Chapter Divisions Research Articles

Piers Plowman: An Introduction to the B-Text by James Simpson, and: Piers Plowman by William Langland

STUDIES IN THE AGE OF CHAUCER medievalism than to the literary study of the Middle Ages. If it delivers less than it promises in terms ofthe "new," in some areas-like Aers's essay and Barker's piece on the double-armed man-it provides an interesting perspective on the methodology and the phenomenon ofmedievalism as an ideological construction of the Middle Ages-especially today. CAROLYN P. CoLLETTE Mount Holyoke College JAMES SIMPSON. Piers Ploumzan: An Introduction to the B-Text. London and New York: Longman Medieval and Renaissance Library , 1990. Pp. x, 272. $49.95. WILLIAM LANGLAND. Piers Ploumzan. Trans. and intro. A. V. C. Schmidt. Oxford World's Classics. New York: Oxford University Press, 1992. Pp. xlvii, 355. $5.95 paper. In response to the recent phenomenal growth of the Piers Ploumzan audi­ ence, the scholarly community has produced a number of studies that are meant to make the poem more accessible to its new and nonspecialist readers. More undergraduates are studying Langland than ever before, and they, along with their teachers, many of whom have themselves contrib­ uted to this burgeoning interest in the poem, have benefited from the guidance of some ofPiers Ploumzan's most outstanding editors and explica­ tors. James Simpson's engaging, lucid exposition of his reading of the poem and A. V. C. Schmidt's prose t�lation of the B text are two of the latest additions to this valuable pedagogical and scholarly enterprise. Simpson's book, a thorough and systematic presentation of the poem's action, argument, literary discourse, and structure, may very well become a staple in the "further reading" list for the poem's new students. As a sus­ tained analysis that reflects the major themes of the critical and scholarly reception of the poem and offers an individual interpretation as well, this introductory study provides a useful complement to the fine collection of essays edited by John A. Alford under the title A Companion to Piers Plow­ man (Berkeley: University of California Press, 1988). Like the latter work, Simpson's study will in its own way enlighten first-time, as well as ad­ vanced, readers of Langland's poem about its complex, unique nature and place in medieval English poetry; at the same time it will supply teachers 266 REVIEWS of the poem with an abundant supply of ideas about how to handle crucial matters in the classroom. The author of several closely argued articles on various aspects of Piers P/QUmZan, Simpson is clearly as interested in the teaching of the poem as in its explication-as if those two activities can always be easily separated. The movement of his interpretation is beauti­ fully shaped by a masterful use of a rhetoric of pedagogical exposition in which he regularly states his aims with clarity, frequently recapitulates his arguments at strategic moments without seeming to repeat himselfunnec­ essarily, and persistently poses crucial questions with acuity and a shrewd sense of timing throughout. With its chapter divisions keyed to the sequence ofvisions in the poem, for each ofwhich he provides a succinct summary, Simpson's reading ofthe poem is both easy and a pleasure to follow. As he leads us through the poem, he provides cultural, intellectual, and theoretical contextual back­ grounding for several of its concerns; makes some cogent comparative ob­ servations about Chaucer and Langland;1 and selectively points out some of the important differences between the B and C texts ofPiers P/QUmlan but does not mention what is possibly the most important difference between them, the deletion in C of the "tearing of the pardon" in B, passus 7. Overarching this reading is a two-sided argument that embraces the poem's content and form: In particular, I want to argue that Langland's commitment to the idea of unre­ mitting secular and divine justice leads him into positions of acute and fearful discomfort, and that in seeking a way out ofthis theological crisis he is provoked either to abandon or to seek to transform the social and ecclesiastical institutions to which he makes his initial commitment. I shall also argue that Langland, despite his initial commitment to 'closed' literary forms, ultimately creates a profoundly...

