"That a man who has devoted most of his life to educational matters should achieve the widespread recognition as a novelist that Dr. Crabb has should be of interest not only to librarians who are concerned with both matters, but to the reading public as well. This assumption, coupled with the writer's interest in Alfred Leland Crabb as a Tennessean, led to the undertaking of this study of his life and writings. The purpose of this paper is to present first a biographical sketch of Alfred Leland Crabb including his contribution to the field of education as evidenced through his life and writings in that area; second, a summary of the plots of his eleven novels and some indication of their critical reception; and third, a bibliography of his writings, as well as of those used in the preparation of his paper"--Introduction. / "August, 1959." / At head of title: Florida State University. / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Includes bibliographical references (leaves 75-84).

Inaugural-Dissertation--Georgia-Augusta-Universität zu Göttingen, 1931.

Inaugural-Dissertation--Georgia-Augusta-Universität zu Göttingen, 1931.

Thesis (M.A.)--Wheaton College Graduate School, 2003. / Abstract. Includes bibliographical references (leaves 125-135).

No description available.

No description available.

The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.

My stoneware sculptures in my MFA final project were named Earth Divers because clay as a material is earth and clay is also symbolic of the Earth. The way that I physically dive into clay up to my elbows is a poetic performance. The sculptures were built in sections horizontally and then stacked vertically. I began the process by first making life size plaster molds of the human figure taken from live people. Earth Divers take their architectural structure specifically from the organic curves of the negative voids that are characteristic of the plaster figure molds. I built into these plaster molds a block or brick like section. I then removed the large block sections from the molds and stacked the sections one on top of the other combining the figurative and architectural structures with gothic influence. The sculptor, Stephen De Staebler, who works in a similar fashion, describes his work as, "... first laying the figure down and later standing it in a vertical position." The way of life that was lost with the manufacturing past of my family at Castone Brick is found in the use of industrial nostalgia by modeling I-beam shapes as part of the structure of the stacked sections. I also fired nuts, bolts, and washers of various sizes in the clay that build the surface of the human forms. The square nut seen in my work is no longer being manufactured and is symbolic of the passing of the industrial age in America. Finally, to build the surfaces of my sculptures I used slips, glazes, and a variety of clays on top of clay, and laid glass fragments on the horizontal surfaces to create a look of pooled water when my work was fired similar to what I have seen in the Lehman Caves in Baker, Nevada. "I believe there is a force in this world that lives beneath the surface, something primitive and wild that awakens when you need an extra push just to survive, like wild flowers that bloom after a fire turns the forest black. Most people are afraid of it and keep it buried deep inside themselves. But, there will always be a few people who have the courage to love what is untamed inside us." (Tim McGraw)

This thesis is the first full-length study of the English clergyman and historian William Cave (1637-1713). As one of a number of Restoration divines invested in exploring the lives and writings of the early Christians, Cave has nonetheless won only meagre interest from early-modernists in the past decade. Among his contemporaries and well into the nineteenth century Cave’s vernacular biographies of the Apostles and Church Fathers were widely read, but it was with the two volumes of his Scriptorum Ecclesiasticorum Historia Literaria (1688 and 1698), his life’s work, that he made his most important and lasting contribution to scholarship. The first aim of the thesis is therefore to build on a recent quickening of research into the innovative early-modern genre of historia literaria by exploring how, why, and with what help, in the context of late seventeenth-century European intellectual culture, Cave decided to write a work of literary history. To do so it makes extensive use of the handwritten drafts, annotations, notebooks, and letters that he left behind, giving a comprehensive account of his reading and scholarly practices from his student-days in 1650s Cambridge and then as a young clergyman in the 1660s to his final, unsuccessful attempts to publish a revised edition of his book at the end of his life. Cave’s motives, it finds, were multiple, complex, and sometimes conflicting: they developed in response to the immediate practical concerns of the post-Restoration Church of England even as they reflected some of the deeper-lying tensions of late humanist scholarship. The second reason for writing a thesis about Cave is that it makes it possible to reconsider an influential historiographical narrative about the origins of the ‘modern’ disciplinary category of literature. Since the 1970s the consensus among scholars has been that the nineteenth-century definition of literature as imaginative fictions in verse and prose – in other words literature as it is now taught in schools and universities – more or less completely replaced the early-modern notion of literature, literae, as learned books of all kinds. This view is challenged in the final section of this thesis, which traces the influence of Cave’s work on some of the canonical authors of the English literary tradition, including Johnson and Coleridge. Coleridge’s example, in particular, helps us to see why Cave and scholars like him were excluded lastingly from genealogies of English studies in the twentieth century, despite having given the discipline many of its characteristic concerns and aversions.