MRS. CONTRERAS Language Arts 9 th Grade – Eng I IGCSE Honors Room C209

1. Welcome Braddock Bulldogs!!! MRS. CONTRERASLanguage Arts9th Grade – Eng I IGCSE Honors Room C209 2006-2007

2. Weekly Forecast 3/19/07 – 3/23/07 • Monday – in class home learning (reading) • Tuesday – "Dracula" (1897) Chpts 7-12 • Wednesday – Review Research Project requirements & sample research paper. • Thursday – "Dracula" (1897) Chpts 13-17 • Friday – in class home learning (reading)

3. Home Learning By Monday, 3/26: • Read "Dracula" Chpts 18-27. • Read the following works from your IGCSE packet: Alex La Guma's "The Lemon Orchard“ Patrick O'Brian's "Samphire" Doris Lessing's "Flight" & "A Woman on a Roof" Have a great week!

4. Class Response…Tuesday • How does the character of Dr. Seward mirror Victor Frankenstein, and how does his behavior inform the theme of madness in the book? • Gothic fiction is characterized as having a picturesque setting, dealing with the supernatural in some way, exploring the conflict between good and evil, and the corruption of lower-class females by aristocratic males. Cite incidents from the story that support the four criteria.

5. Class Response…Thursday • What is the nature of the Hampstead Mystery reported in "The Westminster Gazette"? What can the reader infer about Lucy from this mystery? • List three reasons Lucy must be killed. For what reasons is Arthur the one who drives the stake into Lucy?

6. Ch. 13-17 Gaby Guadalupe Period 6 Courtesy of Google Images

7. Bram Stoker • He was born near Dublin on November 8, 1847. • His parents were Abraham Stoker who was a civil servant and his mother was a feminist called Charlotte Mathilda Blake Thornley. • He was very sick child due to a unexplained disorder and spent his early years of life “bedridden”. • In his adolescence, he was no longer ill and became physically active. Courtesy of Google images

8. He followed his father’s footsteps and became a civil servant for eight years, even though his main interest was in drama. He moved to London and became an actor and the manager of Henry Irving’s Lyceum Theatre. While he was working at the Theatre, he wrote Dracula (1897) , which was influenced by The Vampyre (1819) by John William Polidri, but was mainly influenced by Carmilla (1872) by Joseph Sheridan le Fanu. And the time he was living is what gave the book its sexuality; The Victorian Age which was completely opposed to expressing any type of sexuality. ( especially women) But it was expressed in their work. He also published The Snake's Pass (1890), The Jewel of Seven Stars (1904) and The Lair of the White Worm (1911). But none has received as much attention as Dracula. He died on April 20, 1912.

9. Vocabulary • Ague- a fever • Bier- a platform for a coffin or a corpse • Caricaturists- artist who make absurd likenesses of their subjects by accentuating certain features • Emaciated- extremely thin; starved • Constraint- control • Contingencies- possible events • Hansom- a two wheeled horse driven carriage • Intestacy- the state of being without a legal will • Obsequious- obedient, subservient • Pedantry-a scholarly display knowledge • Polyandrist- a woman married to more than one husband.. • Post-mortem- after death • Premonitory- ominous, foreboding • Preparatory- in preparation for; prior to • Sanction- authorization, permission • Sexton- a caretaker of church property • Suavity- having fine matter; charm • Testamentary- pertaining to a will • Urbane- smooth, elegant • Victoria- a four wheeled horse driven carriage

10. Chapter 13 • Preparations have been made for Lucy’s funeral, so that she and her mother can be buried together (Stoker 177). • Both Seward and Val Helsing take it upon themselves to be in charge of the funeral, because no relatives were at hand and Arthur was at his father’s funeral (177). • Val Helsing insists to examine the papers found in Lucy’s bodice himself (177). • Seward is a bit anxious that Val Helsing does not know the English legal requirements which may lead to unnecessary trouble (177). • Val Helsing assures Seward that he knows what he is doing and does not want Lucy’s memorandum to fall into the hands of strangers (177). • Before the funeral Seward and Val Helsing want to see Lucy (178). • When they see her lay in her coffin she looked so beautiful, Seward could not believe he is looking at a corpse (178). • Val Helsing had a very stern face and tells Seward to remain in the room (179). • He leaves and returns with garlic and placed the flowers around the bed. He takes off a gold crucifix he had around his neck and placed it on Lucy’s mouth. He places the sheets back over her head and they exit the room (179).

