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In a journal entry from 1957, H.D. writes that Adorno’s description of the aging of modernist music might easily apply to the fate of her own work in the post-war period: “Among other fascinating things, he [Adorno] says that Bartók ‘could not quite live up to his own avant-guardism’ [sic] […]. I felt the phrase applied, in a way, to myself and my Helen sequence” (H.D. 2015, p. 40). H.D.’s remark refers to her long poem, Helen in Egypt (1960), which, with its engagement with classical sources and epic themes, seemed to some to be a throwback to an earlier modernist period in which Pound, Joyce, Eliot and H.D. herself had looked to ancient models as a means of reinvigorating modern literature. What did it mean for H.D. to feel that her work had outlived its time, to be a first-generation modernist still writing in that mode after many of her peers and their achievements had passed into history? This article explores H.D.’s sense that her practice was at odds with contemporary demands for poetry to answer to immediate historical concerns. It also considers her case against the critics in letters, notes and in Helen in Egypt which contains its own defense of the relevance of classical modernism to the post-war present day.

Explores teaching evaluations with a emphasis on student evaluations of teaching effectiveness (SETEs). Discusses the role of SETEs in the scholarship of teaching; addresses their two primary uses, highlighting the difference between global and specific items contained within most instruments; briefly addresses the research on their accuracy; describes some of the more widely used SETE instruments; and provides recommendations. (EV)

Tim Parks does not see his novels as belonging to the archive of Anglo-British fiction. As noted by an interviewer in 1999, Parks locates himself firmly in the European literary context: any national literature, he argues, can become parochial.² In this respect, Parks invites comparison with D.H. Lawrence, who having spent most of his adult life outside England writing fiction and essays which sought to expose English parochialism wherever he detected it, would no doubt have been surprised to know quite how central his novels would become to the Leavisite ‘English tradition’ after his death.³ But central they became and

This article focuses on Allen Upward's plans to form an Angel Club or an Order of the Seraphim as described in articles published in the New Age and the New Freewoman in 1910 and 1913. It interrogates the significance of these plans to a Modernist movement that is often assumed to be secular in outlook and reveals that, despite retaining some of the angel's traditional attributes, this figure is absolutely of its time, representing an unlikely alliance of art with Nietzschean philosophy and Modernist theology. Among the questions discussed in detail are the ethical distinction that Upward makes between his own artist-angel and Nietzsche's Overman, the role of R.J. Campbell's The New Theology in suggesting an evolutionary basis for the idea that man might evolve into an angel and the echoes of Upward's Angel Club in Ezra Pound's Order of the Brothers Minor and D.H. Lawrence's Order of the Knights of Rananim.

\"This first book-length study explores the history of post-war England during the end of empire through a reading of novels which appeared at that time, moving from George Orwell and William Golding to Penelope Lively, Alan Hollinghurst and Ian McEwan. Particular genres are also discussed, including the family saga, travel writing, detective fiction and popular romances. All included reflect on the predicament of an England which no longer lies at the centre of imperial power, arriving at a fascinating diversity of conclusions about the meaning and consequences of the end of empire. Some explicitly address the empire and its demise; others do so in a more muted form. Gilmour and Schwarz link together the historical question of the end of the British empire with the literary issue of the place of the English novel in the post-war years, for the first time addressing the literary responses and the privileged location of the novel for discussing what decolonisation meant for the domestic English population of the metropole. Rather than emphasizing the 'provincial' properties, emphasis is given to the curious echoes and displacements which operate inside the English postwar novel during the years of decolonization. This will interest scholars and general readers concerned with the fate of the English novel and the domestic impact of decolonisation, and is an important inclusion to the expanding historical canon which deals with the end of empire.\"

This article introduces school counselors to a developmental theory that may assist them in their conceptualization of students' self‐esteem. Components of R. Kegan's (1982) constructive‐developmental model that are relevant for K‐12 school counselors are reviewed. Case studies of and implications for counseling interventions are presented.

The subject of this thesis is a figure that might provisionally be called the *modemist angel'. Focusing on modernist literature, and more particularly on the work of D. H. Lawrence, H. D. and Mina Loy, it aims to isolate from the many angels found in all periods and all types of art a historically specific and intellectually coherent paradigm: an angel of and for its modernist times. A figure of precisely this type could be said to exist in the form of Walter Benjamin's 'angel of history'. Critics who address the question of the modern angel in texts by Franz Kafka and Rainer Maria Rilke often do so in conjunction with the problem posed by the angel of history. Beginning with a chapter on Benjamin, this thesis nevertheless follows a different trajectory. Over five chapters, it explores a modernist landscape formed not only by Lawrence, H. D. and Loy, but also by European and American writers such as A. R. Orage, Allen Upward, Ezra Pound, Wallace Stevens, Havelock Ellis, Edward Carpenter, Sigmund Freud and Friedrich Nietzsche. Although the angel that emerges from this investigation might, in some respects, be said to anticipate Benjamin's later version, this figure is also very different, standing for a project that is distinctively, and recognisably, modernist in nature. He/she (the sex of the modernist angel is often open to question) represents an attempt to reconcile the divine responsibilities of the artist with the material and gendered conditions of being, specifically of being human, in the modem world. This thesis looks again at the clash of intellectual paradigms in the early-twentieth century - notably, the confrontation of the Romantic view of art as a superhuman or sacred undertaking with the psychoanalytical or evolutionary idea that all human endeavour is underpinned by sub-human motives - and suggests the angel as a new and instructive figure through which to think the perilous limits between the human and the divine in modernist literature.