Toward a narra-topography: A pilot study applied to Marguerite Duras' novelModerato Cantabile

Although lexical frequencies are familiar measures of stylistic and thematic analysis, only recently have some stylostatisticians been tempted to investigate the relationship between the frequency and topography of repeated lexical items. In the present paper the authors have turned to the study of the four focal types of discursive narratology, using Marguerite Duras'Moderato Cantabile. Their intent is to uncover aspects of narratological performance which further elucidate the communicative strategies in the story. Part 1 summarizes the problematic between frequency and topography. It describes how a topographical index can be computed for any repeated item and how a Global Topography Index (GTI) can summarize the major topographical characteristics of any text sequence. Part 2 presents a four-cell typology of narrational mode: a segmentation of the verbal chain into narrating and narrated speech acts, with each text sequence tagged according to its discursive function: overt sender intervention for story coherence or comment on the focal level of a narrating present; representation of discrete or unlocalized events on the focal level of a mimeticized past. In Part 3 the focal encodings are displayed in numerical and graphic form, first according to the eight surface chapter divisions and then according to twenty-six subsets of approximately equal length. The fluctuations of the topography indices are reviewed, with particular attention being paid to the manifestation of cluster effects. Although sender interventions predominate, the relativized behavior of each focal type contributes to a climactic unraveling of the intrigue in the final chapters. In conclusion, the authors stress the dichotomy between the calm surface of the chapters and the agitated tensions of the twenty-six subsets.

Carriage of Goods by Sea in the Practice of the USSR Maritime Arbitration Commission (Law in Eastern Europe Series No. 43) by W. Albert Timmermans

Carriage of Goods by Sea in the Practice of the USSR Maritime Arbitration Commission (Law in Eastern Europe Series No. 43) by W. Albert Timmermans. Published by Martinus Nijhoff, The Netherlands (xvi and 343 pp. including text of USSR Merchant Shipping Code, Bibliography, Tables of cases and legislation, and Index). Hardback Price £74; US$128; Dfl. 215. The object of this monograph in the words of the author is ‘to provide a description of the civil aspects of the carriage of goods by sea under Soviet law.’ He has eschewed a discussion of those aspects of carriage dependent on acts of state planning, since they ‘would not be very interesting for Western practising lawyers.’ and concentrated instead on forms of carriage with a purely contractual base, i.e. those involving an international dimension. The result is a comprehensive review of Soviet law presented in a style familiar and attractive to a common lawyer with legal principles clearly identified and illustrated by appropriate examples drawn from case law. The subject matter is treated systematically with chapter divisions falling into a traditional pattern and covering, inter alia, rights and duties of the shipper, carrier and consignee; charter parties; bills of lading; loading and unloading; laytime demurrage and dispatch; dangerous goods; payment of freight; termination of the contract; and liability of the …

Even better MCQ books?

Even better MCQ books?

On the chapter divisions in the Lao-tzu

The Ma-wang-tui texts of Lao-tzu have seemingly confirmed two points long held to be true by many scholars: (1) that the text from an early date, if not right from the outset, was divided into two parts; and (2) that—while it is not claimed that the Ma-wang-tui texts represent the original text—it was not originally divided into chapters. This latter conclusion is open to debate since, although there are neither chapter numbers nor names in the Ma-wang-tui texts, there are punctuation dots (·) in part II of text A, often placed at the beginning of one of our present chapters. However, absence of punctuation elsewhere, and the failure of what there is to completely coincide with present chapter divisions, would seem to indicate at least that the present eighty-one chapter divisions—thirty-seven in part I and forty-four in part II—were not yet (c. 180 B.C.) uniformly observed.

