The purpose of this study was to examine the reliability and validity of the Child Life Style Scale (CLSS) and clarify the underlying dimensions of the scale. Dr. Kathleen Stiles designed the 90 item CLSS to quantitatively identify life style typologies for children between eight and twelve. This questionnaire consisted of 6 scales based on Adlerian constructs of personality. They are pleasing, getting, controlling, rebelling, inadequacy, and socially useful. Ten items were deleted after an inter-judge reliability/validity study. The 80 item CLSS was administered to 314 third, fourth, and fifth graders in public and private schools in Dallas, Texas. Internal consistency coefficients for the six subscales ranged from .72 to .76 and test-retest reliability coefficients ranged from .70 to .80 (p < .001). Results from a factor analysis confirmed the original six scales but factors five and six were not strong. Exploratory factor analysis found four clear factors with internal consistency coefficients ranging from .76 to .84 and test-retest reliability coefficients ranging from .73 to .83 (p < .001). Underlying dimensions of the factors, which reflect Alfred Adler's four typologies exactly, were: Factor 1: Rebelliousness Factor 2: Social Usefulness Factor 3: Control Factor 4: Fear of Failure. Results of analysis of variance indicated that age and socioeconomics made significant differences while gender and place in the family were not as significant. This study showed the revised 64 item version of the CLSS reflects Adler's tenets exactly, and has a more concise format with better reliability and validity. The CLSS is a solid questionnaire worth being further investigated for use in schools and therapy.

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The subject of this thesis is to document and reflect upon the design process for Temple University’s planned production of Rachel Atkins’ adaptation of William Wycherley’s The Country Wife. This account will discuss the process from inception through when production was postponed for public health reasons due to the global pandemic caused by the novel coronavirus COVID-19. This work will also serve to provide detailed descriptions of the costumes to be used by the costume shop to re-mount the production in August 2020. / Theater

This thesis explores a contemporary literary movement that has been called ‘the new nature writing’, framing it in its wider historical and cultural context of the last forty years. Drawing on recent developments in cultural geography, it explores the way such terms as ‘landscape’ and ‘place’ have been engaged with and reinterpreted in a diverse project of literary re-mapping in the British and Irish archipelago. It argues that the rise of environmentalism since the late 1960s has changed and destabilised the way the British and Irish relate to the world around them. It is, however, concerned with challenging the term ‘nature writing’ and argues that the literature of landscape and place of the last forty years is not solely concerned with ‘nature’, a term that has come under some degree of scrutiny recently. It sets out an argument for reframing this movement as an ‘archipelagic literature’ in order to incorporate the question of community. In understanding the present uncertainties that pervade the questions around landscape and place today it also considers the effects of such political changes as the partial devolution of Scotland, Wales and Northern Ireland on the British and Irish relationship to the land. The literature that it takes as its subject often explores the way personal and communal senses of identity have found a renewed focus in a critical localism in opposition to more footloose forms of globalisation. Through a careful negotiation of Marxist and phenomenological readings of landscape, it offers an overview of what is a considerable body of literature now and what is developing into one of the most consistent and defined literary movements of the twenty-first century.

In this dissertation, I examine the Sonoran Desert trilogy by Kathleen Alcalá through the lens of post-oppositional theory as developed by AnaLouise Keating. Moving beyond the use of post-oppositional theory to analyze non-fiction works, I apply this theory instead to the fiction of Kathleen Alcalá—whose work appears in such anthologies as The Norton Anthology of Latino Literature. Alcalá, though well published, is underrepresented in contemporary literary criticism, as can be seen by the only eight entries under her name in the MLA International Bibliography. Therefore, I have chosen her most significant fiction work, her trilogy about the Sonoran Desert, as the perfect text upon which to map post-oppositional theory. Through analysis of her three novels, I show that her work is an ideal example of post-oppositionality in action and that her characters act as post-oppositional revolutionaries and prophets within the pages of the text. The first chapter outlines the parameters of the project. In Chapter 2, I argue that post-oppositionality can be seen in Alcalá through gender bending, looking at the characters of Membrillo and Manzana, Corey, and Rosalinda. In Chapter 3, I argue that the characters of Estela, La Señorita, and Magdalena are enacting post-oppositionality through their transcendence of traditional women's roles in sexuality. In Chapter 4, I argue that the female characters of the novels act as revolutionaries through their political and social agency—reaching out to other characters through such work as educating and writing. In Chapters 5 and 6, I feature my interviews with Alcalá and Keating, who were generous enough to speak with me over Zoom during lockdown. Finally, in the conclusion chapter, Chapter 7, I examine how post-oppositionality in the novels prepares the reader for post-oppositional action in reality. Throughout all of these chapters, I rely on other theories and historiographies such as gender theory (Judith Butler, Foucault, West and Zimmerman, etc.), the history of women's sexuality, and the roles of women in nineteenth century Mexico (looking especially at the works of Nancy LaGreca and Anna Macías).

