The syllabuses for all the courses available in 1966 are set out below. The syllabuses of the second year coui·ses available in the School of Language and Literature in 1967 are also set out, and an indication is given of some of the other courses which will be available in all Schools in 1967 and subsequent years.
Details of all courses beyond the first year level should be regarded as tentative at this stage. Fu1'ther disc.iplines and additional courses will almost certainly be introduced in 1967 and subsequent years.
Students are expected to procure the latest edition of all text- books prescribec1. 'l'hose books indicated by an asterisk (';') are available in paperback editions.
SCHOOL OF LANGUAGE AND LITERATURE
The Part I and Part II courses in English, French and Spanish constitute unified programmes of study for all students in the School of Language and Literature. On the com11letion of Part II, candidates i)Toceed either to the Ordinary Degree of Bachelor of Arts by taking the Part III courses, or to the Honours Degree by commencing their Honours work.
All students admitted to the School are expected to have com- pleted the preliminary reading prescribed in the syllabus before the commencement of lectures.
In determining the results of candidates, no1·mally half the marks are allocated on the basis of work done chuing the year and half on the results of the annual examination; however, Part I candidates whose "Work throughout the year is of distinction or credit standard and who satisfy the examiner8 at the end of the second term in a linguistic test in the foreign languages which they are taking, may be exempted from further examination at the end of Part I in one or both of their major disciplines. In some topics the annual examination may take a form other than that of a three hour "Written pa1)er.
Lectures, tutorials, seminars and practical classes are heild within the School. Particulmr importance is attached to the personal supervision of undergraduates in tutorials. In certain topics the tutorial is the princi1)al teaching medium. Students attend tutorials either individually or in small groups.
Regular work in the language laboratory prepares candidate8 for the oral examinations in the Part I, Part II and Part III foreign language courses.
Background Reading
All undergraduates in the School are required to fulfil a pro- gramme of background reading during the first two years of their studies. This programme does not normally form part of any classroom instruction, but at the end of Part II all undergraduates are tested in oral discussion on some of the books on their selected list as part of the Part II examination. Undergraduates are required to choose twenty of the following books and to submit a list of their chosen titles not later than the end of their Part I.
The Background Reading List for 1966 is:
Selections from The Bible: Genesis, Psalms, Isaiah, Song of Songs, St. Luke;
Acts of the Apostles, Revelation.
·"Homer, The Odyssey.
>{Sophocles, Oedipus Rex.
*Plato, Symposium.
*Lucretius, The Nat11re of the Universe.
*Virgil, The Aeneid.
«·Ovid, The Art of Love (Loeb or Livre de Poche).
*Apuleius, The Golden Ass.
*'lfhe Epic of Gilga1nesh.
*St. Augustine, Confessions.
*l3oethius, The Consolation of PhUosophy.
*Becle, A History of the English Ch1wch and People . . , Beow11lf.
*The Song of Roland (N.F.).
-:<-Aiicassin and Nicolette.
*·The Saga of Burnt Njal.
*Dante, Inferno.
*Boccaccio, The Decame1·on.
*Bir Gawain amit the Green Knight.
'·Machiavelli, The Prince.
*More, Utopia.
*Rabelais, Gargant11a and Pantagriiel (N.F.).
*Cellini, A1ttobiography.
*l\1;1:mtaigne, Essays.
*Spenser, Faerie Qqieene, Book I.
*Sliakespeare, King Lear.
·"ceilvantes, Don Quixote.
*Descartes, Disao1ws de la 11iethoite.
*.Pascal, Pensees.
*Moliere, Le ]J{isanthrope (N.F,).
·*Milton, Paradise Lost.
*Voltaire, Candide.
*Rousseau, Confessions.
*Goethe, Faiist, Part I.
*Austen, Emma.
*Stendhal, Le R011pe et le Nair (N.F.).
*Hawthorne, The Scarlet Letter.
*Melville, Moby Dick.
*Darwin, Origin of Species.
*Dostoyevsky, Crime and Pmiishment.
*Tolstoy, War and Peace.
·"George Eliot, Middlemarch.
*Marx, The Comm1mist Manifesto.
*Zola, Germinal.
54
*Ibsen, Hedda Gabler.
*Freud, The Psychopathology of Everyday L·ife.
*Frazer, The Golden Bo11gh (abbrev. ed., Macmillan).