Cervantes' Rinconete y Cortadillo and the Imposition of Form: Part of the Story

CERVANTES' RINCONETE Y CORTADILLO AND THE IMPOSITION OF FORM: PART OF THE STORY by Edward H. Friedman* In Don Quijote and the Novelas ejemplares, Cervantes accentuates the distinction between art and nature, causing the reader to make himself aware of literary conventions. So-called reality becomes a backdrop and a basis for comparison. In the Quijote, prologues and chapter divisions, the competence of the narrator (and behind him the author), fictional time ("real" and psychological ), ordering of events, and other aspects of the art of writing a novel—seen as playing off of each other complexly and infinitely —unite the process of artistic creation with the creation itself. The Novelas ejemplares may be seen as variations on the theme of tension between internal and external points of reference. Rinconete y Cortadillo, for example, explores a historical milieu and the intratextual realm of the picaresque novel, but its essence lies in neither extreme. Rinconete y Cortadillo is not Cervantes' attempt to create picaresque fiction, but rather a work which presents and then nullifies picaresque and idealistic conventions in order to define a new form of fiction. The critic may impose a form on the work, but there is always a part of the structure which resists form, which seems to defy classification. The literary text serves a multiperspectivist cause, and the diversity of viewpoints offers an equilibrium of sorts. Ultimately, however, the critical response must reflect not only the rules of order which the author imposes upon himself, but the inventive violation of these rules. Literature is an imaginative representation of man, the universe , and man's relationship with man and the universe. The creator of literature may represent the universe as unified or chaotic , and formal and linguistic elements of the literary work may correspond to this unity or chaos. Literature is a paradoxical art by virtue of an implicit indirectness, detachment and dissimilarity from that which it describes. Literature provides a model for viewing existence, a model which is at least one step removed from reality and yet which endeavors to make a statement about reality through conventions particular to verbal communication. Whether one describes a literary work in terms of an open or closed structure , whether his view is that of literature as containing the key to existence, as part of a process, as self-perpetuating, or as selfdestructive , the individual work forms some type of analogue which is both imitative and original. The analogue may be an •EDWARD FRIEDMAN is an associate professor of Spanish at Arizona State University . His research areas include Golden Age narrative and the comedia. ROCKY MOUNTAIN REVIEW205 Edward H. Friedman attempt to approximate reality (a direct analogue) or an attempt at antithesis (a reverse or ironic analogue). Imitation is, then, always incomplete, always a point of departure only. Literature's tendency to use itself as a mediating factor allows for increased flexibility on the part of the author and the theorist. Literature provides a narrative voice, a narrative stance, and a narrative concept which, much like historiography, works at ordering events or establishing a pattern of disorder. The historian is free to create a system; the writer of fiction is free to create a world. Pedro Salinas' treatment of Luis de Góngora in Reality and the Poet in Spanish Poetry elaborates the uniqueness and the autonomy of the creator of literature: the attempt to reproduce reality must necessarily fall short of that which exists in reality, so one must work to surpass reality on his home ground, by creating a complete analogue with the resources at his disposal. In Salinas' terms, "Telling and describing what one sees is not poetry. What must be done to convert it into poetry? Raise it, intensify its characteristics to an extreme degree, elevate it above its natural forms and extract from the latter all their esthetic content by means of the imagination and fantasy. Reality must be transformed, transmuted into another kind of poetic reality, material, sonorous, plastic, but not idealized; the artist must operate on it with the magic power of word, metaphor , image."1 Cervantes' artistic production stems from the same type of confidence in the literary endeavor, in authorial power. The goal...

Randomness in the RAWP formula: the reliability of mortality data in the allocation of National Health Service revenue.

A corner-stone of the recommendations by the Resource Allocation Working Party (RAWP)1 for the allocation of the non-psychiatric service budget was the introduction of standardised mortality ratios (SMRs) as proxy measures of regional variations in morbidity. The appropriateness of this measure has been heavily criticised but it remains in the present allocation method. However, the introduction of seemingly objective measures such as SMRs may give a misleading impression of accuracy. Fluctuations in death rates unrelated to the general force of mortality or to factors relevant to health services require that each SMR should be considered as a sample taken from a range of possible SMRs which are distributed about the true value. The problem of the reliability of SMRs is accentuated by the use of SMRs disaggregated by condition groups corresponding to the chapter divisions of the International Classification of Diseases (ICD) and this is one of the chief difficulties in implementing the RAWP recommendations at subregional level. The working party acknowledged this problem in its report but claimed (p 40) that 'condition-specific SMRs can be used at area and district level with some loss of reliability due to small numbers involved. Sensitivity tests indicate, however, that the results will still be closer in most cases to the notionally 'correct' result than would be the case if another measure such as overall SMRs were applied'. The sensitivity tests referred to have not been published but several health authorities have carried out their own statistical analyses. Such a lack of quantitative support is not confined to RAWP. There is an obvious deficiency of data in many criticisms of it. On the question of the reliability of SMRs calculated on small populations, Geary2 and Ferrer et al3 do support their views with statistical analyses, but these are used to establish the possibility that problems exist rather than to provide estimates of the scale of the problems. In this paper we provide an empirical basis for assessing the importance of the statistical significance of SMRs in resource allocation decisions. The method used centres on the calculation of the variance of SMRs and the implications of excluding st tistically insignificant deviations of SMRs from the averag of 100. To place the discussion in its appropriate policy context we present first a brief review of current national and regional allocation policy.

