Troilus and Criseyde contains surprisingly little description (only two percent of the total number of lines); nevertheless, descriptions generate numerous dramatic parallels and thematic implications. For the most part, description concentrates on cosmography and characters. Chaucer omits detailed descriptions of interior settings - they are either ignored or impressionistically suggested by mention of single items - but, rather, he dwells on generalized impressions of seasons; detailed accounts of sunrises, sunsets, and astronomical conditions; and methodically controlled pictures of the major characters. To observe the overall effect and use Chaucer makes descriptive passages - to see authorial implication in passages of description - it would be best to analyze cosmographic descriptions in the order in which they occur, separate from descriptions of characters and objects associated with them.

For Robinson Jeffers, poet-philosopher and naturalist of Carmel, California, the universe is one entity, a "being out of grasp of the mind enormous." Its parts are only differing manifestations of a single energy; all bear upon one another, influence one another. According to Jeffers we humans attain true freedom and peace by turning avmy from self, from mere humanity and human contrivances, imaginings, and dreams. This is Jeffers' Doctrine of Inhumanism: a dark philosophy which proved increasingly unpopular as Jeffers more and more adamantly insisted upon dramatizing mankind's smallness in the immense context of the universe. The biography of The Double Axe and Other Poems, published by Random House in 1948, shows that ten poems were expunged from the originally submitted manuscript. Notes and letters from this period show Bennett Cerf and Jeffers' editor, Saxe Cummins, to be disconcerted by the fierce intensity and the dark political ramifications of Jeffers' doctrine. Consequently, The Double Axe was printed with a disclaimer regarding the "political views pronounced by the poet.” To the dismay of his publishers, Jeffers’ often uses political persons - Roosevelt, Hitler, Mussolini, Truman - to represent the ideas he works with aesthetically. But when he removes these topical references, his poetry sounds propagandistic. In using these particulars as metaphors, he makes contemporary issues and personalities point up his philosophy of Inhumanism. Because this is a particularly dark philosophy, these references to living persons have the effect of indicting them all equally, whether it is Hitler or Roosevelt singled out. Jeffers undertakes the task - which is especially unenviable in the milieu of World War II America - of showing that all leaders and all nations (both Nazi Germany and the United States) are equally culpable of distorting the importance and value of human endeavor. Jeffers’ poetry addresses man’s “excessive energies.” These energies, which receive special attention in the excised poems, lead man to “superfluous activities” - activities which “are devoted to self-interference, self-frustration, self-incitement, and self-worship.” He writes so as to discover a way to minimize what he interprets to be man’s “racial disease.” Because of his motives, Jeffer’s art is especially dangerous; for he would direct it to influence as well as reflect the reader’s experience. He presents his reader with a difficult task: to relate his experience of the poem, an experience distinctive and irreductible, to the larger flow of human experience. Such a challenge requires that the reader be sensitive not only to Jeffer’s specific point in a particular poem, but also to the history of human development. And, beyond that, to the evolution of the natural universe. Poetry for Jeffers is not merely mimetic or ontological, but polemical as well. Jeffers' later poems are not necessarily or always tracts, but the materials on which they are based and the criteria by which the poet organizes them are frequently the same as the material and arrangements found in philosophical or religious statements. In one sense, it might be argued that Jeffers elevated propaganda to art by making poetry out of the stuff of argument. But in another sense, Jeffers' best poems carry an autonomy and distinctiveness that makes them irreducible; they cannot be finally understood in a complete sense by deciphering the polemic that points back to external, contemporary reality. His poetry builds and inhabits a world of its own. Thus, the statements in a Jeffers poem may not be understood or judged as if they had been made in direct, argumentative speech, for his aesthetic - when it served him best - has its own complicating norms and dramatic justifications. So Jeffers' poetry has an artistic autonomy even though it refers specifically to a moment of history, a real person, or a particular place. But the particulars are intended to point up a ''permanent human faculty," and are thus both real and poetic. When he does not use topical particulars, however, he sacrifices not only the reality, but also the poetry.

For many years, an adult Historical Background society has been involved in treating Juvenile delinquency problems. This fact is reflected in the Poor Laws of Elizabethan England, in the Indenture and Settlement Laws which date back to 1601, and the hit-or-miss idealism of private charities. In the United States, we find it in the transplanting of the Indenture and Settlement Laws and the Almshouse In the Early English Colonies on the main land of North America. Toward the close of the seventeenth century, the first almshouse was established in Boston and others follower until by the beginning of the nineteenth century there were almshouses in all of the larger cities in the United States, and in any instances, there were alms- houses established by counties and townships

Expansion of higher education. In California, as elsewhere throughout the nation, higher education is faced with increasing numbers of students. By their sheer numbers, the applicants seeking a college education will bring perplexing problems to the colleges and universities. The pattern of expansion of higher education is a crucial question today; a continuing demand by the American people for education for their children seems to leave little doubt but that continued expansion must surely come

This thesis is an examination of the reaction of a human population to a new and disturbing environment. It deals with the disintegration of the aborginal Indian culture of northern Mendocino County under the influence of American settlers and military personnel. As such it is concerned with the factors and responses inherent in, and resulting from, the interaction of two civilizations, the one old and static, the other new and dynamic.

No description available.

I’m interested in writing stories that make me as author disappear. A little. I’d like for my stories to unravel themselves while I sit just barely visible, maybe on a porch across the street. I’m also interested in playing with unusual phrases and syntax to achieve authentic voice in my stories. This sets up a conflict because while I want to develop small, fairly simple stories, I also value some language trickery, which might come off as authorial. I want nuanced voices that don’t feel editorialized. I want the stories to be authentic in an off-putting way. My biggest challenge has been monkeying with language in ways I find interesting while still maintaining a cool distance. It feels like training a service dog without getting sentimental. I like these problems though. I like the tiptoe-ing. My goal is to be able to drop readers in the middle of a situation: childhood, a factory, the grieving process, and carry them through it, without them knowing I’m there, without having to rely on explanations of characters’ thoughts, their motives. I am drawn to stories with little exposition. As a reader, I like making my discoveries through characters, how they navigate the world. I like to read stories that are revelatory in an interesting way – without having to be told outright how a life got so raw, or why lying can be the greatest relief, or how come it’s heartbreaking to see up close how much makeup a woman wears. I’ve heard this advice over the years: “Write what you know.” I’ve tried this with dull results. I’ve decided that I disagree. I’m working to write more stories about lives, jobs, concepts, illnesses, joys and sadnesses that I don’t know. I like trying on the other: a housewife, a man, a teen, a liar, someone forgotten. By writing what I don’t know, I want to stir up the reader, deliver something familiar yet jarring.

Ninety years ago Japanese music was essentially monophonic, confined to a limited number of traditional instruments, and completely Oriental in technique and sound. Today, Western harmony and counterpoint are intrinsic elements in much of Japanese music. Highly competent symphony orchestras in Japan perform skillfully orchestrated Japanese scores. Year by year the musical world of Japan becomes more Western.

Throughout the history of physiology and psychology. much effort has been devoted to the study of the functions of the emotions and their subsequent effects on behavior. A systematic investigation of the powers have proved to be extremely fruitful for further understanding of how the emotional appeal can be used, within advertising limits, on individuals.

Papal sovereignty has been for centuries, and still 10, dominating force in the experience of the human race and is the fusionning of human institutions. Today it stands forth as a tremendous fan of history and by its very claims and power invites examination.