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 present study investigates the grammatical and lexical aspects of Little Gidding in the perspective of the Firth-Halliday model and Halliday's functional theory of language. The primary purpose of the study is to bridge the gap between linguistic analysis and literary criticism; the secondary purpose is to evaluate the usefulness of the model as a stylistic tool. The Firth-Halliday model recognizes three scales and four categories in the description of the grammar of English. The three scales are rank (the hierarchical ordering of grammatical units from the most inclusive to the non-inclusive), delicacy (the scale of increasing detail of analysis); and exponence (the scale of exemplification). The four categories are unit, structure, class and system. Unit accounts for those stretches of language of varying extent or size which carry, recurrently, meaningful patterns. Structure is concerned with the nature of these patterns themselves. The category class arranges items in the language according to the way they operate in patterns, and the category, system accounts for those limited groups of possibilities from which choices are made at certain places in the patterns. In lexis, this model proposes two categories: collocation (the relation between one lexical item and the other with which it is associated), and lexical set (the grouping of items having the same range of collocations). The functional theory of language, on the other hand, can be broken down into three categories. The first is ideational (a function serving the expression of content); the second is interpersonal (language playing a communicative role); the third is textual (the function which establishes the relation between the text and the context). The practical analysis of Little Gidding is carried out with the above theoretical framework in the spirit of a linguist, while the selection of prominent features largely depends on the sensitivity and intuition of a literary critic. The grammar in the poem is analysed from sentence rank to word rank at the primary degree of delicacy, while the lexis is studied according to the notion of collocation and lexical set. From the grammatical study some prominent features in the poem emerge: first, the effect of balance at sentence, group and word rank; second, the preponderance of nominal groups; third, the deverbalization of the verbal groups. Two more features come to light as a result of the lexical study: the collocation, of the abstract item with the concrete and the element of polarity. Viewed from the general functions of language, the delay of the subject element in the clause structure and the abundance of adjuncts and complements are indicative of the poet's consciousness of the ideational component, while Eliot's shift of the pronoun you to we fulfils the interpersonal function. Textual function, however, is mainly achieved through the repetition of lexical items and the recurrence of the same lexical sets. Concerning the Firth-Halliday model, two problems merit consideration. They are the concept of rank and the lack of distinction between the function of a finite verb and a non-finite verb in a dependent clause. Yet the model's insistence that language should be described sytematically at all ranks does offer an auxiliary tool to practical criticism. In addition, its designation of all dependent clauses in traditional grammar as rankshifted clauses operating at group rank is an important step towards the functional relationship in the structure of language. / Arts, Faculty of / English, Department of / Graduate

T. S. Eliot's concern with the philosophy of time is evidenced from his earliest poetry. It is part of the development of his whole philosophy of life: his engagement with reality, his concept of consciousness, the function of history and myth in his life, and his concept of "something beyond", a harmony for which he is striving. Although Eliot was a serious student of philosophy, his poetry is not philosophical in the sense that he is recording already formulated ideas. The poetry, is itself part of the process, the working out and realization of his philosophy. Eliot's concept of time includes two streams which exist simultaneously, and which intersect at significant moments. These are time temporal, in which man must live his life in the changing phenomenal world, and the Timeless, noumenal world which he encounters in these significant moments. He may live in phenomenal time in either of two ways, without hope or purpose, so that he is "time-ridden", or he can live in time teleologically, striving for the understanding of the design into which he must fit in order to achieve the harmony of the still point at the intersection of time and the Timeless. The harmony toward which he is striving in his dialectic struggle in time is complete wholeness of personality and spiritual transcendence. Eliot's philosophy of time and consciousness develops in three stages. In The Waste Land period, in which man is time-ridden and unconscious, he is unable to confront time and create his own being by reconciling his present with his past or "other". In Ash Wednesday he sees his other for the first time through the Lady, the "anima" or primordial image of his own unconscious. She brings him hope and energy, and plunges him into the dialectic struggle in teleological time. Marina and the childhood memories of his "Landscape" poems give more "hints and guesses" and images for moments of "partial ecstasy". In Four Quartets he reconciles all the oppositions in his life and poetry to achieve the harmony of the transcendent still point. Eliot's medium for the progress through time and the development of consciousness is a series of protagonists through which the poet casts off masks of the self, surrendering himself as he is at the moment to something more valuable. Parallel to the poet's struggle in time to achieve the spiritual harmony of the Absolute, is his struggle in poetry to get the better of words. The conflict with words, his "raid on the inarticulate", is his struggle in time to find new ways to express changing concepts and, ultimately to present in poetry those "frontiers of consciousness beyond which words fail though meanings exist". The techniques which he uses to achieve these aims are the continuity and growing significance of his images, his symbolism and his "mythical method", the contrasting of the sterility of contemporary life with the living myth of earlier times. Finally, I believe that Eliot's achievement in Four Quartets is not necessarily the expression of Christian dogma, but that his striving in time for the harmony of the Absolute of the Timeless, and its realization in poetry, is an artistic creation which is his own private myth. / Arts, Faculty of / English, Department of / Graduate

