Because Shakespeare borrowed so many ideas and devices from other writers, we wonder whether he also borrowed the trick of double time from some of his predecessors; therefore one of the purposes of this study is to discover whether or not this device was original with Shakespeare. In this study I have considered the works of John Lyly, Christopher Marlowe, Robert Greene, and George Peele because these four seem to have influenced Shakespeare more than did any of the other of his immediate predecessors. To discover what influence, if any, these men had upon Shakespeare ts treatment of time is not, however, the only purpose of this study; for I am also interested in the characteristics of the works of these men for their own values, independent of any influence which they may have had on the works of Shakespeare.

Over 13-weeks a control group (n=7) had all errors corrected, while an experimental group (n=9) had only article and sentence construction (run-on sentences, fragments, comma splices) errors corrected. Separating the two types of errors is essential, since the latter (representing grammar) are subject to theories of acquisition and the former (representing usage) are not. One-way analyses of variance ran on pretest versus posttest found no significant difference in either groups' article errors; however, the experimental group had significantly fewer sentence construction errors, implying that teachers should be sensitive to both the correction technique and error type; researchers should not combine the two error types in gathering data.

The purpose of this study is to demonstrate that the concept of a godless universe governed by a consciousless and conscienceless Immanent Will in Hardy's poetry is an ineluctable outcome, given the expanded scientific knowledge of the nineteenth century, of the pantheistic views of the English Romantic poets. The purpose is accomplished by tracing characteristically Romantic attitudes through the representative poetry of the early Victorian period and in Hardy's poetry. The first chapter is a brief introduction. Chapter II surveys major Romantic themes, illustrating them in Wordsworth's poetry. Chapter III treats the decline of the Romantic vision in the poetry of Tennyson and Arnold. Hardy's views and the Victorian poets' influence are the subject of Chapter IV. Chapter V demonstrates Wordsworth's influence on Hardy in several areas.

This thesis examines some selective cases of morphophonemic alternation in Mandarin Chinese. It presents analyses of the function -of the retroflex suffix -r and describes several conditions for tone sandhi. The suffix -r functions not simply as a noun formative. Some of the suffixed forms have consistently different meanings from the roots on which they are based. The suffix -r also plays a role in poetry as a time-filler to make each line of a poem fulfill the requirements of the strict number of characters and rhyme. This thesis also explains what causes the tone pattern of words such as xiaojie and jiejie to be pronounced differently. These tonal changes are found to be related to the way in which a word is formed. Compounding, reduplication and suffixation differ with respect to how they effect tone sandhi. Tone alternations in actual speech are explored to determine how tone sandhi produces each pronunciation and how grammatical structure and other factors are relevant.

The thesis systematically explicates Dostoevsky's portrayal of the origin of human evil on earth through the novel The Brothers Karamazov. Drawing from the novel and from Augustine, Pelagius, and Luther, the explication compares and contrasts Dostoevsky's doctrine of original conflict against the three theologians' views of original sin. Following a brief summary of the three earlier theories of original sin, the thesis describes Dostoevsky's peculiar doctrine of Karamazovism and his unique account of how human evil originated. Finally, the thesis shows how suffering, love, and guilt grow out of the original conflict and how the image of Christ serves as an icon of the special kind of social unity projected by Zosima the Elder in The Brothers Karamazov.

American writers of narrative fiction frequently manipulate the words of their narrators in order to convey a significance of which the author and the reader are aware but the narrator is not. By causing the narrator to reveal information unwittingly, the author develops covert themes that are antithetical to those espoused by the narrator. Particularly subject to such subversion is the first-person narrator whose "I" is not to be interpreted as the voice of the author. This study examines how and why the first-person narrator is subverted in four works of twentieth-century American fiction: J. D. Salinger's The Catcher in the Rye, F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's A Farewell to , and Philip Roth's Goodbye, Columbus

The prevailing analyses of the structure of the Gospel of Mark represent modifications of the form-critical approach and reflect its tendency to regard the Gospel not as a unified narrative but as an anthology of sayings and acts of Jesus which were selected and more or less adapted to reflect the early Church's theological understanding of Christ. However, a narrative-critical reading of the Gospel reveals that the opening proclamation, the Transfiguration, and the concluding proclamation provide a definite framework for a close pattern of recurring words, repeated questions, interpolated narrative, and inter locking parallels which unfold the basic theme of the Gospel: the person and work of Christ.

This study analyzes the development of the major characters in Fowles's novel - Charles, Sarah, and Sam - in terms of the heroic quest motif. Using the basic pattern of the heroic quest, the monomyth, that Joseph Campbell sets forth in his The Hero with a Thousand Faces, I attempt to show that Fowles's novel may best be understood as the story of three separate heroic quests whose paths cross rather than as the story of a single hero or heroine. This reading seems to account best for all elements of the novel and to explain best the final positions of the characters in question as well as providing a rich appreciation of the novel's wealth of imagery.

The central figure in The Awakening, Edna Pontellier, is shown in this thesis to pursue a narcissistic flight from existential reality. Following a review of contemporary criticism, Edna Pontellier's narcissism is discussed in connection with her sexuality and suicide. Sources cited range from biographies of Kate Chopin to scholarly articles to the works of modern psychologists. The emphasis throughout the thesis is on the wealth of interpretations that currently exist on The Awakening as well as the potential for further -study and interpretation in the future. Rather than viewing The Awakening as a purely feministic novel, it is stressed that The Awakening can transcend such categorization and be appreciated on many levels.

This creative thesis collects five fictional stories, as well as a critical preface entitled “Fractals and the Gestalt: the Hybridization of Genre.” The critical preface discusses genre as a literary element and explores techniques for effective genre hybridization. The stories range from psychological fiction to science fiction and fantasy fiction. Each story also employs elements from other genres as well. These stories collectively explore the concept of the other and themes of connection and ostracization.

This thesis resulted from an examination of the influence of witchcraft superstitions upon Elizabethan-era dramas.

This thesis is focused on the motivations and influences on the writings of Edgar Allan Poe. Poe's work and letters are used to support the hypothesis that his work resulted from a desire to be recognized.

This thesis presents a the satire of Jonathan Swift's writings framed within the context of the historical events and conditions as they existed during his lifetime.

This thesis is an analysis of the comic and tragicomic styles that are evident in plays written by Beaumont and Fletcher.

This thesis presents the results of a study conducted to determine if visual aids impacted the general science capabilities of middle school students.

This thesis addresses the possible sources of melancholy evident in Eighteenth Century writing. Possibilities include nature, mental state, attitudes, sentimentalism, and significant works of fiction.