11. Later that evening, Val Helsing approaches Seward and tell him to bring postmortem knives the following day. John asked if it was necessary to perform an autopsy (179). • Val Helsing says he wants to perform an operation where he will cut off her head and take out her heart. Seward is extremely surprised and asks why he was going to mutilate the girl’s body if she was already dead (179). • Val Helsing tells him that there is terrible and sad days ahead and that he must trust him, because he has a reason for why he wants to do this (179). • The next day Val Helsing finds out that someone has stolen the crucifix and tells Seward they will no longer perform what they discussed the previous night (180). • Mrs. Westerna’s solicitor came to tell the men that all of her property she had left it to Arthur (181). • Arthur later arrives and finds comfort in his friend Seward. And they go to see Lucy’s corpse. Lucy looks so beautiful it seemed as if every hour her beauty grows (183). • Arthur sees how beautiful she looks, and questions if she really is dead (183). • He says his goodbyes by kneeling next to her coffin and kissed her on her forehead (183).

12. Helsing tells Arthur that Mrs. Westerna left him all her property and asks him permission to read Lucy’s papers to see if he can find some evidence to find out the cause of her death(184). • (Mina’s journal) She and Jonathan where in London in the streets and Mina was looking at a beautiful girl. At that time Harker grabs her in shock (186). • Mina was confused and did not know what frighten him so, and noticed he was looking at a “ tall, thin man, with a beaky nose, and a black moustache and pointed beard who was also looking at the pretty girl.” (186). • Jonathan is convinced it is Count Dracula and was so shocked he fell in a deep sleep and when he woke up he remembered nothing. Mina decides not to ask him any questions on the subject and chose to read his journal (187). • When they arrived home they find out of Lucy and her mother’s death (187). • Then it shows an excerpt by two newspaper that talk about children that have been kidnapped by a “ bloofer lady” and would return home with strange wounds around their necks (191-192).

13. Analysis • Early in the Chapter, we know that Val Helsing already knows of what Lucy is becoming.. • And when questioned about the “operation”, he tells Jack he would carry his burden if he could and recaps about the promise he gave to Lucy before her death. • He display his righteous character and is their only hope to save Lucy. • He also shows his will to protect, by staying up all night patrolling the house and keeping an eye on Lucy’s coffin. • Mina also displays her love and devotion to Jonathan by choosing not to question him to avoid him becoming uneasy. And even though she fears of what she may read in his journal she will. So she can help her husband. Courtesy of Google images

14. Vocabulary • Cicatrized- having formed new tissue around a wound during the healing process • Corporeal- bodily, physical • Demurely- modestly • Eccentricities- behaviors or characteristics outside the norm; oddities • Fakir- a person who claims to perform magic or other supernatural feats. • Impotent- powerless • Physiognomist- one who studies facial features • Receptivity- the state of being ready to receive; openness • Redress- to remedy; to make amends • Tumult- a commotion, chaos • Tussock- a clump of grass or earth • Verbatim- word-for-word

15. Chapter 14 • Mina receives a letter from Val Helsing announcing his arrival and asking permission to speak with her (194). • When he arrives they begin to discuss the events in which led to Lucy’s death (195). • He then asks her of Jonathan's health. She tells him of the shock he had days before (199). • She became overwhelmed talking about the subject that Val Helsing consoles her and suggested they eat and discuss later (199). • After they eat, Mina was reluctant to speak of the matter thinking that Helsing would think it to be queer (200). • She ends up giving Helsing a copy of Harker’s journal and he then leaves (200). • Val Helsing sends a letter to Mina telling her that Jonathan’s journal is strange and terrible, but true (201). • (Harker’s Journal) Mina tells him of the meeting she had with Helsing. And show him the letter he sent (202).

16. Jonathan now remembers the reality of what has happened to him and the fact that the Count has come to England. He starts a new diary (202). • (Seward’s journal) Renfield has started once again, catching flies and began his spider line. He notes that he has heard of Arthur regaining some of his old cheerfulness (204). • Val Helsing had come in earlier that day and gave him a copy of Westminster Gazette. It speaks of the events of the “bloofer lady” (205). • He point out that her abductions of little children leave them with wounds similar to the ones Lucy had. Seward is skeptical and sees no link between the two (205). • But Val Helsing insist on there are things science cannot explain and to consider the possibility of the supernatural (206). • Seward finally considers the idea, but does not fully understand what the Professor is implying (208). • Helsing tells him that the puncture wounds on the children were made by Lucy herself (208).

