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This thesis is an examination of the poetry of Edwin Morgan. It is a cultural analysis of Morgan's poetry as representation of the Scottish people. Morgan's poetry represents the Scottish people as determined and persistent in dealing with life's adversities while maintaining hope in a better future.

Tennessee Williams, Paul Ibell (2016) London: Reaktion Books, 192 pp., ISBN: 9781780236629, p/bk, $19

The problem or point of view, or angle of vision, Is one that deeply concerned Henry James all through his writing career. It will be the aim of this study to define James' position on point of view and the use of a narrator, and then, by reference to the works under question, to see how subtly he uses the limited omniscient or the restricted multiple point of view in his early novels and the intensely concentrated single "centre" of consciousness perspective In his later ones. To this writer's knowledge there has been no critical analysis of this specific technique of James' art and its crucial relationship to his stage experience, In accomplishing this aim this study will (1) define the critical position of Henry James with reference to the narrator as a technical device stemming from his stage experiences in 1895 and reported in his notebooks and In the collected prefaces; (2) show James' development of the narrator as a technical device through an examination of representative passages from The American, a novel of his early period, The Portrait of a Lady, one from his middle period, and The Ambassadors, a work of his later period; and (3) discuss the use of the shifting points of view as they occur In the limited multiple perspective of The Portrait of a Lady and the restricted single "centre" of consciousness focus of The Ambassadors.

Through careful analysis paired with poetry, war memoirs, and novels from the same period, one can break down T.S. Eliot’s The Waste Land to recognize the impact of The Great War on the world's modern memory while pondering the possibility of memory as a tool to overcome trauma.

Although there is some difference of opinion today concerning George Sand's position in French literature, it is a definite fact that she was an important literary figure during her lifetime. By important, I do not necessarily mean that she was always popular, for she received a great deal of unfavorable criticism; but her name was famous name, her works were generally the talked-of books, and her influence was feared. "George Sand" attached to a new publication brought immediate interest and heated discussion. Commercial men capitalized on this fact, for we are told that a certain in Rafin named a new perfume after the famous author, and one of two balloons let loose from Paris to establish communication with the provisory government at Bordeaux carried the appellation "George Sand".1 George Sand has, by all means, a claim to high position in the realm of French literature. The ideal, the illusion of life, which she presents, has done a great deal to assure this position, but it is not all. For the first time in the history of the literature of France, the humble peasants took their place in the novel.

Any work of art, by definition, is so designated because it speaks to all generations, irrespective of time or place, and regardless of artistic, political, economic, or ideological fads. To accept a work as art with anything less than these universalities is blind acceptance and pure idolatry. Each generation must determine the validity of the label art by determining the relevance of the work to its own generations. Unless a work of art can successfully meet such a test, the label is no more than a gentleman's agreement among self-designated arbiters of taste. Two recent critics, writing on the philosophy of literary criticism, have defined what is perhaps the best test which a work of art must meet. Both agree that a work of art must go beyond the contemporary concern of the author. Swift’s “controversies,” particularly his famous indictment of men, have neve lapsed into memories, for the assertions Johnathan Swift makes about man in Gulliver’s fourth voyage are incontrovertible. And were it not so, his indictment of man is a valid one. Hopefully, however -- and Swift held out such hope -- the course of human history may be altered.

Daniel Defoe, separated from the society of the majority of English people of his time by his religion and his low social status, was concerned with isolation in the lives of the characters in his novels. The solitude of Robinson Crusoe has been frequently discussed, but the characters in other novels have not been studied in much detail nor have the characters been studied as a group of isolated with similar characteristics. The purpose of the following study is to determine what characteristics Defoe’s isolates have in common, what attitude Defoe had toward solitude and the isolates, and what effect Defoe’s personal seclusion had on his fiction as represented by the four novels Robinson Crusoe, Moll Flanders, Captain Singleton, and Roxana. The oslated selected for the study are two men: Robinson Crusoe and Captain Singleton, and two women: Moll Flanders and Roxana. All of these characters are at some time separated from the society acceptable to the majority of citizens by place of residence, by religious belief, by social status, by economic conditions, and by psychological factors. The chapter following will be devoted to the study of the causes and effects of isolation.