*Mann, The Magic Moimtain.
*'Power, E., Medieval People.
*Huizinga, The WanAmg of the Middle Ages (N.F.).
*Ki;i,fka, The Ti·ial.
*'rawney, Religfon and the Rise of CapUalism.
*Faulkner, The Somid and the Fury.
*Graves, Greek Myths.
*"White, P., Riders in the Chariot.
NJ•'. indicates that these titles may not be included by students reading French.
COURSES IN ENGLISH
100. THE ENGLISH LANGUAGE AND STUDIES IN LITERATURE
This courno consists of lectures and seminars extending over the whole yea.r in the structure and history of the English language, ancl in addition a select period, a literary genre ancl an author are studied for one term each; each of topics B, C ancl D consists of an initial series of lectures followed by a series of supervision classes.
Prelimina.ry Reading:
*Potter, S., 01w Lang11nge (Penguin).
«·Parry, J., .A Givi:cle Thrmigh English Litcrntiire (Univ. of London Press).
*Frnser, G. S., The Modern Writer and his World (Penguin).
TOPIC A: The structure and history of the English language.
Prescribed Reading:
Baugh, A. C., A History of the English Lang11age, 2nd ed. (Routledge ancl Kegan Paul).
Johnson, Samuel, Preface to the Dictionnry.
Potter, S., Modern L?:ngiiistics (Deutsch).
Quirk, R., The Use of English (Longmans).
Turner, G. 'i'I'., The English Language in AiMtralfo and New Zealand ( Longmans) .
'.Vorclsworth, 'l'Y., Preface to Lyrical Ballads.
TOPIC B: English Literature 1900-1950.
Set books:
Auden, IV. H., Collected Sho1·ter Poems, 1930-1944 (Faber).
Eliot, T. S., Collected Pomns, 1909-1962 (Faber).
•·Forster, E. M., A Passnge to India.
*Lawrence, D. H., Women 1:n Love.
·"Orwell, G., Nineteen Eighty-fmw.
*Shaw, G. B., St. Joan.
Thomn,s, Dylan, Collectecl Poems (Dent).
Under Mille Wood.
\Yoolf, V., To the LighthoiMe.
Yeats, Vl. B., Collected Poems (Macmillan).
TOPIC C: Biography and Autobiography, 15th to 20th Century.
Set books:
The Book of Margery Kempe ('1Vorld1s Classics).
·walton, I., Life of Donne (World's Classics).
*Aubrey, Brief Lives, ed. Dick (Penguin).
Johnson, S., Life of Milton.
Gibbon, E., Lfotobiography.
Gaskell, MTS. E. C., The Life of Charlotte Bronte (World's Classics).
-•Graves, R., Goodbye to All That (Penguin).
*Muir, E., A 11tobiogffiphy (Hogarth).
To PIO D: Special Author: Dryden.
Sot books:
*Selected Works of John Dryden, ed. W. Frost (Holt, Rinehart and \Vinston).
Dryden, John, Three Ploys, ed. G. Saintsbury (Mennaid Series, Dryden Vol. I, Ernest Benn) .
-»Ashley, M., England fri the Seventeenth Centiiry (Penguin).
102. ENGLISH LITERARY CRITICISM AND
sronms
IN LITERATURE
'rhis second-year eourse t~onsists of lectures and seminars extending over the whole year in the history, theory and practice of literary criticism, and in addition a select period, a genre, and a number of Shakespeare's prays are studied for one term each; each of topjcs F, G and H consists of an imtial series of lectures followed by a series of supervision classes.
'roPIC E: The History, Theory, and Practice of Literary Criticism.
Prescribed Reading:
*·Daiches, D., Critical Approaches to Literatiire (Longmans).
*Enright, D. J. and de Chickera-, E., English Critical Texts (O.U.P.).
*Forster, E. M., Aspects of the Novel (Penguin).
*Murry, J. Middleton, The Problem of Style (0.U.P.).
*Richards, I. A., Princ·iples of Literary Criticism (Routledge and Kegan Paul).
Wimsatt, IV. K., and Brooks, C., Literary Criticisrn: A Sho1·t History (Routledge and Kegan Paul).
'l'oPIC F: English Poetry, 1600-1660.
Selected Poems of Jonson, Donne, Herbert, Crashaw, Marvell, Vaughan, Milton.