17. Analysis • In the beginning of the chapter, Mina expresses her concern for her husband and frighten by everything that has happened to him. • Throughout his visit Van Helsing constantly praises Mina, at one point he calls her God’s Woman. There is a turning point in this chapter when he lets Mina know of what is happening • This shows that Mina reflects how a woman should be in the Victorian society. • Mina shows gratitude toward Van Helsing for his help he offers for her and Jonathan. And shows modesty while Val Helsing praises her. • Seward shows disbelief in his Professor when he relates the events of the “ bloofer lady” and Lucy. • He is also prejudiced by science, this is what makes it hard for him to consider Val Helsing in his ideas. Courtesy of Google images

18. Vocabulary • Abhorred- hated • Desecration- the act of abusing something sacred; sacrilege • Juggle- a manipulation of someone; a trick to deceive someone • Laconically- with few words; concisely • Pourparlers- conversations prior to negotiations or final decisions • Smote- to hit hard • Sordid- dirty; morally wretched • Unhallowed- not sacred; wicked

19. Chapter 15 • Seward was angered by the fact Val Helsing would propose such a terrible idea (209). • But Helsing convinces him he would not lie of such a matter and would not have taken the time to explain it to him (209). • He told Seward that that night it would be proven to him and asked him if he would dare come with him (210). • He agreed to come with him, and they first go to visit one of the children that were captured and wounded (210). • They compared the wounds to that of Lucy and they were identical (210). • Later that night they go to Lucy’s tomb, and when it is opened Seward is shocked to see it empty (212). • Since he is reluctant to believe the Professor and suggest that her corpse must have been stolen (213).

20. Val Helsing was determined to prove to Seward the truth of the situation. They then leave to find more proof. Val Helsing now leaves with the key to Lucy’s tomb and leaves (213). • Seward sees what he describes a “white streak” in the dark and Val Helsing returns with a sleeping child in his arms. But he had no scar (214). • The next morning, they go back to Lucy’s tomb to find her in her coffin look very beautiful. It is until now Seward realizes the reality of things (215). • Val Helsing now explains the Jack that Lucy is an Undead and that her head must be cut off, filled with garlic, and a stake run through her heart (214). • They then meet up with Quincy and Arthur. Val Helsing explains to the men what they have to do and that Lucy is not dead (220). • Arthur is angered and assumes she was buried alive. But Val Helsing convinces Arthur that what they were going to do had reason and he would come to understand at the cemetery (221-222).

21. Analysis • Seward refuses to believe what the Professor tells him, until he sees the tomb and finds Lucy there. • Val Helsing shows conviction, knowledge, and courage when he speaks of what has become of Lucy. • Even though his friends are in disbelief and give rational reasons to what could have happened to Lucy, he remains by what he believes. • He also shows knowledge by knowing what to do to help Lucy and is brave enough to tell this to her mourning fiancé and lovers. • He also shows leadership by guiding the men to the reality of the situation. Courtesy of Google images

22. Vocabulary • Adamantine- inflexible, unyielding • Assimilating- taking in; digesting • Cerements- burial shrouds; burial clothing • Consternation- confusion, bewilderment • Counteractant- something which acts against another, more harmful thing • Debased- corrupted, degraded • Exodus- a departure • Funereal- pertaining to a funeral; mournful • Interstice- a crack, crevice • Livid- pale; discolored • Phlegmatic- calm, unemotional • Ploughshare- the blade of a plow • Repudiated- rejected, dismissed • Tempered- mild, moderate • Wantonness- unrestrained immoral behavior

23. Chapter 16 • Val Helsing leads the men to Lucy tombs and to reassure Quincy and Arthur, Seward confirms that they saw Lucy’s corpse that morning (223). • They open her tomb and find it empty. All of them stayed in a silent state of shock, and Quincy asks the Professor if it was his doing (224). • He explains the occurrences of the past days and Seward confirmed (224). • He then puts communion wafers in the crevices of the tomb to prevent Lucy to reentering her tomb (225). • The men then waited for the Lucy the Vampire to arrive. They soon see a white figure approach with a child in her arms. They see it is Lucy with unclean and full of hell fire eyes and fresh blood on her face (225-226). • The men surround her, and she drops the child and proceeds to call Arthur seductively. He begins to move towards her and Val Helsing comes in between with a crucifix (227). • She drew back and ran past him and she was going to enter the tomb. But was stopped by an “invisible force” within steps from the door and looked back at the men and “gave a look that could kill” (227).