Cervantes' "Rinconete y Cortadillo" and the Imposition of Form: Part of the Story

In Don Quijote and the Novelas ejemplares, Cervantes accentuates the distinction between art and nature, causing the reader to make himself aware of literary conventions. So-called reality becomes a backdrop and a basis for comparison. In the Quijote, prologues and chapter divisions, the competence of the narrator (and behind him the author), fictional time (real and psychological), ordering of events, and other aspects of the art of writing a novel-seen as playing off of each other complexly and infinitely-unite the process of artistic creation with the creation itself. The Novelas ejemplares may be seen as variations on the theme of tension between internal and external points of reference. Rinconete y Cortadillo, for example, explores a historical milieu and the intratextual realm of the picaresque novel, but its essence lies in neither extreme. Rinconete y Cortadillo is not Cervantes' attempt to create picaresque fiction, but rather a work which presents and then nullifies picaresque and idealistic conventions in order to define a new form of fiction. The critic may impose a form on the work, but there is always a part of the structure which resists form, which seems to defy classification. The literary text serves a multiperspectivist cause, and the diversity of viewpoints offers an equilibrium of sorts. Ultimately, however, the critical response must reflect not only the rules of order which the author imposes upon himself, but the inventive violation of these rules. Literature is an imaginative representation of man, the universe, and man's relationship with man and the universe. The creator of literature may represent the universe as unified or chaotic, and formal and linguistic elements of the literary work may correspond to this unity or chaos. Literature is a paradoxical art by virtue of an implicit indirectness, detachment and dissimilarity from that which it describes. Literature provides a model for viewing existence, a model which is at least one step removed from reality and yet which endeavors to make a statement about reality through conventions particular to verbal communication. Whether one describes a literary work in terms of an open or closed structure, whether his view is that of literature as containing the key to existence, as part of a process, as self-perpetuating, or as selfdestructive, the individual work forms some type of analogue which is both imitative and original. The analogue may be an

A Note on the Question of Chapter Divisions in the Ma-wang-tui Manuscripts of the Lao-tzu

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A Translator's Nuisance: Chapter and Verse Division in the Bible

A Translator's Nuisance: Chapter and Verse Division in the Bible

La tragedia en el Renacimiento español (review)

Reviews HERMENEGILDO, ALFREDO. La tragedia en el Renacimiento español. Barcelona: Editorial Planeta, 1973. Cloth. 603 pp. In 1961 Alfredo Hermenegildo published Los trágicos españoles del siglo XVI, a volume of 617 pages based on his doctoral dissertation written at the University of Madrid. One could only admire the enormous labor that went into the preparation of that in-depth survey of sixteenth-century Spanish tragedy, an undertaking that one would normally expect to challenge the resources of a veteran scholar rather than the determination of a doctoral candidate. The book filled a longstanding void in the history of Spanish drama, because except for general histories of the theater and articles and monographs devoted to individual plays and playwrights, no book had ever been addressed specifically to pre-Lopean tragedy. Predictably, however, as is often the case of dissertations which are not allowed to age sufficiently before being rushed from doctoral committee to printer, Los trágicos españoles del siglo XVI retained unmistakable signs of its origin as an academic exercise "presented in partial fulfillment of the requirements for the degree of Doctor of Philosophy ." The mass of material dimmed the author's focus and left unsolved major problems of integration; some chapter divisions were arbitrary; transitions from section to section and from author to author were often abrupt; and critical judgments occasionally appeared to be unsubstantiated or gratuitous . Also the bibliographical apparatus was minimal: there were a few footnotes (a blessing, of course, except when footnotes are needed); quotations from the text were often not identified by edition, act, or verse numbers; and references to secondary sources were often incomplete. These deficiencies detracted from the usefulness of the book as a reference work, though they were not grave enough to obscure the importance of Hermenegildo's contribution , as many favorable reviews attest. At first glance La tragedia en el Renacimiento español appears to be little more than a slightly revised edition of Los trágicos españoles, but such is not the case. In the new book most of the bibliographical shortcomings have been corrected; the transitions between sections and authors have been smoothed out by new introductory and concluding passages; and the critical commentary, often expanded, has become more provocative and sophisticated. Influenced especially by Americo Castro's studies of the underlying determinants of Spanish literature, Hermenegildo has provided new interpretations of many plays by relating the authors and their tragedies to the socio-political conditions of their times. La tragedia en el Renacimiento espa- ñol contains a greatly expanded introduction , nine chapters, an appendix (which includes the cast of characters, plot summaries, versification tables, and a bibliography of editions and of critical studies for all the plays ), and a separate general bibliography of works not pertaining to individual authors or plays. Unfortunately there is no index, the absence of which is regrettable in a volume of such size and complexity. In the introduction Hermengildo explains the nature of the revisions and his reasons for making them. He mentions the scholarly works published since his earlier book which enabled 130 him to incorporate new data and to approach his subject from different points of view (the works, to mention only a few, of Americo Castro, Francisco Márquez Villanueva, JuHo Rodriguez Puértolas, and Francisco Ruiz Ramón). One paragraph is noteworthy because it not only explains the basis of Hermenegildo's "new approach" but also because it accounts for (if his thesis is accepted) the rise and fall of Spanish Renaissance tragedy: "La historia de la época ofrece una serie de elementos — desde la universidad al rey y de la corte al pueblo, pasando por las tensiones entre cristianos viejos y nuevos — que aglutinan y conforman una auténtica tragedia en el Renacimiento español, manifestada a través de un grupo de tentativas que fracasaron por estar todas ellas desconectadas de Ia parte de la población (la masa cristiana vieja) cuyos criterios acabaron imponi éndose y triunfando dolorosamente en la sociedad española" (p. 15). Lope de Vega, of course, carried the banner of the triumphant Old Christians and New dramatists. Chapter I, "El Renacimiento español y el concepto de...

