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George Campbell Hay (1915-1984) is acknowledged as one of the towering figures of 20th c. Gaelic poetry, and also respected outwith that linguistic tradition for his work in Scots and English, yet since the appearance of his three poetry collections shortly after the war, the greater part of his work has been unavailable, and its appreciation limited to a handful of Gaelic poems. Even the 1970 anthology which brought his non-Gaelic poems to wider attention has long been out of print, and his master-work - the unfinished long narrative poem Mochtar is Dughall - only emerged from almost forty years' obscurity in 1982. In short, there is an urgent need for the totality of Hay's work to be made available again, both for the enjoyment of the poetry-reading public and to enable a proper assessment of his contribution to Scottish literature. This thesis aims to provide the basis for such a Collected Edition. As a scholarly edition, however, it does not seek to provide single ideal texts or an editor's anthology, but to present the development of each poem through all its variants (shown in a critical apparatus), and bring some light to bear on the creative process. The poems are given in a separate volume, in chronological order, with no interfering classifications (such as by language, or publication status). In the way of introduction, I first give an account of Hay's life. This is based primarily on the man's own correspondence, to complement already published portraits drawn in the main from personal reminiscence. I have stressed the socio-political context in which Hay operated up till the war, as his passionate evangelical nationalism held such a dominant place in his poetry throughout his life. The following chapter looks in more detail at Hay's poetic activity in the 1940s, marked by his growing reputation and his association with the Scottish Renaissance of Hugh MacDiarmid, and culminating in the publication of Fuaran Sleibh, Wind On Loch Fyne and 0 Na Ceithir Airdean. A third chapter surveys the principal themes which exercised Hay's poetic imagination. In view of the edition's eschewal of categorisation, such a thematic classification may be of help in giving an overview of Hay's poetry; its aim however is not to create artificial segregations, but to stress both the diversity and the underlying philosophical unity of the poetry. Hay was a poet of virtuosic technique, and a final chapter examines both his own professed attitudes to poetic technique and his practical craftsmanship; this includes the linguistic and musical aspects of his work. The edition proper is preceded by a statement of editorial policy, illuminating some of the problems posed by the differing nature of the sources, and by Hay's inveterate tendency to revise his work. There follow notes to the poems, appendices of material which did not find a place in the main body of the edition, and an illustrated index of the Argyll place-names which so copiously populate Hay's poetry. An index to the poems is also supplied.

The Magus, by John Fowles, can be read as a modern re-telling of the traditional hero quest. The thesis attempts to explore all of the ways the novel compares to hero myths.

Tom Clark has fulfilled a dual role in the development of the American legal system: He has served as a moderating influence, often arbitrating the differences between opposing factions on the Court; and, he has served as a figure of caution and restraint upon the members of the Court, developing a judicial philosophy which is deferential to other units of government.

In this paper, I will analyze the production process of my thesis film, The Ninth Step. I will examine all of the various elements of the project, from development, through post-production to determine how effective it is in depicting human drama and conflict. I will employ the notes of unbiased audience members as a key criterion in the measure of this study.

Thesis (D. Min.)--Trinity International University, 2000. / Abstract. Includes bibliographical references (leaves 266-271).

Thesis (M.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains iii, 99 p. Includes abstract. Includes bibliographical references (p. 93-99).

As several rhetorical scholars have previously critically reviewed works written by philosophers and rhetoricians, and have focused upon their treatment of the concepts of epistemology, ontology, and rhetoric, this study critically examines the epistemology and ontology of George Campbell, eighteenth-century philosopher-rhetorician, and author of the Philosophy of Rhetoric. Campbell's work is interpreted as indicative of an "objectivist" stance consistent with the position of twentieth-century scholars such as Cherwitz and Hikins. This objectivist stance embodies four basic tenets: (1) Reality is certain; (2) Reality is independent; (3) Reality is knowable; and (4) Reality is communicable.Although most authors examining Campbell's philosophy have focused upon external connections between Campbell and other philosophers, this study conducts a critical, textcentered analysis of his work. Every statement deemed relevant as indicative of Campbell's objectivist stance is categorized according to the objectivity tenets; passages either directly refer to these tenets, indirectly suggest them, and/or are unclear, requiring assistance from other sources. The findings, taken as a whole, offer sufficient evidence that Campbell's epistemology and ontology were objective. Significant implications arise from this study, which may increase our understanding concerning Campbell's philosophy, his historical context, and terms used in the modern epistemology debate. Moreover, some difficult passages potentially imply inconsistencies in Campbell's objectivist philosophy; subsequent analysis reduces the threat made to this study's claim. In addition, several scholars have made findings which corraborate this study's claim. / Department of Speech Communication

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 1997. / Vita. Includes bibliographical references (leaves 48-49).