24. Val Helsing then removes the wafers and Lucy entered her tomb. And then replaced them (228). • They wait until the next day to perform their task. Val Helsing then unpacks his belongings and explained profoundly the need to complete this task (229-230). • He then suggest that Arthur should be the one to hammer the stake in her heart (230). • And then fell to the floor and was caught by the men. When they finally looked at the coffin it no longer contained “ that foul Thing they had learned to hate” (232). • Val Helsing and Seward finished the task and Helsing planned to see them two nights later to discuss the terrible task they have to find the “author of their sorrow.” (232-233).

25. Analysis • Lucy portrays the three “weird sisters” from chapter 3. She shows her “voluptuous wantonness” and preying on children pervert any motherly instinct. And completely separates her from Victorian standards for women. • The men were anxious when they confronted Lucy in her vampire form. Her sexuality is expressed as she calls her fiancé for a kiss. The men know the innuendo in her plea for sexual satisfaction. They are both repulsed and attracted to her. • The penetration of the stake into Lucy symbolizes intercourse. With her fiancé’s action, he restores Lucy’s purity and soul. Which implies the social Victorian standard of monogamy. Courtesy of Google images

26. Vocabulary • Atonement- the act of making amends • Carter- a man who drives a cart • Cike-(dialect) cake • Derogatory- insulting, belittling • Paucity- scarcity, sparseness • Perturbation- uneasiness, anxiety • Quid- an English pound (currency) • Sojourn- a visit, stay • Tacit- implied, understood

27. Chapter 17 • Val Helsing arrives to his room and finds a telegram from Mina, announcing her and her husband’s arrival (234). • Seward is her hostess while Jonathan researches the whereabouts of the boxes of earth that came from a Transylvania (235 & 242). • Seward learns to trust Mina and gives her his phonograph diary to learn about Lucy’s “real” death (237). • Seward then begins reads Jonathan’s journal and finds the possibility of a connection between the days of Renfield’s weird behavior and Count Dracula’s immediacy (241). • Renfield at the moment was acting normal and was felt ready to be discharged. Yet Seward thought about the connection and decided not to release him (241).

28. Jonathan finds out that all the boxes where delivered to Carfax, but is anxious to know if some have been moved recently (242-244). • Mina is concerned with Jonathan and if what he is doing can reopen his fears, now when he has fully recovered (244). • Mina finds herself with Arthur and Quincy, who have arrived early for a meeting (245). • She decides to converse with the gentlemen, yet ends up with Arthur while he mourns for Lucy. She comforts him (246). • Soon after she and Quincy form a bond (247).

29. Analysis • In this chapter we can see the clear difference between Lucy’s promiscuity and Mina’s true portrayal of a Victorian woman. • Mina is constantly praised and considered a great and trustworthy woman. • She consoles Arthur and caressed him as if he was a child. Which portrays her maternal quality; which is an important Victorian virtue in a woman. Courtesy of Google images

30. THEMES • CONCERN • RIGHTEOUSNESS • DEVILRY • HORROR • SEXUALITY • WANTONNESS • VICTORIAN VIRTUES -MATERNITY AND SEXUAL PURITY • RELUCTANCE

