This thesis presents four categories of form basic to all of Stephen Crane's poetry: antiphons, apologues, emblems, and testaments. A survey of previous shortcomings in the critical acceptance of Crane as a poet leads into reasons why the categorization of form here helps to alleviate some of those problems. The body of the thesis consists of four chapters, one for each basic form. Each form is defined and explained, exemplary poems in each category are explicated, and specifics are given as to what makes one poem better than the next. The thesis ends with an elevation of Crane's worth as a poet and a confirmation of the merits of this new categorization of form.

Indiana University-Purdue University Indianapolis (IUPUI) / Beginning as a collection of short stories published in The Magazine of Fantasy & Science Fiction in 1978 and novelized in 1982, The Gunslinger is the first novel in Stephen King’s Dark Tower series. This thesis explores the textual journey of the novel that serves as the foundation for a series that has left its mark throughout King’s broader fictional canon. After finishing the final three novels of the series, King revised The Gunslinger to bring it closer to the narrative essence of the series’ subsequent novels. Collation of all three versions of the text—the serialized Fantasy & Science Fiction stories, the 1982 novelization and the 2003 revised and expanded version—reveals a sometimes overlapping pattern of revisions to the novel. These revisions concentrate on character, the novel’s cosmological framework, and languages and dialects King uses later in the series. The impact of these revisions extends beyond the plot elements of the series itself, as a number of King’s most popular novels—The Stand, ’Salem’s Lot, and It among them—have plot arcs that bend toward the Dark Tower mythos. King returned to the novel’s three main characters—Roland, Jake, and the man in black—to refine their actions and clarify their motivations. This also gave him the opportunity to provide the reader with more of their interwoven histories, a strategy that established the background for the role each character plays later in the series. In addition to introducing details about the main characters of the series, King enhances and redefines the world of The Gunslinger; the revisions reveal connections both within and outside of the Dark Tower multiverse. King also uses revision to introduce a variety of languages and dialects Roland encounters on his journey through an endless path of worlds. Finally, the textual evolution of The Gunslinger documents King’s development of a theme central to his entire canon: the multifaceted theme of salvation and sacrifice. In controlling the evolution of the Dark Tower series, particularly with his return to revise The Gunslinger, Stephen King shows that he is capable of maintaining a complex saga with a great degree of literary vision and craftsmanship.

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A Portrait of the Artist as a Young Man is viewed traditionally by many critics and scholars alike more or less, if not entirely, as Joyce’s autobiographical novel. The identity of the narrator and his relationship to the focalizer and the narrative text are aspects that have thus not been sufficiently examined and explored. An analysis of the passage when Stephen clarifies to himself his relationship to words which makes possible the revelation of his calling as an artist will reveal the intimacy of the narrator and Stephen, indicating they are one and the same. But it will also disclose the structure of the narration of Portrait to be the result of Stephen’s very discovery of the meaning of words to him. And the view of Stephen as a narrator, as well as the main focalizer, turns Portrait into a work of fictional autobiography. His thoughts and contemplations monopolize the narration, granting him exclusive authority over the presentation of his story. Furthermore, the suggestion in the title of the novel that he is also the writer begs the question of reliability. Can Stephen’s story be trusted, or is Portrait a fabrication of his childhood in order to convince the world that he really was born to become an artist? The opening and ending of the novel suggest that the narrative is not “based on a true story” of Stephen’s life but instead that it is composed in the fantasy world which Stephen withdraws into as his meagre output does not meet his expectations. Thus Stephen writes his first novel entitled A Portrait with which he hopes to achieve the fame and receive the recognition he desires. But Stephen is still a struggling artist when the narrative finishes, hence the ambiguous ending as Stephen is the novel itself, its inconclusive narrative. Stephen’s A Portrait is a glorious act of self-creation.

A critical study of naturalism and its influence in the works of Stephen Crane.

The key purposes of this study were to determine the extent that people purport to utilise critical thinking in educational and organisational settings; second, to examine the forces that encouraged and discouraged critical thinking and third, to identify strategies and environments that encourage and foster critical thinking. The literature examined shows that the use and teaching of critical thinking has been well represented in educational settings. However, upon an initial review of literature within organisations it appeared that the term critical thinking was not commonly used. While critical thinking occurred within organisations it tended to be defined as problem solving and decision making approaches. The model of critical thinking which underpinned this research was that of Stephen Brookfield (1987). Brookfield's model was tested through the design of the methodology. A total of ninety three surveys were completed by students at the University of Canberra from the Faculty of Education and the Faculty of Management. Thirteen individual, semi-structured interviews were conducted with a selection of these students. The data suggested that critical thinking occurred both within educational and organisational environments. One of the main impediments to the use of critical thinking was the availability of ample time and the respondents claimed that they had more time to apply critical thinking during their studies rather than at work. The respondents identified strategies such as brainstorming, role playing and modelling behaviour as some of the approaches that would increase the likelihood of the use of critical thinking at work and study. An unanticipated finding was that individuals applied a different interpretation in the application of critical thinking within organisations compared to educational settings.

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