All three of Golding’s first novels make dark comment on what they show, but of the treem Pincher Martin, ostensibly the darkest, offers the most hope. Although “the protagonist’s particular history of guilt and greed is intended to stand as a fable for contemporary man,” man (and Pincher) could choose not to turn away from God. That choice, however, demands faith or vision. If, as Baker points out, “the final chapters intentionally contradict the reality shown in the narrative - and thus expose the fallibility of the rational point of view,” they also morally direct the reader’s vision, helping him toward a wider perspective, one which may account for different realities, eternal values. And thus does the richa and extensive symbolism, which so clearly paints a despicable portrait of Pincher Martin, extend inward to the irrational province of the self’s dark center in each reader. That center can then choose to turn inward on itself, to invent a heaven - or hell - out of itself, or to look outward to a larger, divine light. Largely because of his use of symbolism, Golding tries with commendable success to influence the choice and to sharpen the center’s vision.

Charlotte Bronte is a conscious artist, avare of the demand of the novel form. In her four novels she demonstrates her understanding of the principles of organic unity. Each novel is based on a different pattern, but each achieves unity and coherence through the author's conscious use of structure, language, and theme. The Professor (written in 1846-1847, published posthumously in 1857), though highly structured, seems the least expertly handled of her novels. Overly romantic, it holds rigidly to a predetermined three-part division, a triple emphasis which the author carries to the extreme. Her conscious attention to structure, however, indicates that she senses the need for such organized unity. Her handling of the extended metaphor shows her latent skill.

Readers both before and after the publication of Malcolm Lowry's Under the Volcano frequently misunderstood Lowry's Method and consequently oversimplified His Beaning, Judging the novel to be over- written and carelessly constructed, they suggested cute or revisions. close reading, however, vindicates teary, who Insisted that extreme care had gone into his multi-leveled hovel and that any substantial deletions or modifications would bare the overall plan of his work.

Every serious student of English, no matter how many years separate him from the M.A. or Ph. D. degrees, must develop to a high degree the essential quality of independence which allows him to pursue investigation in his subject more or less on his own. He cannot continue to bother librarians for every specific source of information which he way need in pursuit of his assigned or self-imposed tasks either in class or out. He should know his way around the area of bibliography--the earlier in his academic career, the better. Surely his first ventures in this direction should not await his entrance into graduate school, although the fact is that few colleges or universities furnish him with more than nodding acquaintance with the more truly helpful reference sources before he achieves his A. 8. In recognition of this situation, the first section of this handbook has been written.

Ezra Pound wrote Cantos 85 to 95, Section: Rock Drill, while imprisoned in St. Elizabeth’s, a mental hospital in Washington, D.C. This section was first published in 1956, to be followed by the final Cantos (95-109) in 1958. The source for the title Rock Drill was an abstract sculpture cast in gunmetal by Sir Jacob Epstein as part of the Vorticist exhibition of 1915. In Pound’s eyes, this sculpture provided “a central metaphor,... [signifying] his own constant effort to drive home the ideas upon which the right kind of society rests.” In fact, Wyndham Lewis wrote a review of Pound’s letters entitled “The Rock Drill,” in which he attributed the concept behind Epstein’s work - the “hammering away” - to Pound’s own prose. As a major portion of Pound’s mature work, these Cantos represent the aging poet’s move toward a final synthesis of the ideas and philosophies of a lifetime. As in The Cantos as a whole, Pound’s poetic technique in Rock Drill is fragmented and elliptical - dependent upon associational, rather than logical devices for the achievement of coherence. To create the overall structure, Pound combined two poetic techniques: first, the technique of “process,” that is a juxtaposition of constantly-shifting images representative of the poetic consciousness in a state of transformation, or “becoming”; second, the technique of atemporal synthesis - the insertion into the poetic flux of certain “timeless moments,” within which the central consciousness of the Cantos shares a state of “being” with compatible consciousness throughout history. In these moments of “being,” the fact of linear history is discredited, and is replaced by the idea of mythic time, in which the particular moment is eternalized through ritual reenactment of similar moments. For the content of these moments, the central consciousness, or persona, draws upon literary, historical, and mythical sources, as well as upon contemporary experience. Pound’s use of persona, then, becomes the major means by which he achieves a unified central structure for a large body of somewhat loosely-related and constantly-shifting material. In the earlier Canots, Pound incorporates such figures as Odysseus, Dantema and Confucius into the central shared consciousness, or persona. In the later Canots, however, as Pound moves away from the persona of the hero toward that of the magician seer, a quite different consciousness “comes to the surface.” As manifested in Rock Drill, this persona not only incorporates elements of Merlin, the legendary magician, but also encompasses such deities as Hermes, such ancients as Apollonius of Tyre, and such contemporaries as W.B. Yeats. The persona becomes much more than an historical manifestation of Merlin; he becomes, in fact, the consciousness of all magicians/seers - both historical and mythological - as reenacted and relived by the poet. An examination of Pound’s development of this persona can be of great benefit in dispelling much of the puzzling haziness of the Rock Drill Cantos. In order to understand the nature of this “overarching” consciousness, we must examine some of the biographical, historical and mythological guises which Pound’s Merlin assumes; at the same time, we must become aware of the technique by which the poet synthesizes these shifting shapes into one controlling persona.

