"The purpose of this study is to examine the attitude of Mexican Americans toward their Texas Spanish in order to determine if present educational policies are successful in promoting high self-concepts for Mexican-American students..the conclusion of this thesis [is] that a sizable number of Mexican-Americans do not have a positive self-image as speakers of their native language. It is suggested that the rejection of Spanish dialects which are different and distinct from the school standard is a major factor in causing a low self-image on the part of the speaker of a non-standard dialect."-- leaves 1,3.
This paper will propose a generative analysis of McDavid's dialect verb forms. The concepts of Chomsky and Halle as presented in SPE form the framework for this study.
Hawthorne is one among the few American writers who have dwelt on the subject of the creative process throughout his works. Through introspection and then skillfully enumerating the necessary elements of artistry, Hawthorne educated his audience in the progression of creating a piece of work. Many changes have taken place in literature since Hawthorne's time, but the basic principles set forth in his theories still hold true. Hawthorne's theories of art and his analysis of the creative process are surely among his most important contributions to literature. In the absence of a long national literary history, he mingled the Actual with the Imaginary and adapted his work to a form of the novel called Romance. With materials he could find concerning the short history of his country, he showed how past events influence the present. He examined the creative process that took place in his own work and shared with posterity the conditions under which he created.
The following three chapters identify influences of the Imagist movement and the avant garde painters on the early poetry of Williams, and particularly on those poems that deal with flowers. This study is restricted to the earlier poems for several reasons, the most obvious being that Williams simply does not employ floral imagery to any extent in The Collected Later Poems. For instance, of the almost three hundred poems in The Collected Earlier Poems nearly sixty take flowers as their title or rely on floral imagery for part of their power. Nearly half that many use arboreal imagery, another prominent and important "object" in Williams' poetry, and, of course, many more use other images from the natural world. On the other hand, in The Collected Later Poems only three poems have flowers in their titles. Even in these three Williams was more interested in depicting sociological situations than in description, for his conception of poetry changed radically after the 1930's. He became convinced at that time that poetry should be serious rather than entertaining. Further, he became a staunch advocate of the "anti-poetic" theory of beauty whose chief tenet was that beauty and ugliness were part of a single whole. Nothing beautiful, like a flower, could exist without its soil of ugly, drab antecedents. James Guimond believes that this is the reason why Williams ceased presenting "his beautiful objects in splendid, static isolation from time and the world around them" (1, p. 50). Possibly 14 for these reasons the nature imagery is not nearly so dominant in these poems as in those written before 1940. Nor has the poetry of Paterson or Pictures from Breugel been included in this study. Because of the tremendous attention given them in the last five years, their nature imagery has been well covered. However, …
The purpose of this study is to seek out, examine, and analyze the relationship that Emily Dickinson shared with her sister, Lavinia, and with her sister-in-law, Susan Gilbert Dickinson. All of her letters and poems have been carefully considered, as well as the letters and diaries of friends and relatives who might shed light on the three women.
The purpose of this study is to explore Mark Twain's involvement with the southern ante-bellum experience as reflected in his Southern Trilogy, The Adventures of Tom Sawyer, The Adventures of Huckleberry Finn (Tom Sawyer's Comrade), and Pudd'nhead Wilson. He came to denounce the South more and more vehemently in these novels, and each occupies a critical position in his artistic and philosophical growth.
As Matthew Arnold saw the philosophies of the classical ancients as touchstones for evaluating the new political and social philosophies of his own time, Arnold himself has served as a "touchstone" for historians who must evaluate the political and social events of the Victorian Age. Arnold made many comments about the three great Prime Ministers of his time: Lord Palmerston, Benjamin Disraeli, and William E. Gladstone, and about the policies of their respective administrations. Arnold's point of view toward these men is reflected in personal letters to members of his family and in his most significant political works, Culture and Anarchy and Friendship's Garland. In the study that follows, these selections are examined in terms of the three Prime Ministers. Chapter I is an introduction to Arnold's political philosophy and an account of Arnold's comments about Disraeli, for of the three, Arnold had the least to say about Disraeli. Arnold dwells almost exclusively on differences he has with the government, and he found less to disagree with in Disraeli's policies than with the others. Arnold's reactions to Disraeli were more personal in nature than political. Chapter II deals with Lord Palmerston's administration and with key events and people associated with it. Chapter III deals more specifically with Culture and Anarchy and with political and social events that served as a background for Arnold's commentary. Finally, Chapter IV concentrates on the Gladstone years, concluding with Arnold's assessment of the Liberal party and its leader in "The Nadir of Liberalism."
During Matthew Arnold's lifetime England was in permanent transition: the emergence of a modern industrial society, the new science and liberalized Christianity, and the democratic and humanitarian movements. To be a writer during this time required a curious and precarious balances an alternation of steadfastness and change. Arnold's moving back and forth between the traditions of romanticism and rationalism does present a challenge to the contemporary reader; no single or systematic approach can be applied to his works. An examination of a selection of Arnold's poems, written predominantly between 1845 and 1857, shows the author's reassessment of man's place in the new cosmology as necessitated by the scientific and technological advances of the century. The poems selected also suggest movement away from the romantic concept of the greatness of the past and yesterday's larger-than-life hero toward an acceptance of the best life as represented by the present generation of men. Arnold's theory, that the best self or right reason manifests itself in heroic men, in leaders, and confirms ordinary men, is found throughout the poems studied.
The succeeding chapters of this thesis are concerned with Carson McCullers' method of handling the Gothic. Their purpose is to describe the modern Gothic elements in McCullers' first three novels: The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941), The Member of the Wedding (1946) and in her novella: The Ballad of the Sad Cafe (1943).
Shakespeare's second tetralogy, while in the process of exposing the divine-right and the Machiavellian theories, also shows how the divine-right order breaks down and paves the way for practical Machiavellianism.
The purpose of this investigation is to evaluate and synthesize the conflicting views of those critics who deal with the manner in which William Faulkner conceives time in his fiction.
The rise of naturalism in American letters was born out of a reaction against romanticism by writers such as Theodore Dreiser, Hamlin Garland, Stephen Crane, Frank Norris, Jack London, Upton Sinclair and Robert Herrick, who attempted to rid the American novel of romanticism by delving deeper into life's truths than did the realists Mark Twain, William Dean Howells and Henry James. The naturalists objected to the limited subject matter of the realists; they focused their attention on "slums, crime, illicit sexual passions, exploitation of man by man"2 and other actualities of the world. George Perkins outlined other distinctions between realism and naturalism in American literature.3 He describes nineteenth-century realism, 1870-1890, as represented by writers who created a world of truth by keeping actuality clearly in mind. The emphasis was on the following: 1. Using settings that were thoroughly familiar to the writer. 2. Emphasizing the norm of daily experience in plot construction. 3. Creating ordinary characters and studying them in depth. 4. Adhering to complete authorial objectivity. 5. Accepting their moral responsibility by reporting the world as it truly was.
It is the purpose of this paper to demonstrate the nature of Thoreau's use of organic imagery by tracing recurrent symbols that represent key concepts and provide unity and coherence throughout Walden. By charting the patterns of imagery in Walden, one can observe Thoreau's movement from an initially pessimistic view of man's present state to one of transcendental optimism and hope for freedom in the future.
The problem with which this study is concerned is that of determining the role of war and social revolution in Afro-American poetry of the 1960's. For this study, four major poets were selected: Gwendolyn Brooks, Nikki Giovanni, LeRoi Jones, and Don L. Lee.
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