31. Critiques Wyman, Leah M., and George N. Dionisopoulos state, • "Dracula is a novel which insists on protecting (and patrolling) women as much as it insists on patrolling the Empire. The men are forever placing protective circles of Holy Wafer and garlic flowers around the women. Dracula will invade through any gap. It is a novel which expresses fears of Dracula's effect upon women their sexualisation. While the central threat of the novel is the seducing Dracula, the novel is populated with female vampires four of the five central female characters are vampires. Dracula attacks only women." Royce McGillivray says, • "Bram Stoker's Dracula has never been much praised for its literary merits. Yet this horror novel, first published in May 1897, survives today, after more than seventy years of popularity, as one of the little group of English language books from the nineties still read by more than scholars. Because of the succession of horror films based on it, whether Dracula would have achieved this success solely through its intrinsic merits is uncertain. Certainly without the films it is hard to believe that Dracula would be one of the few proper names from novels to have become a household word, known even to people who have never heard of the novel. Stoker created a myth comparable in vitality to that of the Wandering Jew, Faust, or Don Juan. This myth has not, so far, been crowned with respectability by its use in great literature, yet is it too much to suggest that in time even that may be achieved? Such a myth lives not merely because it has been skillfully marketed by entrepreneurs but because it expresses something that large numbers of people feel to be true about their own lives

32. Leila May states, • “Dracula embodies the Victorian preoccupation with moral and social corruption. Victorian society was concerned with the contamination of the body and there was a focus on keeping categories and boundaries intact. The female body as a source of corruption, the association of a putrid smell with evil and the fear of evil invading the domestic realm are all found in 'Dracula.” Brian Stableford says, • it seems as if the inspiration that led Bram Stoker to write Dracula was an unrepeatable accident of fate owing more to luck than judgment--but that should not detract from the credit due to its author. Nobody else ever wrote a book like Dracula, and it certainly has not been for want of trying. Roth Phyllis states, • Dracula exerts a complex fascination owing both to Stoker's skill and to the enduring appeal of the Gothic genre of which it is a superb and instructive example.

33. S.L Varnado says, • Bram Stoker's Dracula is one of those rare novels that merits the timeworn phrase "it needs no introduction." Since its publication in 1897 the book has established an undeniable claim on the public imagination. Not only has it passed through innumerable editions (including foreign translations), it has entered the domain of popular culture through constant dramatizations, including radio, motion pictures, and television. The world has taken the book's grim protagonist to its heart in a way reserved for only a few mythical figures. Summers Monatague says • However, when we have quite fairly, I hope thus criticized Dracula, the fact remains that it is a book of unwonted interest and fascination. Accordingly we are bound to acknowledge that the reason for the immense popularity of this romance the reason why, in spite of obvious faults it is read and reread lies in the choice of subject and for this the author deserves all praise....

34. Outline • Thesis Statement: Both Mina and Lucy are portrayed as Victorian women in “Dracula”. But in these chapters, Mina has become the ideal Victorian woman, while Lucy’s sexuality leads her to vampirism. • In order to understand the difference between Lucy’s and Mina’s portrayal of a Victorian women it must be understood that the Victorians had standards which their women had to meet, to be accepted by society. • Maternity and Sexual purity • “We women have something of the mother in us that makes us rise above smaller matters when the mother-spirit is invoked.”(246). Victorians men expected their women to be affectionate, kind, and docile, they also had to be able to be a “mother” when necessary. • , “the sight was almost too much for me… it would have been to have stripped off her clothing in her sleep whilst living” (212) Nakedness in the Victorian age was considered sexual. • 3. “Dracula embodies the Victorian preoccupation with moral and social corruption. Victorian society was concerned with the contamination of the body and there was a focus on keeping categories and boundaries intact. The female body as a source of corruption, the association of a putrid smell with evil and the fear of evil invading the domestic realm are all themes in 'Dracula.” • This critic by Leila May emphasizes how the book reflects Victorian society.

