The problem of academic failure has been of real concern to the administration and faculty at Syracuse University. The study at hand is concerned specifically with the problem in the College of Home Economics. Through a study of the data known about students at the time of entrance into the College, it was thought that a better basis for selection night be recommended for the admission of students to the College. Such questions as the following arise in the mind of the research worker: 1. Do the group psychological tests given at the University at the time of entrance give us one basis by which we may predict probable academic success or failure? 2. Are the known high school quartiles dependable bases for selection of successful students? 3. Are there factors in the family backgrounds of these students that.may be significant in their selection? 4. Does an objective personality test have validity as a predictive factor in the success of a student? 5. Do we have any anecdotal records that reveal significant differences in personal adjustment between successful and failed students? 6. Are we able to predict the probable success of failed students upon readmission? 7. Do we have any combination of factors that may be significant in predicting the probable success of a student?
When Czech composer Bedřich Smetana's opera The Bartered Bride received its American premiere at the Metropolitan Opera in February 1909, New York music critics published positive reviews which displayed a great fascination with the many "Bohemian" aspects of the production. However, certain comments or language used by some critics indicate that American opinions of the Czech people were less than positive. After Czechs began immigrating to America en masse in 1848, already-established American citizens developed skewed cultural perceptions of the Czech people, established negative stereotypes, and propagated their opinions in various forms of press throughout the nation. Despite a general dislike of the Czechs, reviewers revered The Bartered Bride and praised its many authentic "Bohemian" qualities. This research explores the idea of a paradoxical cultural phenomenon in which the prejudice against Czech people did not fully cross over into the musical sphere. Instead, appreciation for Czech music and musicians may have trumped any such negative opinions and authentic Czech productions such as The Bartered Bride may have been considered a novelty in the eyes of early twentieth-century New Yorkers.
This thesis presents qualitative research conducted in summer 2017 at the Finger Lakes Free Clinic, which provides free medical and holistic care to people without insurance in upstate New York. The primary goal of this research was to strengthen the relationship between a free clinic and its donors by gathering donor concerns and perceptions regarding federal healthcare policy. Data from 32 interviews with donors, staff, board members, and volunteers, along with 100 hours of participant observation revealed that donors to this clinic were concerned about the potential impact of Congressional healthcare reform yet did not consider federal policy a strong influence on their donations. Rather, donors cited dedication to local giving and personal connections with the clinic as their primary motivations. These motivations suggest the value of viewing the clinic-donor relationship as a relationship of reciprocity. From this framework, the research identifies opportunities for the clinic to reciprocate donor generosity while expanding services in response to a growing need. Insights from the research will guide the clinic's response to federal policy changes and support the clinic's vision of becoming a national model for integrative care.
The purpose of this survey is to evaluate the contribution that the Westminster Choir movement has made to choral music in the United States today. It is hoped after the contributions have been stated by the investigator that the important position Westminster Choir College is occupying will be better understood.
People who live in mobile homes have heightened vulnerability to disasters, due in part to mobile homes increasingly occupying high-hazard risk lands and the precarious ownership status known as divided-tenure. Divided-tenure is when an individual owns a mobile home and rents the land underneath. To identify the challenges associated with divided-tenure and disaster recovery from a policy perspective, this study analyzed the content of key HUD policies and performed a comparative policy analysis of purchase opportunity laws (requirements of landowners to give mobile homeowners an opportunity to purchase the property their home resides on) in three states: California, Florida, and New York. Content analysis indicated few direct references to mobile homes. Inconsistencies and confusing messaging were found in the existing federal guidance. The lack of consistent terminology and guidance on addressing divided-tenure, limits mobile homeowner's options for disaster recovery, including eligibility for federal disaster aid and potentially participation in relocation or buyout programs. The three selected states' purchase opportunity laws reviewed in this study were rated as weak. Policies lacked alignment with federal documents and opportunities for mobile homeowners were difficult to navigate. A pathway to land ownership could give mobile homeowners more control over their disaster recovery options, but current laws still limit that ability. This study and future work have the potential to help mobile homeowners, an understudied yet growing population, experience a more equitable disaster recovery, which currently is lacking, based on the reviewed federal and state policies.
The purposes of this study were, 1. To develop a documented history of the founding of the town of Islip. 2. To trace the development of public education within the town and to parallel this development with state-wide developments in the field.
This study endeavors to give an insight into the causes and characteristics of price fluctuations of spot cotton at New York, N.Y., for the period 1911-1953, and to indicate whenever possible the factors which caused the price of cotton to rise or fall during selected periods.
The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."
The aim of this thesis is to present a comprehensive view--a survey--of plays by William Shakespeare that have been produced for the New York stage from 1935 through 1955 in order to ascertain not only the quantity of Shakespearean drama that has been presented during this twenty-one-year period, but also to appraise the quality of the productions as seen by the critics. A related aim of this study will be the analysis of the televised Shakespearean plays by presenting the works and their merits through the eyes of the critics of that medium.
This creative nonfiction dissertation is a book of essays that explore the author's life and relationship to Upstate New York. The project also connects this experience to gender and trauma. Though the topics range from local history to cosmetic surgical procedures, the essays are collected by how they illuminate cultural tensions and universal truths. These essays are preceded by a critical preface that examines the differences between essays collections, books of essays, and argues for the recognition of narrative nonfiction as an artistic choice.
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