Shakespeare and the Traditions of Comedy by Leo Salingar

REVIEWS Leo Salingar. Shakespeare and the Traditions of Comedy. New York and London: Cambridge University Press, 1974. Pp. x + 356. $18.00. In this learned and far-ranging study, Leo Salingar places Shake­ speare “at a meeting-place of medieval, classical and renaissance tradi­ tions” (p. 19) in order to investigate sources, influences, and artistic choices. After an introductory chapter which deals deftly with such topics as Fortune, artifice, disguise, and anomalies in the mirror concept, Salingar provides a series of chapters organized around the three tra­ ditions. Chapter 2, devoted to medieval romance, starts with three preShakespearean plays (Clyomon and Clamydes, Common Conditions, and The Rare Triumphs of Love and Fortune), then treats some medieval heroines, with particular emphasis upon the links between two four­ teenth-century plays (the Dutch Esmoreit and the French Oton) and The Winter’s Tale and Cymbeline, and ends with a section on The Comedy of Errors in relation to Apollonius of Tyre and with evidence for the survival of medieval staging. After an introductory section on artificial order and comic errors, Chapter 3 provides a lengthy treatment of the trickster figure in Aristophanes and New Comedy; the next chap­ ter starts with an historical account of the concept of Fortune and then deals with that concept in Aristophanes and New Comedy, concluding with remarks on Shakespeare and the Elizabethans. Chapter 5 offers a general account of Italian comedy with detailed treatment of three plays (Gl Tngannati, Ariosto’s Suppositi, and Bibbiena’s Calandria) and dis­ cusses Shakespeare’s indebtedness, with a major section on his comic double plots. The final chapter, which deals with Shakespeare as a pro­ fessional playwright, treats such topics as wit, the play within a play, the conflict between love and law, and the importance for Shakespeare of Italian novelle. “The medieval tradition,” Salingar argues, “was Shakespeare’s start­ ing-point” with a hold “too deep to be shaken off” (p. 75). Classical comedy then provided necessary guidelines and materials, such as the “delineation of Fortune in dramatic plots, the role of the trickster in conditioning the presentation of Fortune, and the tradition of drama as an adjunct to seasonal celebrations” (p. 174); to classical comedy, more­ over, Shakespeare owed “his underlying conception of comedy as a form of theatrical art using logically connected plots to arouse and satisfy expectation and at the same time addressing itself to the spectators’ sense of irony” (p. 174). From the Italians, Shakespeare drew “a famil­ iarity with Plautus and Terence as contributors to the modern stage, a 350 Reviews 351 group of new dramatic motifs, such as that of the heroine in male dis­ guise, and, above all, a taste for varied movement in a comedy and intricate plotting” (pp. 190-91). Salingar also stresses Boccaccio’s im­ portance as “the greatest creative writer whose influence can be felt widely diffused through Shakespeare’s plays, however indirectly” (p. 323). Shakespeare was thereby “using the forms of New Comedy to reshape medieval romance,” while “creating comedies that seem aware of their place in the life of a nation, as perhaps no other comedies had been since the time of Aristophanes” (p. 325). This brief summary cannot do justice to a book which moves easily through medieval, classical, and renaissance materials, providing Sug­ gestive comments about comic traditions and astute insights into in­ dividual plays. All readers will benefit from the author’s breadth and critical skill. Yet the book’s multiplicity, its greatest strength, can also puzzle the reader. As Salingar himself points out, given Shake­ speare’s complexity as a dramatist “it is impossible, or at least, artificial, to isolate one thread in the composition of his plays from the others” (p. 190). Since the chapter divisions necessitate just such isolation of threads, there are difficulties to overcome, difficulties not always mas­ tered. For example, The Comedy of Errors is treated in some detail in three different chapters (and more briefly elsewhere), each time from a different angle, but there is no weaving together of these threads. Occasionally the chapters appear to be discrete units with little rela­ tion to each other; for example, for a fuller discussion of the term “exemplary...