Gabriel Fielding's In the Time of Greenbloom is a major twentieth century novel that has received literary critical attention. With its dramatic plot and colorful characters, it has an immediate surface appeal for most readers. The novel requires deeper, symbolical reading in order to reach its central theme, man's potential for transformation. John Blaydon, the protagonist, is a very different young man at the end of the novel from the child he is at the beginning. His activities, the narrative base of the novel, reveal more than the external events of his life. Fielding uses them as objectification of confrontations that occur within John's psyche. As the novel opens, John is regressive, uncertain of his sexual identity, and suicidal. During the following six years, he undergoes a series of traumatic encounters within his psyche made concrete in the details of the novel. As a result of the inner confrontations, John is transformed into a young man growing into healthful maturity' and hovering on the edge of creative accomplishment. The process by which Fielding communicates psychological change is the establishment in the first chapter of a matrix, the scene at the Bellingham lake and woods, a fictional embodiment of John's psyche. That scene is made up of components such as characters, settings, actions, and motifs that symbolize John's psychological complexes. In.a technique of transformation, Fielding repeats the scene again and again, changing the contents of the components to reveal qualitative changes in the complexes. The components become correlatives that guide the reader in keeping account of changes in John. The matrix and its components remain relatively fixed throughout and underlie the fundamental architectonics of the novel, but the contents of the components change. Thus, Fielding fictionalizes the changes in John's psyche. The components of the matrix do not function in isolation to communicate transformation. They are fleshed out and supported by an elaborate texture of smaller units, of cross-references, among the novel's image patterns, direct statements, word-plays, allusions, and the like. These details intertwine to amplify, extend, deepen, validate, and enrich the insight gained from the correlatives of John's psychological growth. Transformation is the key word for the novel both technically and thematically as the detailed analysis that makes up much of this study reveals. Other techniques are employed to communicate the psychological theme. Fielding establishes a doubling pattern--characters are paired (John and Victoria, John and Greenbloom), oppositions are utilized (noise and silence, inertia and activity)--to emphasize. the role of the conscious and the unconscious and the negative and positive polarities implicit in many psychological principles. He superimposes details to reveal growing psychic integration, he juxtaposes actions to heighten contrasting psychic forces at work, he recapitulates incidents to reveal the lessened power of earlier threatening complexes, and he freezes actions to communicate psychic arrest. Fielding has his protagonist describe much of what he does: John sees other characters as being "inside" himself and explains that "things that happen to you are you." Fielding manipulates his technique forcing it to function expressively to reveal the psychological processes at work in John's gradually developing maturity. His description of growth from boyhood to manhood and from emotional crippling to psychic health employs a variety of ways to dramatically communicate transformation and suggests a similarity between the dynamics of the psyche and the dynamics of literary technique.

The purpose of this empirical study was to examine the effects of sentence combining on paragraphs written by students diagnosed as having serious emotional disturbances by the State of California. Sentence combining is one writing process technique frequently found in mainstream education, but not in typical special education writing curricula. The study examined the effects of sentence combining during three experimental conditions: (1) a baseline condition comprised of examiner-determined writing samples elicited by subjects prior to the intervention; (2) a treatment condition which consisted of the sentence combining intervention itself; (3) a follow-up condition implemented two weeks after each subject had completed the treatment. Each subject was also pretested and posttested on a formal standardized measure. The design of this study was a within subject analysis employing a multiple baseline across subjects design. The sample of this study consisted of three male adolescents, residing in a 24 hour residential facility with an educational component. Each subject was required to compose a daily, examiner-determined writing sample which was scored by one of two previously trained raters. An eight element, examiner made rubric, consisting of specific writing skills served as the dependent measure. Findings varied among the three subjects. Subject A's standardized posttest results did not appear to be effected by the treatment. However, results on the eight element writing rubric supported two postulates of the writing process: (1) grammatical rules of punctuation and capitalization improve as one becomes more fluent in writing, (2) one becomes more fluent in writing if one writes frequently. Having been exposed to only special education writing curriculum for the majority of his school years, Subject B's results indicated that the treatment design significantly impacted his written expression skills as measured by both the standardized testing instrument and the informal testing instrument. Subject C did not show significant gains in his standardized posttest results. However, he did show remarkable growth on the informal evaluative measure. The results of this study lend themselves to three implications for teaching writing to this particular population: (1) adopt regular education's core curricular teaching techniques; (2) write daily; and (3) conduct further studies that merge quantitative and qualitative research methods.