This thesis reports on a study which developed a profile of the reviewers of children's books in Australia. It then compared the profile with one which was developed by Kathleen Craver in 1984 of children's book reviewers in the United States. Five research questions were addressed by this study relating to reviewers and their opinions regarding review aspects, reviewer roles and review practices within the framework of their personal and professional background. Craver surveyed the reviewers from School Library journal because as a group, they provided the greatest potential for statistical significance of all the reviewing journals in the United States. As no Australian journal enjoys either the number of reviewers or the circulation of School Library journal, reviewers from eight journals which are most used by teacher and children's librarians were selected to form the population for this research. These journals are Fiction Focus, LINES, Magpies, Reading Time, Reviewpoin t, Review Bulletin, Scan and Tasmanian Resources Review. The reviewer profile which emerged from this study was very similar to Craver's in that it was not one which could be entirely defined in terms of group characteristics. Selected cross tabulations either with the particular journals, demographic details, or other variables, particularly those relating to reviewer experience failed to produce predictable behaviourial correlations. However, reviewers were united on certain issues which can be attributed to their own professional background.

How do conventional performance-based models of drama in high schools serve to oppress students? How can Applied Drama models serve to emancipate students? This thesis invites educators to imagine drama programs in high schools as being capable of employing the use of imaginative dramatic arts processes for their emancipatory potential aimed to break oppressive habits and to rehearse alternative dialogue and action in the lives of students. Drama processes in high schools could be designed within an emancipatory paradigm of curriculum-making. Instead of designing drama programs around the goal of producing scripted theatre performances, drama programs in high schools can be designed with the goal of engaging students imaginations. Specifically, Applied Drama processes have the potential to nurture students social and moral imaginations which, in turn, allow students to become more empathetic. Moreover, through dramatic role-play, students enter an imaginary world and rehearse alternative ways of acting in the world. If the dramatic role-play addresses issues of oppression in the world, then the imaginary world presents scenarios in which students can rehearse emancipatory ways of acting and thinking about their lived reality. Specifically, Applied Drama processes are best suited for emancipatory, imaginative drama programs in high schools. In this thesis, I also discuss the importance of reflection in emancipatory drama processes.

How do conventional performance-based models of drama in high schools serve to oppress students? How can Applied Drama models serve to emancipate students? This thesis invites educators to imagine drama programs in high schools as being capable of employing the use of imaginative dramatic arts processes for their emancipatory potential aimed to break oppressive habits and to rehearse alternative dialogue and action in the lives of students. Drama processes in high schools could be designed within an emancipatory paradigm of curriculum-making. Instead of designing drama programs around the goal of producing scripted theatre performances, drama programs in high schools can be designed with the goal of engaging students imaginations. Specifically, Applied Drama processes have the potential to nurture students social and moral imaginations which, in turn, allow students to become more empathetic. Moreover, through dramatic role-play, students enter an imaginary world and rehearse alternative ways of acting in the world. If the dramatic role-play addresses issues of oppression in the world, then the imaginary world presents scenarios in which students can rehearse emancipatory ways of acting and thinking about their lived reality. Specifically, Applied Drama processes are best suited for emancipatory, imaginative drama programs in high schools. In this thesis, I also discuss the importance of reflection in emancipatory drama processes.

It is the purpose of this paper to explore how Morris' novel relates to life in Twin Oaks, primarily as depicted in two books: Living the Dream (1983) by Ingrid Komar, a long-term visitor to the commune and Kinkade's Is It Utopia Yet? (1996). This comparison will demonstrate that the experiences of contemporary intentional communities such as Twin Oaks provide a meaningful context for reading News from Nowhere because of the similarities in goals and philosophy. It will further demonstrate that though Twin Oaks was originally inspired by a utopian novel much more in the tradition of Bellamy's work than Morris', the community's subsequent evolution has brought it much closer in philosophy to News from Nowhere than Looking Backward.