The Second Chapter of Colossians

The arbitrariness of the chapter divisions of the biblical text are well observed in this passage, for. its opening paragraph (2:1ff.) is closely related to the sentences which conclude chapter l, and the thought of its concluding paragraph (2:20-23) so clearly continues into the first one of chapter 3 (verses 1-3), it is evident that no break should have occurred between them. Nevertheless, the thought of chapter 2 flows on in a continuous argument, and it does no harm to consider it as a unit, provided that we bear in mind the context.

Chapter division and chapter heading in the nineteenth-centuryNovelle

Chapter division and chapter heading in the nineteenth-centuryNovelle

Two Readings of St Augustine

In the literature that survives from the ancient world Augustine is unrivalled, except perhaps by Cicero, for the range and intimacy of his writings. The lovely folio pages of the edition published in Paris by the Benedictines of St Maur from 1679-1700, still the most recent more or less complete edition of the extant works, contain by far the greater part of the titles catalogued after Augustine’s death by his disciple Possidius. Certainly enough has survived for us to see the personality and ideas of Augustine unfold over more than forty years, from the first flush of conversion at Cassiciacum, expressed in the almost adolescent idealism of the Soliloquia and the De beata vita, until his death at Hippo in 430, with the last chapters of the De civitate Dei completed some years before, and the Retractationes cut short, as scrupulosities should be.The Confessions were written in the earlier part of this period. In book seven Augustine tells us that he finally rid his mind of the lees of Manichaeism by his reading ‘certain books of the Platonists, translated from Greek into Latin’ (vii 13: I have cited throughout the paragraph divisions of the Maurist edition, without the chapter divisions of the editio princeps). In book eight Augustine is converted to Christianity by reading St Paul. But the conversion has still a Platonic element, for Augustine describes his experience in the garden at Cassiciacum partly in language that Plotinus had used to describe the soul’s ascent to the beautiful.

Reviews

This book consists of lectures presented at the Nato Advanced Study Institute of the National Observatory of Athens, Cape Sounion, August 2–15, 1964. According to the editor, a well‐known physicist at the Air Force Cambridge Research Laboratories, one of the purposes of the Institute was to supply a written technical review of radio and radar astronomy as they relate to the physics of the solar system. Twelve chapters are devoted to the Sun, and two each to the interplanetary medium (but only the plasma component), the Moon, and the planets. From this chapter division, one can see that the planets receive short shrift as compared with what one might expect from a book on solar system radio astronomy. Furthermore, the chapter on planetary radio astronomy, by H. Weaver, is not a useful contribution, because bigger, better, and similarly up‐to‐date reviews of this subject have already been published. Also the omission of meteor astronomy from the book is regrettable.

The Science of Administration

THIS CHAPTER is concerned with the value of theory to the study and practice of administration. The discussion of research in preceding chapters depicts in sum an obviously enlarging and important field of study in education. Implicit in the discussion is indication of the extent to which administration is being studied carefully with sophisticated conceptual and methodological means. A science of administration is emerging. Knowledge is being systematically derived from observation, analysis, and experimentation; systems of symbols are being used to represent a wealth of concepts; assumptions entailed in useful theory are being determined; and administration is being illuminated as the direction of human effort in organizations toward the accomplishment of common objectives. Improved theory in particular is stimulating research and administrative practice. This chapter attempts to make clear the relevance of theory to enlightened understanding of administration. Chapter divisions include the art and science of administration, the emerging science of administration, and the practical value of theory.

Pioneers of Marion County. Chapters IV-V

There are no chapter divisions in the first installment, but this installment contains Chapters IV & V.

The Pioneers of Marion County

This is a history of the pioneers of Marion Iowa. There are no chapter divisions in this installment, but the next installment includes Chapters IV & V.