TOPIC G: The English Novel, 18th and 19th Century.
Set books:
*Defoe, Moll Flanders.
_:·*Fielding, Tom Jones.
*Smollett, H1i1nphry CUnlcer.
*Austen, J mm, Mansfield Parle.
*Dickens, Oiw M11tiicil Fr-iend.
*Eliot, George, Middlemarah.
*Meredith, The Egoist.
- *James, Remy, l'he Portrait of a Lady.
>"Hardy, Jude The Obsaiire.
'l'OPIC H: Shakespeare.
Romeo cind Juliet, Othello, Love's Labour's Lost, Measiwe for Measure.
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104. MAJOR MOVEMENTS AND ADV AN CED STUDIES IN ENGLISH LITERATURE
TOPIC I:
TOPIC J:
TOPIC K:
1'0PIC L:
Major Movements in English Literature (Renaissance, Classicism, Romanticism, Rmilism).
Comedy.
Special Author: Either Chaucer or T. S. Eliot.
Special Topic.
COURSES IN FRENCH
110. TWENTIETH CENTURY FRENCH LANGUAGE AND LITERATURE
Students who wish to enrol in this course are required to have passed in French at the Leaving Examination, unless they obtain special permission in writing from the Secretary. Candidates who desire such special permission should consult the Professor of French as early as possible prior to enrolment.
In this course, candidates study practical French linguistics and French Literature in the twentieth century.
Preliminary :fteading:
Auerbach, E., Introcfoction to Bomcince Langiuiges and Litemture (Capricorn, New York).
Cobban, A., ..d History of Modern France, Vols. I and II (Penguin).
Decaudin, M., XXe Siecle fran9ais ( Seghers).
TOPIC A: Language.
Set Books:
Byrne, L. S. R., and Churchill, E. L., ..d Comprehensive French Gra1ntnar, Part I (Blackwell) .
Lagarde, A., and Michard, L., XXe SiiJcle (Bordas, Harrap).
Students are also expected to have their own copies of the following works of reference:
Mansion, J. E., Harrap's Shorter French and English Dictionary.
Baily, R., Diationnaire des Synonymes (La.rousse).
Harrap's Standard French and English Dfotionary is an invaluable work o:f reference and undergraduates who wish to specialize in French or who intend to teach the subject themselves after completing their degrees are strongly advised to buy it in preference to the Shorter Dictionary mentioned.
The examination consists of one passage from a French work not earlier than
1900 for translation into English, one shorter passage from an English work of
the same period for translation into French and questions on language based on Byrne and Churchill.
TOPIC B: Oral French.
All candidates follow courses in the language laboratory throughout the year and they are also able to make use of its facilities privately until their work has, reached the required standard. The oral examination includes dictation, phonetic transcription, reac1ing aloud and conversation in French. The candidate is required to prepare a critical ten-minute commentary in French on an article which he has read in one of the French newspapers or periodicals to which the School has a subscription. Questions asked by the examiner are designed to test the can- didate's knowledge of the newspaper or periodical concerned and his undeTStanding of the policies adopted by it during the year towards the subject he has chosen or to allied subjects.
Set book:
Armstrong, L. E., The Phonetics of French (Bell).
TOPIC C: Frnnch Literatme in the Twentieth Century.
Set books. Any wven of the following:
Gide, L'I?mnoraliste (Livre de Poche).
Bernanos, J oimial d'wn Ciire de Ca?npagne (Livre cle Poche).
Camus, L'Etrnnger (Methuen).
Cal-igula ( Gallimard).
Sartre, Huis Clos (Livre de Poche).
Claudel, L'Annonce faUe a Marie (Livre de Poche).
Partage de Midi ( Gallimard).
Beckett, En attendant Godot (Eel. de Minuit).
Bonnafe, A. eel., Georges Brass ens ( Seghers).
Prescribed reading:
Freud, S., Civ'ilizaUon and its Discontents, eel. Strachey (Hogarth).
Nietzsche, F. IV., Birth of l'ragecly (Anchor).
Deeaudin, M., XXe S·iecle frn1u;ais (Seghers).
112. MEDIEVAL AND NINETEENTH CENTURY FRENCH LANGUAGE AND LITERATURE TOPIC D: Language.
Set books:
Byme, L. S. R., and Churchill, E. L., A Co?nprehens·ive French Gram.?nar, Parts I and II.
