Daniel Defoe, separated from the society of the majority of English people of his time by his religion and his low social status, was concerned with isolation in the lives of the characters in his novels. The solitude of Robinson Crusoe has been frequently discussed, but the characters in other novels have not been studied in much detail nor have the characters been studied as a group of isolated with similar characteristics. The purpose of the following study is to determine what characteristics Defoe’s isolates have in common, what attitude Defoe had toward solitude and the isolates, and what effect Defoe’s personal seclusion had on his fiction as represented by the four novels Robinson Crusoe, Moll Flanders, Captain Singleton, and Roxana. The oslated selected for the study are two men: Robinson Crusoe and Captain Singleton, and two women: Moll Flanders and Roxana. All of these characters are at some time separated from the society acceptable to the majority of citizens by place of residence, by religious belief, by social status, by economic conditions, and by psychological factors. The chapter following will be devoted to the study of the causes and effects of isolation.

The stream of Christianity has never run its course through a generation of believers in which has not been found someone who urged the application of Jesus teachings to the social perplexities of the day. The persistence of this attitude has not, however, been a guarantee of consistency either in the interpretation of the gospel they sought to apply or in the method of application. The approaches to the understanding of the ethic of Jesus have been as many and varied as the problems, the thought, and the radical characteristics of the people who have quenched their thirst with the living water of the stream. And now this ethical emphasis has come to occupy the central place in the Christianity of our time. The objective is not to determine the content of the ethic except where it is necessary to the progress of the central problem. No one “system” of Christian ethics will be used. Nor is the aim to criticize the present social order on the basis of the Christian Ethic. That is another task outside the scope of this work. The objective herein accepted is to consider critically the problem of the permanent validity of the Christian Ethic.

A collection of poetry

The purpose of this study is to become acquainted with the first movement of Mahler’s Fifth Symphony in the same manner as a conductor would when preparing the work for performance. Dr. William Dehning stated in his doctoral thesis: “The correct execution of any music imposes a great responsibility on the conductor of that music to determine what the composer might have intended.” The areas of concern to be discussed in this thesis, then, include analysis, thoughts on aesthetic and stylistic qualities, and some historical accounts relating directly to the Fifth Symphony.

This study examined the effects of music on improving quality of sleep. Participants were randomly assigned to either a music assisted relaxation or a relaxation alone condition. Individuals in both groups were taught varying relaxation methods and were provided with a relaxation script which incorporated each of the methods. Those in the music assisted relaxation condition were allowed to select their top two pieces from a list of relaxing music. The selections were placed on a CD being played in the background while a relaxation script was read. Those in the relaxation alone condition received a CD with the same relaxation script heard by those in the music assisted relaxation condition. Global sleep scores (as measured by the Pittsburgh Sleep Quality Index) were taken on the first and last days of the experiment. Examining individual and group scores showed no statistically significant difference between music assisted relaxation and relaxation alone. Discussion focuses on the implications for future research in the area of music's effect on sleep quality.

Our American forefathers, with the exception of Thomas Jefferson, had no ideal of a system of universal education. His plans were throttled by slavery, but the doctrine of universal education lived. Then at a time when the whole system of common schools was in danger of failure Horace Mann gave his life to the promotion of the interests of the Common school. In 1837, the very year Horace Mann gave up his prospect of a famous political career to become Secretary of the State Board of Education in Massachusetts, Francis Wayland Parker was born in New Hampshire, and was destined to play an important part in this movement for the welfare of the common school. He began his teaching career at the age of sixteen. In his work he made a practical application of the truism of Comenius, 'We Learn To Do By Doing,' by supplying conditions which were favorable to efficient and rational doing. Spurred on by his deep conviction that there must be a science of education with which he was not familiar, he spent several years studying in Germany. With his conviction strengthened, he returned to America to continue his work or reform in the elementary schools of, America. He pictured the school as a community and the teacher as an organizer of community life and creator of public opinion. Like Horace Mann, he instigated and promoted a great movement to free teachers as well as children. Prior to this time teachers had received appointments mainly through political influence, regardless of their lack of qualifications. Through Colonel Parker's efforts, it became necessary to appoint teachers who were equipped the guide the pupils along the path of freedom which develops self-control.1 Colonel Parker refused to accept a creed handed down from the past and so refused to impose a creed upon his followers. Thus he left no published works which do justice to his educational theory and practice. It is my purpose to show the relationship of his work to the Progressive School Movement, and the background provided by his reforms for Dr. John Dewey's contribution to the elementary school.

