Showing papers on "Shadow (psychology) published in 1972"

Who Went to School

Abstract: "CALMLY, deliberately, and advisedly, I give it as my opinion that no one other anti-progressive agent exercises so pernicious and clogging an influence on the educational growth and prosperity of Canada as irregular attendance of children in school." (1) The aura of profundity and revelation with which the author of this statement surrounded his remarks surely was unnecessary; by 1861, when it appeared, virtually no one associated with schools would have disagreed. Nearly all of the writers on educational problems during the last two decades had made the same point. After all they believed, as Mr. G. A. Barber, the superintendent of schools in Toronto, put it in 1854, that "a numerous and regular attendance of scholars" was "the keystone of successful popular education." (2) If that were the case, the success of popular education remained problematical. Judge Haggarty might have substituted the name of almost any other North American city when he told a grand jury that "the streets of Toronto, like those of too many other towns, still present the miserable spectacle of idle, untaught children, male and female-a crop too rapidly ripening for the dram-shop, the brothel and the prison-and that too under the shadow of spacious and admirably kept school houses, into which all may enter free of cost." (3) To schoolmen throughout North America securing the regular and punctual attendance of all children at school was the central educational problem of the nineteenth century. In fact they wrote about attendance with such monotonous regularity that their complaints comprise a litany within educational documents whose significance, by its very frequency, it has become easy for the historian to underestimate. Despite the fact that attendance was the principal problem and preoccupation of late Victorian schoolmen, there is only one modern monograph in English on the topic. (4)

The Soul Image: Anima and Animus as Projected in the Rorschach Test

Abstract: Summary According to Jung anima and animus are functions, themselves largely unconscious, mediating between the ego and the deeper unconscious. Their manifestations in projection (also in dream, myth, etc.) are called the soul image. The soul image and the functions which it represents usually have sexual characteristics contrary to those of the conscious personality and are compensatory and complementary thereto. Kinaesthetic responses in the Rorschach test are generally regarded as carriers of projections from the unconscious. Therefore, when personality imbalance and increased liability to projection occur as in neurosis, the proportion of contrasexual Ms should be larger in neurotic than in normal groups. Using four groups containing each 100 adult subjects: healthy women, neurotic women, healthy men and neurotic men, the hypothesis was tested and confirmed, affording some confirmation to Jungian theory.