35. Lucy’s transformation changed her Victorian values • Lucy’s curiosity of promiscuity and sexuality was enough to draw Dracula • towards her and turn her into a “voluptuous” vampire (Undead). • 'Voluptuousness' is the term employed innumerable times to signal the transformation from loving bride to loathsome whore, from motherly tenderness to callous ruthlessness” (Rebecca Scott). • “Is most obviously symbolized, and unintentionally exposed, by the blood transfusions from Arthur, Seward, Quincy Morris, and Van Helsing to Lucy Westenra. The great friendship among rivals for Lucy's hand lacks credibility and is especially strained when Van Helsing makes it clear that the transfusions (merely the reverse of the vampire's bloodletting) are in their nature sexual. Van Helsing's warning to Seward not to tell Arthur that anyone else has given Lucy blood indicates the sexual nature of the operation.23” ( Phyllis Roth). • “with careless motion she flung to the ground, callous as the devil, the child that up to now she had clutched strenuously to her breast, growling over it as a dog to growls over a bone. The child gave a sharp cry and lay there moaning.” (Stoker 227) • Mina within these chapters she has become the perfect example of a Victorian woman • She is continuously praised by all the men she meets; implying that it must be • that she is the epitome of a Victorian women. • “One of God’s women fashioned by His own hand to show us men • and other women that there is a heaven where we can enter, and that its light can be here on earth. So true, so sweet, so noble, so little an egoist—and that, let me tell you, is much in this age, so skeptical and selfish” (203). • “Jonathan was holding me by the arm, the way he used to in the old days before I went to school. I felt it very improper...” (186). • “I felt this big, sorrowing man’s head resting on me, as though it • were that of the baby that some day may lay on my bosom, and I stroked his hair as though he were my own child.”(246). • Concluding Statement: In conclusion, the most important theme found in Dracula is its display of Victorian society and its most important virtues among women. Women like Mina and Lucy, display the best example of a Victorian woman which all men find her gracious and one Victorian woman who has lost her grace.

36. Bloom’s Taxonomy Questions Level 1: Knowledge 1. Who does Val Helsing think the “bloofer lady” is? And why? 2. What was Seward’s reaction to Val Helsing when he tells him that Lucy had left the wounds on the children? 3. What made Lucy recoil when she was calling Arthur to come to her? Level 2: Comprehension 1. Summarize the thoughts that Arthur, Quincy, Helsing, and have towards Mina. 2. Discuss the effect Val Helsing’s letter to Mina has on Jonathan. Level 3: Application 1. Based on Val Helsing, What has to be done to a vampire in order to kill them?

37. Level 4: Analysis 1. What is Lucy’s true intentions when she calls Arthur? 2. How does Lucy’s appearance both attract and repulse the men at the cemetery? Level 5: Synthesis 1. What do you think would have happened if Dracula had seen Jonathan in London? 2. Do you think any of the other men would have been able to “ kill” Lucy without Helsing’s leadership? Level 6: Evaluation 1. Seward and Arthur react angrily at Val Helsing when he tells them if what Lucy had become. What would be your reaction? Would you doubt him? 2. Val Helsing in Chapter 14, he tells Seward to consider the possibility of the supernatural. Do you consider yourself a more rational or superstitious person? Or would you be able to be both?

38. Works Cited Stoker, Bram. Dracula. New York: Barnes and Nobles Classics, 2004 Royce MacGillivray, "Dracula: Bram Stoker's Spoiled Masterpiece," in Queen's Quarterly, Vol. 79, No. 4, Winter 1972, pp. 518-27. Reprinted in Novels for Students, Vol. 18 Brian Stableford, "Stoker, Bram," in St. James Guide to Horror, Ghost & Gothic Writers, edited by David Pringle, St. James Press, 1998, pp. 573-75. Reprinted in Novels for Students, Vol. 18 Phyllis A. Roth, "Dracula." In Bram Stoker, pp. 87-126. Boston: Twayne Publishers, 1982. S. L. Varnado, "The Daemonic in Dracula." In Haunted Presence: The Numinous in Gothic Fiction, pp. 95-114. Tuscaloosa: The University of Alabama Press, 1987. May, Leila S. "'Foul things of the night': dread in the Victorian body." The Modern Language Review 93.n1 (Jan 1998): 16(7). Expanded Academic ASAP. Thomson Gale. Miami-Dade County Public High Schools. 21 Mar. 2007 

39. Works Cited Douthat, Ross and Hopson, David. SparkNote on Dracula. 21 Mar. 2007 <http://www.sparknotes.com/lit/dracula/>. Wyman, Leah M., and George N. Dionisopoulos. "Transcending the virgin/whore dichotomy: telling Mina's story in Bram Stoker's Dracula." Women's Studies in Communication 23.2 (Spring 2000): 209(29). Student Resource Center - Gold. Thomson Gale. Miami-Dade County Public High Schools. 21 Mar. 2007 <http://find.galegroup.com/ips/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T002&prodId=IPS&docId=A119510212&source=gale&srcprod=SRCG&userGroupName=miamidade&version=1.0>. Montague Summers, "The Vampire in Literature," in his The Vampire: His Kith and Kin, 1928. Reprint by University Books, 1960, pp. 271-340.