Conrad ' s significance as a major novelist having been well established by the present time , one may justly turn attention to a consideration of whether Nostromo, his masterpiece, deserves the paradoxical ranking critics generally accord it as a flawed and essentially inexplicable work of genius . Nostromo is the focus of the present study, which establishes by extensive analysis that Conrad employs a complex imagistic technique, manifesting thereby not only thematic content but also compositional method. Basic to this technique is the tend ency to view a subject in terms of polarities , around which to cluster images bearing thematic meaning . These images assume primary significance when viewed , not in isolation, but from the larger perspective of the novel as an organic unity . Though the sheer bulk of Nostromo and its epic-like scope can easily pull the eye as well as the attention of the reader away from details of imagery to geographic sweep and . grandeur, political intrigue, material pursuits , and revolution, significance lies in these details . Creating a tremendous complexity of imagery through the simple process of dichotomizing human nature into its barbarizing and civilizing aspects, Conrad presents the microcosmic world of the novel; and significant as other aspects of his art may be, they are nonetheless subordinated to "this all-encompassing imagistic technique. The opening chapters of the novel present the central polarities of the human condition. To express the brutal or barbaric side of humanity, the author utilizes images of the natural world--plants and animals , natural forms described in architectural terms , weather of various types, the colors green and black, some condition resembling nakedness or undress, man in a primitive or pretechnological condition of existence, social disorder, and man whose operant principle is barbaric greed . To express that side of mankind which one may call civilizing or aspiring, the author employs images of domesticated plants and animals, man-made architectural forms, shelter {usually man-made) from natural elements , the color white, fabric or cloth of both simple and sophisticated kinds to indicate man's approximation to one polarity or the other, and man whose motivating principle is some kind of idealism, though this idealism may itself involve something of self - interest . Once aware of Conrad's dialectical patterning, the reader can readily determine the central theme of the novel. Significantly , Conrad chooses social revolution as the vehicle for the idea of alternating states of barbarism and civilization; for within each state lie the seeds of its destruction. He thus reiterates in Nostromo one of his major themes , that which proclaims the essential depravity of human nature and the ultimate futility of those tissue-like veneers which civilization offers as saving agencies . Only mankind's striving or idealizing prevent the cycle of barbarism and civilization from ending in the total darkness of despair. Uniting the polarities of human nature in the complex central symbol of a silver mine , Conrad manifests humanity's seemingly progressive but truly cyclical march . Other dualisms figure prominently in the imagery: ones of setting ; communication and transportation ; and family groupings , either those created by blood or those formed by some interest . Conrad's command of thematic imagery is perhaps his greatest contribution to the genre of the novel. Nostromo will doubtless remain a difficult work for most readers, a difficulty attributable in large measure to the complexity of its imagery of despair. As should be the case with all critical approaches, the present study seeks to illumine the work, thereby enabling the reader to return to it with greater appreciation and understanding. With Nostromo, the task is a rewarding, though demanding one.

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The purpose of this study was to examine the academic leadership as portrayed in the American academic novel from 1950 to 1990. Leadership positions from higher education (president, vice-president, dean, and chairperson) were examined in this analysis of 40 academic fiction novels. The leader behavior of the selected characters was classified, using the following categories: autocratic (telling), democratic (selling), participative (participating), delegative (delegating), situational (varying) and "other" (unclassifiable due to lack of information or criteria variance). The finding was that the majority of academic leaders, in the novels studied, behaved using an autocratic (telling) leadership behavior. Also, the majority of the selected novels were written from the viewpoint of a professor; however, the autocratic image of the administrators was considered accurate from the professorcharacter's point of view. The results of this study should prove useful to educational institutions in deciding the usefulness, choice, planning, and implementation of leadership training for academic administrators. The introduction of leadership methods in education would be warranted to effect the future leadership performance of educators and, eventually, improve the leadership image of academic administrators.