This thesis deals with the storytelling art of Tanizaki Jun'ichirō. An esthete par excellence, this prolific writer produced for over half a century a string of works that are essentially dedicated to the glorification of art and beauty. This glorification in turn enhances the quality of life which, also in the author's view, is both a dream and a game. Art and beauty, dreams and games are virtually the building blocks of Tanizaki's fictional universe in which illusion and reality are meant to be complementary rather than opposing forces that govern human existence. Transplanting this fabulous world into the reader's heart is the result of Tanizaki's special skill in storytelling. An analysis of his four major works will hopefully bring this skill into full view. Chapter One examines Tanizaki's early short story "Shisei" that marks his brilliant debut. Though marred by technical flaws, "Shisei" succeeds remarkably in luring the reader into a fairy-tale atmosphere where art and beauty are the only raison d'être. A sensuous style characterizes this lively tale and between the lines flows a life force that will become Tanizaki's trademark. The theme of art and beauty is brought to a climax in "Shunkinshō" which is analysed in Chapter Two. The simple perspective of "Shisei" is now abandoned, giving way to a maze of multiple viewpoints that are there for the single purpose of hypnotizing the reader. The ultimate goal is to make the reader share the passion and devotion of an artist in the pursuit of the Ideal. The monogatari style is a feature of this novella and helps generate the ambiguity needed for the narrative. Chapter Three deals with "Yume no ukihashi," a tale of dream and sensuality. Man's ambition to create and perpetuate dreams is given full treatment in this story in which illusions are the name of the game. Incest is also a thorny issue but Tanizaki seems to consciously skirt the problem with various devices. Fùten rōjin nikki, Tanizaki's crowning novel, is the subject of Chapter Four. Everything that the author stands for in his writing is now brought into focus. Using the casual form of a diary, art motifs and erotic scenes are placed at well-calculated points so that structural balance is maintained throughout the story. A game-playing spirit and the overwhelming life force which starts with "Shisei" embody this last tour-de-force that proudly consolidates the author's fame. This thesis, through the four works that are examined, can be considered an attempt to shed some light on the question of why and how Tanizaki fascinates the reader. / Arts, Faculty of / Asian Studies, Department of / Graduate

This thesis traces the growth of Tanizaki Jun'ichiro as a narrative artist through the three stages of his long career. A number of representative works are studied, with varying emphasis on narrative perspective, structure, character creation, and style, depending on the prominence.of these aspects of fiction in each work. Underlying the individual analyses is the basic question: how does the author resolve the problem of rendering himself in his fiction? Chapter I, covering the initial period (1910-1928), first deals with a split in the author's sensibility. The emerging storyteller is most successful as an anti-realist, in a small number of stories with idealized, remote settings, such as "Shisei." In contrast, he fails when seeking to represent himself and his immediate environment in the shi-shosetsu. Near the end of this period, with Chijin no ai , Tanizaki begins to reconcile his need for illusion with the rendering of mundane experience. Tanizaki's technical skills are in germ in this period. The author often demonstrates an ability to build firm structures, and to forge an elaborate style. He also establishes a conception of characters as powerful psychic forces, not as pedestrian, "realistic" creations. Chapter II shows the fully mature artist, in his second period (1928-1950), which contains most of his major achievements. The author's continuing attachment to distant, illusory worlds is fully expressed in works drawing on Japanese tradition, such as Momoku monogatari, a romance. He also resolves the dichotomy between the demands of the imagination and those of external realities; he projects himself into his fiction with complete success. He is able to represent everyday experience in Tade kuu mushi and Sasameyuki, but these are not novels of bourgeois realism. Idealization still moves below the surface, creating a balance between versimilitude and fantasy. The rendering of the characters as idealized types is explored particularly in the study of Sasameyuki. Tanizaki's enormous advances in method include an intricate treatment of narrative viewpoints, as in "Shunkinsho," a subtle approach to structure, notably in "Yoshino kuzu," and a new style unique in its fluidity and amplitude, as in "Ashikari." Chapter III treats the last phase of Tanizaki's writing (1951-1965), a period of renewal and purification. Abandoning the filter of history and romance, he now tends to observe and record contemporary circumstance. He also returns to the concerns of his first phase, most significantly the shi-shosetsu, fictionalizing himself in Futen rojin nikki; in the forceful portrayal of the protagonist of this novel Tanizaki reaches the climactic point in his characterizations. Sobriety of manner marks the writing of this phase. The characters often appear in distilled, stylized form, most remarkably in Kagi. The rich, full style of the second period disappears; instead, the author often uses notations, as in the diary form. He loses none of his skill in structure, as the two contrasting novels using the diary genre show: while Kagi is an obvious craftsman's triumph, Futen rojin is constructed with equal care but deceptive naturalness. It is hoped that this study, concentrating on the development of Tanizaki's techniques and of his outlook, helps to account for his singularly strong grip on the reader. / Arts, Faculty of / Asian Studies, Department of / Graduate

Informe de Seminario para optar al grado de Licenciado en Historia / Seminario de grado: Entendiendo la sociedad chilena y latinoamericana a través de un análisis cultural. Siglo XIX y XX

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Meteorology, 1970. / Lacking leaf 149. / Bibliography: leaves 163-169. / by Edward Harold Blish. / M.S.

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M.S.