Statement of the problem. This paper is an examination of William Sydney Porter's Latin American stories in light of their inter-American significance. The basic point of view from which the study is made is that Porter is a North American writing about Latin American at the beginning of the twentieth century. The paper examines the Latin American and North American characters which appear in the stories and catalogs them into groups of stereotypes. The aim of this study is to discover Porter's ideas, views, and concepts of Latin America, Latin Americans, and North Americas in Latin America, as they are expressed in his stories. This study cannot establish what Porter's personal thoughts on Latin America and Latin Americans actually were, for Porter never published a first-person report of these thoughts. Much of the study depends entirely on the views, opinions, and feelings of the speakers and characters in the stories. Many of Porter's North American characters demonstrate a negative attitude toward Latin America and its people, an attitude which is in keeping with their characters. This is particularly true of Porter's North American soldier of fortune type, speculator type, adventurer type, and fugitive type. However, in order to point out the general attitude toward Latin America which is developed and expressed by Porter in his stories, it will be necessary to lump together the views and opinions of all his speakers and characters.

Thomas Stearns Eliot wrote only seven dramatic works, which include the unfinished fragments Sweeny Agonistes and the pageant play, The Rock. These works show the ways Eliot put into practice his own theories about the relationship of drama and verse. Although their relative merits are the subject of considerable critical controversy, each play affords a rich theatrical experience. This study attempts to assess the real value of Eliot’s work and seeks to explore the relationship between his avowed intentions to communicate in the theatre, and the finished product of his labors. Necessarily, we must examine his views on art, religion, drama, and verse because all of these are part of the creative process.

While eschewing a strict definition on the didacticism of Blake's imaginative vision, the following four analyses could be said to revolve around three general themes. These are: (1) that Songs of Innocence engage in a dialectic, much of their appeal deriving from the tension created between the co-existence of so-called qualities of "innocence" and "experience"; (2) that each one is an individual attempt to reconcile these, as well as other, oppositions; and (3) that such a reconciliation is hierarchical, usually concluding on a transcendent or visionary plane. The first three center on the text and metrical phenomena. In "The Ecchoing Green" they are explicated synonymously, whereas in "The Shepherd," "The Little Black Boy," and "Laughing Song," the textual approach precedes an appropriate metrical amplification. The final discussion of "The Blossom" marks a technical shift into sound color, though the structure of the approach continues the same alternating pattern demonstrated on the three analyses before it.

Henrik Ibsen's critics have long acknowledged his mastery of the stage, that is, his use of the physical and off-stage settings, architectural details, props, and space as symbol. However, study of Ibsen's symbolic settings has been limited to one play or to aspects of his stagecraft in general terms. Peter Tenant's Ibsen's Dramatic Technique discusses the settings and stage directions of his major plays as they relate to plot and theme. In Patterns of Ibsen's Middle Plays, Richard Hornby studies the settings and scenic background only for An Enemy of the People. Edward Beyer in Ibsen's The Man And His Work focuses on the plays' symbols as they relate to theme. Finally, David Thomas presents an excellent study of stage space in The Lady From the Sea. These authors and others have touched upon the genius of Ibsen's stagecraft. More can and should be said because understanding Ibsen's symbolic settings will lead to a deeper reading and appreciation of his plays. Ibsen's use of the symbolic setting provides focus and unity to the plays that were written between 1882 and 1892. His settings become a projection of his major themes and the characters• souls or psyches. Areas on and off the stage, props, furniture, and architectural details may be a stage projection of the protagonist's mind, intention, motivation, or suppression. Since the essential nature of drama is conflict, Ibsen often uses his settings as symbols of conflict. Varied settings, architectural details, placement of the furniture, and the characters• positions and movement on the stage provide a visual symbolism for his themes in An Enemy of the People, Rosmersholm, Lady From The Sea, Hedda Gabler, and The Master Builder. Ibsen's settings often caused a great deal of trouble to stage because they were complicated. Indoor settings were his effort to create a realistic illusion, while his later abandonment of indoor settings coincided with his reversion to romantic symbolism, according to Tenant (67). With The Lady From The Sea in 1888, his plays expanded to the open air. Three plays, Rosmersholm, The Lady From the Sea, and The Master Builder, begin in an enclosed setting that gradually and symbolically takes the protagonist to the outdoors and freedom. However, in The Enemy of the People, Ibsen uses enclosed settings that are mirror images of one another, thus symbolizing the pattern of thematic contrasts. Only Hedda Gabler takes place in one enclosed set, which becomes a symbolic entrapment for Hedda. In these latter two plays and The Master Builder, Ibsen enlarged his stage with the help of an inner room or a back room that functioned not only as a way to place his characters and therefore complicate the plot, but also to project his themes and his characters' psychological states. In addition, he uses off-stage settings not only to symbolize further the conflicts within his characters, but also to enhance his themes.