New Verse by Henry Fielding

Abstract: THE EARLY STAGES of Fielding's career are still fairly obscure. Recent research into the verse of his cousin and first patron, Lady Mary Wortley Montagu, has brought to light some pieces by Fielding which add considerably to our knowledge. Preserved among Lady Mary's papers, they were evidently written under, or for, her eye.' They illuminate Fielding's attitude to her, to her political idol Sir Robert Walpole, and to her literary enemy Alexander Pope-both men whose relationship with Fielding was important to the young author, but, as modern controversy attests, fluctuating and difficult to define. The new verse consists of three parts of an ambitious, unfinished burlesque epic (1729) and a separate verse-epistle (1733). All are in Fielding's hand, totaling nearly 800 lines. The burlesque pieces will be referred to here as the "cantos"; in fact one, beginning "O to look oer the old Records of Time," is untitled,2 and the others, of which one follows the other on the same page, are headed "Canto 2d" and "Canto 3d."3 They are all in a rough draft with deletions, corrections, and blanks for later filling in.4 "O to look oer," written on a larger size of paper, has fewer corrections, though it is not quite a fair copy. The first part of this "canto" seems to have been lost, since it opens, without explanation or setting of the scene, with a long (84-line) speech by the goddess Dulness, who is not named in this piece. Her exhortation to her son Codrus (Pope) is followed by an account of his visions, granted by her; of his calling a meeting of his peers (which does not take place); and of his visit, on her orders, to his other parent, the god of Rhime. The concluding couplet has a finality which suggests the end of a canto, though the story remains unfinished. Cantos "2d" and "3d" deal with the same subject, but no reference is made to "O to look oer," and no more is heard of Rhime. Dulness pays another visit to Codrus, with more visions of the future, and specific instructions to form "a writing Company." The rest of "Canto 2d" and most of the next describe the ensuing conference, only one of whose members had appeared in "O to look oer." "Canto 3d" ends with an account of the ban on performing Gay's Polly. Again the story is left unfinished, though "Canto 3d" itself may be complete. These cantos are not enough to give much idea of the plan of the whole poem. "O to look oer" may be a discarded early attempt or it may have been intended, with revision, to form part of the opening canto. Fielding planned to reuse some lines from it in "Canto 2d," following line 82. He cannot have envisaged twelve or twenty-four books, like his classical models. He may have meant to follow The Rape of the Lock, with five, or The Dunciad,5 with three; but where Pope was content to produce "the ludicrous, grotesque, lifesize shadow cast by a piece of an epic poem,"6 Fielding perhaps aimed at a fully developed mockepic. The existing cantos recall most strongly the opening books of the Iliad, though they also include a burlesque of lines from the Aeneid.7 Their style and their structure derive from Fielding's close knowledge of the classical epics, their theme and characters from the Dunciad. Their language reflects that of Pope, both in his translations of Homer and in his own burlesque epic. Two fragments by Lady Mary, published among her works as "The Court of Dulness" and "Unfinished Sketches of a Larger Poem,"8 relate closely to Fielding's cantos. They share the blend of classical and Popeian influence mentioned above, and, like Fielding's poems, they represent an attempt to turn Pope's weapons against himself. The verse of both cousins employs the central figure of the goddess, with Pope as her favorite son. "The Court of Dulness" adapts the Iliad councils of the gods, as Fielding adapts the councils of the Greeks. Both use Homeric similes, descriptions of landscape, and the disguised vision from Iliad ii. Actual collaboration is suggested by a couplet common to "O to look oer" (11. 85-86) and "Unfinished Sketches," and an uncharacteristic use of classical allusion by Lady Mary.9 She kept the unfinished copy of Fielding's verse, and wrote his initials on the first page of "Canto 2d." Her own fragments may have been intended to take the place of "O to look oer." The degree of

Puppetry as an Educative Media.

Abstract: by ancient Egyptian priests to represent pagan idols. In the Flemish manuscript "The Romance of Alexander", written in 1340, there is an illustration of glove puppets. Xenophon and Plutarch mention the use of marionettes. Medieval morality plays are performed by marionettes, and the puppets' popularity is alluded to by Cervantes and Ben Jonson, Haydn, Mozart and Bach compose brief operas for marionettes in the wealthy court circles of the eighteenth century.1 Puppets are used by the American Indian for various religious functions long before the arrival of Columbus. Puppets perform "Whittington and His Cat" in early New York in 1738. In the late eighteenth century "ombreschinoises", French for "Chinese shadows", become what was probably the first shadow puppets in America. However, Chinese shadow plays themselves are believed to be traced back to 121 B.C.2

The Length of Howells' Shadow of a Dream

Abstract: TRULY I feel quite beaten into the dust, from which I do not know how to lift myself," W. D. Howells wrote in April 1889 after the death of his daughter Winifred. "The blow came with terrible suddenness," he told Edward Everett Hale, "when we were hoping somuch and fearing nothing less than what happened. The most that I can say to myself is that she could not have died out of her time, unless all that exists is a shabby mockery unworthy even [of?] humanity."'L Howells' chilling fear that "all that exists is a shabby mockery" explains the tone of profound uncertainty underlying his two novels of 1889: A Hazard of New Fortunes, in progress when Winifred died; and The Shadow of a Dream, completed between late summer and Christmas. In both novels, but especially in The Shadow of a Dream, Howells confronted the threat to his -vision of moral order posed by his growing awareness of subconscious motivation in human behavior. Does suffering, particularly in the form of psychological anxiety, serve any moral purpose? Is morality itself psychologically relative? These philosophical questions, raised in The Shadow of a Dream, have never been adequately discussed.2