Robins, R. H., General Ling111istics: An introductory si11·vey (Longnmns).
Lagarde and Michard, XIXe Siecle (Bordas).
In the examination the passages set for translation are taken from nineteenth century writers.
TOPIC E: Oral French.
The oral examination includes dictation, phonemic and phonetic transcription, reading aloud, exposition by the candidate of one or several topics proposed by the examiner and conversation in French. The topics for exposition and con- versation arc ta.ken mainly from the books presr.ribed under Topies D to H according to the options taken by the candidate.
Set book:
Jones, D., l'he Phoneme (Heffer).
Any two of the following, Topics F to H:
TOPIC F: French Literatme in the Nineteenth Oentmy.
Set books:
Constant, Adolphe, ed. J. H. Bomecque (Garnier).
Stendhal, Le Roiige et le N oir (Garnier).
* La Chartreiise cle Parme (Livre de Poche).
*Balzar., La Coitsine Bette (Livre de Poche).
* Le Cousin Pons (Livre de Poche).
*Flaubert, Madame Bovary (Livre de Poche).
L'Ecliication senti?nentale (Garnier).
''Baudelaire, Les Fleiws clu Mal ( Oluny).
* Pet·its Poem.es en Prose (Livre de Poche).
Prescribed reading:
Robichez, J., XI Xe Siecle frangais ( Seghers).
*Auei·bach, Erich, M·iniesis (Anchor).
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TOPIC G: Fl'ench Literature in the Fourteenth and Fifteenth Centuries.
Set books:
Deschamps, Eustache, Poesies ( a.n anthology p1'ovic1ec1 by the School).
Charles d'0l'leans, Poesies, eel. P. Champion ( CFMA).
*Villon, Frall<<ois, Poesies completes, ed. R. Guiette (Livre de Poche).
Froissal't, ChronA:ques, ancl Commynes, Memoires, in Historiens et Chron·iqiieurs du nwyen age, eel. A. Pauphilet (Pleiadc).
Prescribed reading:
Schmidt, A. M., XIVe et XVe Siecles frangais (Seghe1·s).
Le Gentil, P., La Litteratiire franga·ise di; moyen age (Colin).
*Huizinga, .J., Waning of the Middle Ages (Penguin or Anchol').
TOPIC H: Medieval Fl'ench Linguistics.
Set books:
Raynauc1 c1e Lage, G., Ma1mel prntiqi1.e d'ancien frangais (Collection Connaissance des langues, Pical'd) and Introdi;ction d l'anaien frangais (Societe d'Mition
d'enseignement superieur).
*Guirnud, P., Le moyen fra1i<;ais (Que sais-je, P.U.F.).
114. FRENCH LANGUAGE AND THEATRE TOPIC I: Language,
TOPIC .J: Oral French.
TOPIC K: The French Theatre before 1700.
Candidates fol' Part III al'e also required to offer one of the Honours Topics 22, 23, 25, 27, 30, 31, or 32, but the standard expected in these Topics is not the s:,wie as that which is requhed of an Honoul's student and in most cases sepal'ate examination papers are set.
COURSES IN SPANISH
120. INTRODUCTION TO MODERN SPANISH
No previous knowledge of Spanish is required for this course. Students will be expected to acquiTe a working knowledge of elemental'y spoken ancl written Spanish, the geogl'aphy of Spain, ancl recent Spanish histol'y. Five modern Spanish texts will be stucliecl in detail. Convel'sation classes will be intl'ocluced in the second term to give students practice in spoken Spanish. Language work in class will be supplemented by a language laboratol'y course, to which students will be expected to devote at least two houl's weekly.
Pl'eliminal'y reading:
*Atkinson, W. C., A History of Spain and Portugal (Penguin).
*Auel'bach, E., Introduction to Romance Languages and Literature (New York, Capricorn).
·*Brenan, G., The Literatiire of the Spanish People (Penguin Ol' Mel'iclian).
Tl'encl, .J.B., The Civilization of Spain (O.U.P.).
TOPIC A: Moclel'n Spanish.
Set books:
Davies, Hall ancl Smith, The Langensaheidt English-Spanish and Spanish-English Dictionary.
Turk, L. H., Foimdation Course in Spanish (rev. eel., Heath).
