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Literature is a source that enriches students’ language ability on every level and short stories are a form that is suitable for adolescent students. To young people, memories from childhood are still close and vivid. To most these memories are mixed; among games and adventures there are both happiness and disappointments, both childhood friendships and betrayals. It is a topic everyone can talk about and many discussions can be developed from it. In addition, the short story is a genre that can be easily applied to the classroom because of its length. There is no great risk that the students will not remember the content of the story after reading. For students that are not pursuing further academic life, or low-performing students, short stories are definitely a better choice than novels. This essay sets out to compare three of Willa Cather’s short stories: “The Way of the World”, “The Enchanted Bluff” and “The Treasure of Far Island”. All three stories show us a childhood world as experienced by a group of children centered round a leader. These childhood worlds are portrayed from an adult perspective, with much beauty and nostalgia, giving a sense of the innocence, excitement and magic of a childhood paradise. The essay argues that it is through the power of children’s imagination that their paradise is created and that sooner or later paradise is lost. However, in the last of the three stories, the childhood paradise is regained in adulthood through the artistic imagination.

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There have been many studies of keywords in Paradise Lost. Over the last fifty or so years words such as �wander�, �lapse�, �error�, �fruit�, �balmy�, �fall�, �hands�, among others, have attracted critics� attention. The present enquiry brings under scrutiny three linked keywords which have up to now escaped notice. These are the words �bliss�, �delight�, and �pleasure�. The fundamental proposition of the thesis is that Milton does not use these words haphazardly or interchangeably in his epic poem (though in other of his poetic productions he is by no means as fastidious). On the contrary, he self-consciously distinguishes among the three terms, assigning to each its own particular �theatre of operations�. Meant by this is that each keyword is selectively referred to a separate structural division of the epic, thus, �bliss� has reference specifically to Heaven (or to the earthly paradise viewed as a simulacrum of Heaven), �delight� to the earthly paradise in Eden and to the prelapsarian condition nourished by it; while �pleasure�, whose signification is ambiguous, refers in its favourable sense (which is but little removed from �delight�) to the Garden and the sensations associated with it, and in its unfavourable one to postlapsarian sensations and to the fallen characters. Insofar as the three structural divisions taken into account (Hell is not) are hierarchically organized in the epic, so too are the three keywords that answer to them. Moreover, in relating keywords to considerations of structure, the thesis breaks new ground in Paradise Lost studies.

Thesis (Ph. D.)--University of Washington, 1987. / Vita. Bibliography: leaves [518]-526.

Animal agonistic behaviors, including threat, combat, submission and chase, are complex responses to experimental stimuli. Animal behaviors are regulated by the central nervous system. In the central nervous system, the biogenic amine serotonin has been thought to serve important roles in animal aggression (including fish), but it¡¦s not clear if serotonin affects threatening and fighting differently. This study took experimental approaches to examine the effects of this neurotransmitter on threatening and fighting in a paradise-fish model in which the complex agonistic behavior is well characterized. Treatments with serotonin synthesis precursor tryptophan (0.125mg/g) to one of the two contestants had insignificant effects on threatening or fighting while synthesis blocker p-Chlorophenylalanine (PCPA) (0.3mg/g) decreased threatening time and occurrences of head-tail display. When these drugs were added to both contestants, tryptophan reduced all agonistic behavioral patterns displays, and PCPA decreased threatening time and head-tail display. In addition to changes in behavioral patterns, tryptophan led the fish to be attacked. In contrast, PCPA led the injected fish to actively attack its opponent. However, tryptophan and PCPA had no effect on social status in parasise fish. I suggest that agonistic responses and the initial fighting decision in a paradise fish are affected not only by level of its serotonin, but also by the behavioral responses of its opponent. And the establishment of outcome of encounter is affected more by the environmental stimuli than the serotonin level.

Morrison opens Paradise by constructing a black community based on a traditional, unrelenting patriarchal discourse which seems to be subverted by a rather trivial, private or ¡§feminine¡¨ talk represented by a party of outcast women. Such binary oppositions are thus surfaced continually in the novel and are further intertwined with various genres Morrison draws from myth, fairy tale, romance, biblical story, folklore, vernacular (hi)story, etc. Nevertheless, while elaborating those literary genres and antagonizing sexes, races and classes, she parodies/caricatures and ¡§molests¡¨ them with stereotyped but paradoxical, or contradictory narrative. In so doing, she complicates and revitalizes the seemingly organized but actually paralyzed, unproductive world of language. By fusing and infusing opposite elements into concepts such as stern religious beliefs and one-sided, self-righteous morality, Morrison liberates literature, or language, in a way that it ¡§is both the law and its transgression.¡¨ I quote a phrase from Morrison¡¦s Nobel lecture¡XLanguage¡¦s ¡§force, its felicity is in its reach toward the ineffable¡¨¡Xas part of my title to suggest that her narrative politics¡X¡§stepping in¡¨¡Xis grounded on a sense of human interrelatedness. Demanding as it is, the compassion for distinct individuals, especially for those who are muffled by ¡§representational¡¨ or ¡§monumental¡¨ discourse, is what Morrison tries to gesture toward in her writing. With acute imagination and insightful compassion, she not only voices and makes the ¡§trivial,¡¨ ¡§insignificant¡¨ or ¡§negligible¡¨ things remarkable enough to be juxtaposed with ¡§the grand,¡¨ but also employs them to ¡§step in¡¨ and transform the rather rigid, unreceptive idea of conventional literary canon. Rather than founding a particular ethnic or gendered canon (or hierarchy) to counteract the already dominant, it seems that Morrison appeals to transcend those barriers by releasing the ambiguous, paradoxical and inspiring properties of language, and at the same time, paying deference to diverse, ineffable human differences and experiences.

Taiwan’s Vanishing Paradise is a short documentary film about the ecological, social and financial situation in the Hengchun Peninsula, South Taiwan. It revolves around the fact, that the area is a natural paradise, yet the local communities are relatively poor hence, the ideal location, climate and natural habitat. The coastal zone is populated by the world’s most unique hard corals, which could only be found in this area. The film delivers its message through the camera lense of a foreigner, giving it a little twist. It’s purpose is to raise awareness about the possibilities of financial and infrastructural development. Corals are valuable and the community doesn't take advantage. How could this scenario emerge without anyone noticing or doing anything about it? It well may have been noticed, but a viable solution has not yet been implemented until this day. This film also provides a solid plan for changing the situation, to give this beautiful area a chance to be an ideal paradise for both men and nature.

3 pp. / A description of the popular bird of paradise shrubberies available for use in the desert southwest.