society since industrialisation, which in Australia’s case dates from the 1860s and 1870s. This problem emerges forcefully over one critical debate: the rate for women’s wages compared with that of men’s. An analysis of the Council of Action for Equal Pay (CAEP) 1937-1948, brings into focus the complex questions associated with the issue. Women’s place in the paid workforce had to be reconciled with their assigned primary role in society as wives and mothers and the designated duty of the male as the family breadwinner who had an unassailable right to paid employment at higher rates of pay than women.

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<p>To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition.</p><p>The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth.</p><p>Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work.</p><p>Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context.</p><p>The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God.</p><p>The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture.</p><p>In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.</p>

To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition. The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth. Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work. Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context. The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God. The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture. In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.

Thesis (M. Phil.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 186-192).

Thesis (Ph. D.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains v, 359 p. Includes abstract. Includes bibliographical references (p. 337-359).

This study examines in terms of Adlerian Life Style as revealed through Early Recollections, actual and perceived Birth Order, and Family Atmosphere the personality characteristics of adolescent males who have experienced some form of abuse and/or neglect. As part of the study, each subject participated in a structured, tape-recorded interview and each subject reported six early recollections, dreams, or made-up memories. Transcripts of these interviews were given to a panel of Adlerian psychologists who collectively analyzed and interpreted the subjects' information. They formulated a life style summary for each subject and combined common themes and personality characteristics to formulate a composite life style summary. Results indicate that Adlerian judges were able to identify several common life style themes and personality characteristics. The most commonly shared attributes were expecting bad things to happen, wanting to be special, and feeling out of control.

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Note: / Karol Szymanowski's music has fascinated me for a long time. The first time I encountered his name was in Artur Rubinstein's autobiography, which recounts how they first met and narrates many anecdotes about their friendship. At the time, I was living in Brazil, and was unable to find any recordings of his music. Nonetheless, Rubinstein's ardent praise of him (“a master!”, “a great Polish composer!”, “a powerful, original personality”) made me very curious, and I did not abandon my desire to keep looking for his music. Then, when I moved to Montreal in order to start my undergraduate degree at McGill University, I was finally able to find many recordings of his works at the school's library.[...]