Ramsden, H., An Essential Cou1·se in Modern Spanish (Harrap ).
Smith, C. C., An EngUsh-Span·ish Word List (Hal'rap).
Torre B: Modern Spanish Literature.
Set books:
Rich[trdson, vV. A. R., Modern Spanish Unseens (Pergamon).
Fisher, W. B., and Bowen-Jones, IL, Spain ( Chatto and Windus).
Perez Gald6s, B., Dona Perfeotl! (Losada, Hernando or U.N.A.M.).
Delibes, M., El oamino ( IIa.rrap).
Garcia Lorca, F., Lei zapcitera prodigiosa (Hanap).
Bodsworth and James, ed., C1wntos modern.as espafioles e hispanoamerioanos (Black).
*Flores, A., An Anthology of Spanish Poetry (Doubleday Anchor).
122. CONTEMPORARY SPAIN AND LATIN AMERICA
This is an outline course in the liternture, drama, and history of contemporary Spain and Latin America and includes weekly language, essay and conversation classes.
Torre C: Language.
Set hook:
Harmer and Norton, A Man11cil of Modern Spcinish (University Tutorial Press).
'POPIO D: Contemporary Spanish ancl Spanish American Literature.
Set books: I i
I
i*Cela, C. J., La· fam·ilia de Pasoital Diiarte (Col. Austral, Espasa-Calpe, Ancora y Delfin, Destino or Appleton-Century-Crofts).
Martin Gaite, C., Entre v·isillos (Ancora y Delfin, Destino).
Casona, A., Los 6.rboles miieren de p·ie (Harrap).
Buero Vallejo, A., Hoy es fiesta (Hanap).
*Goytisolo, J., Campos de Nijar (SeiJc Barral).
Quiroga, H., Citentos esoogiclos (Col. Crisol, Aguilar).
Asturias, M. A., Week-end en Giicitemala ( Obras escogidas II, Aguilar).
Neruda, P., An Anthology· (To be supplied in a cyclostyled edition).
124. GOLDEN AGE SPAIN Torre E: Language.
TOPIC F: Literature ancl Drama, 1492-1700.
Torm G: Spanish History and Civilization, 1492-1700.
COGNATE COURSES
180. THE CREATIVE ARTIST AND HIS PUBLIC
In this course students will study, in lectures and supervision classes, problems of communication between creative artists ancl their public, in music and the :fine . arts, from the Renaissance to the present clay. There will be two hours of instruction a week throughout the three terms.
SECTION 1: Music.
This section of the course will consist of the following:
A. Miisic and Literatwe:
Latin to the Vernacular.
aria.
Vocal music in the Renaissance and Baroque. From The ayre and the madrigal. The recitative ancl the , B. l'he Abstract in Mitsio: Instrumental music in the Renaissm1ce ancl Baroque.
The elements of melody, rhythm, ancl form, of harmony ancl sonorities;
fancy free and according to rule. From miniature to mural.
C. Soholai· and Exeoiitant: From symbols on paper to sounds in the ear. The bare bones of an antique score: Bach, Matthiiits Passion. The complex demands of music-drama: vVagner, D-ie Meistersinger van Niirnberg. Appreciation and criticism.
60
Prescribed reading:
*Donington, R., Instr1iments of Miisia (Methuen).
*Dart, T., Interpretation of Music (Hutchison).
*Woocl, A., Physics of Miisia (Dover).
·»nanslick, E., Miisic Criticisms 1846-99 (Penguin).
Bach, .J. S., Mattha1is Passion (Vocal Score, Solclan) (Peters).
·wagner, R., Die Meistersinger von Niirnberg (Vocal Score, Kogel) (Peters).
For reference:
V\Test!·up, .J. A., ancl Harrison, F. L., Collvns Miisic Encyclopeclia (Collins).
Bacharach, A. L., eel., The New Musical Companion (Gollancz).
SECTION 2: Fine Arts.
This ;;ection of the course will consi8t of the following:
D. Iconography: Rena.issance to Baroque. Meaning ancl allusion relatecl to changing style. The artist in harmony with society .
. E. Revolt: From Romantic to Moclern. Conflict between the aesthetic ancl the utilitarian. The artist alienatecl from society. Intensiiiecl pre-occupation with formal values.
Prcscribecl reading:
Gombrich, E. H., The Story of Art (Phaiclon).
*Murray, P. ancl L., A Dictionary of Art and Artists (Penguin).
*Panofsky, E., Meaning in the Vis1tal Arts (Doubleclay Anchor).
*Panofsky, E., Sti;dies in Iconology (Harper Torchbooks).
*Gaunt, 17\f., The Aesthetic Advent1we (Penguin).
*Hauser, A., The Socfol History of Art (Routledge ancl Kegan Paul).
For reference:
.Janson, H. \7\f., A History of Art (Thames ancl Huclson).
*Sypher, W., A?·t History: an Anthology of Modern Critic-ism (Vintage).
*Wolffiin, II., Principles of A1·t History (Dover).
Antal, F., Florentine Pa·inting and its Social Baclcgrouncl (Routleclge ancl Keg·an Paul) .
Brion, M., Romantic Art (Thames ancl Huclson).
*Pevsner, N., Pioneers of l!ioclei·n Design (Penguin) .
. ,.Holt, E. G.,_A Doc1111nentary History of Art, 2 vols. (Anchor).
190. AN INTRODUCTION TO ENGLISH, FRENCH AND SPANISH CIVILIZATION
In addition to the programmes of general reacling listecl below, details of fmther specific reacling· on the va.rious topics will be issued during the year.
SECTION 1.
This section consists of nine topics, three of which stuclents will select for detailed stucly. Lectures altemate with seminars ·week by week in the first two terms, on the basis of three hours a week in which the same topic will be leeturecl on (ancl in the following week c1iscussec1 in a seminar) from the English, French and Spanish angle.
Students taking Group L.1 must take the English and French portions; those taking Group L.2 must take the English and Spanish portions; those taking Group L.il must take the French and Spanish portions. Students enrolled in other Schools may choose any two portions; ancl any stuclent who so wishes may take all three portions.
The Topics:
A. Geography: Regionalism and Centralism.
B. National Expansion.
C. Religion.
D. The Middle Ages: Feudalism and Courtly Love.
E. The Renaissance.
F. Revolution.
G. The National Hero.
H. Don Juan.
I. The Press.
Prescribed Books for Genera} Reading:
ENGLISH
*Trevelyan, G. M., Shortened IIistory of England (Penguin).
Smellic, K. B., The BrUish Way of Life (Heinemann).
Brewer, D., Chaitcer fa lvis Time (Nelson).
*Tillyarc1, E. M. W., The Elizabethan World Pictitfe (Penguin).
*Fraser, G. S., The Modern Writer and his World (Penguin).
FRENCH
·•Auerbach, E., Introduction to E01nance Langitages and Literature (Capricorn).
"''Cobban, A., A History of Modern France, Vols. I and I I (Penguin).
*Seznec, J., Sitrv·ival of the Pagan Gods (Torchbooks, Harper).
'"Male, E., The Gothic Image (Fontana).
Michaud, G., Gitide France. Mamtel de Civilisation frlmga-ise (Hachette).
SPANISH
*Atkinson,
Vv.
C., A IIistory of Spa:in and Portiigal (Penguin).*Brenan, G., The Spanish Labyr-inth (C.U.P. Paperback).
*Cervantes, M. de, Don Qiiixote (Penguin).
*Sitwell, S., Spain (Batsforcl).
Trend, J. B., The CiviUzation of Spain (O.U.P.).
SECTION 2.
This section consists of a. number of topics in Music and Fine Arts, three of whieh students will select for detailed study. Lectures alternate with seminars week by week throughout the third term, on the basis of not less than two and not more than four hours a week.
The Topics:
MUSIC
J. History: The evolution of Western Musie to the 15th century.
K. The Renaissance: The :first flowering of the mature art in Church and Chamber.
L. Classicism and Romanticism: The age of patronage and eleganee in Mansion and Theatre.
M. Revolution: From National Consciousness to International Chaos.
N. Musicology: The scientific approach t6 musical history and criticism.
FINE ARTS
0. Introduetion to Fine Arts as a humanist discipline; historiography of the subject; the significance of forms, media, and techniques.
P. The Mic1clle Ages: Romanesque and Gothic; Feudalism and Courtly Art.
Q. The Renaissance.
R. Religion, Monarchy, Revolution.
S. Regionalism, Centralism and Nationality.
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