Although Chang Ping-lin is well-known for his role in the revolutionary movement that culminated in the termination of imperial rule in 1911, he is more often remembered as a prominent classical scholar. His life and thought illustrates the uneasy relationship between political revolution and cultural conservatism among the intellectuals of his generation, and his advocacy of preserving the national essence paved the way for the far-reaching National Essence Movement in the early twentieth century. This dissertation, thus, represents a study of the tension between politics and culture among Chinese intellectuals and the significance of cultural conservatism during that era. Chang's concern to preserve the national essence was not only because he was a classical scholar, and therefore, felt a responsibility to uphold classical teachings, but also because he believed it was essential for the survival of the nation. Under pressure from Western powers, Chang was afraid that Chinese culture was threatened with extinction. In order to prevent foreign conquest, Chang believed that reform or revolution in China was necessary, and that the most important mission of the reformer or revolutionary was to preserve her unique culture. Therefore, he gave priority to the preservation of the national essence over that of the nation. The latter was important only because it was needed to save the former. And reform or revolution was in turn necessary to save the nation. Chang's lifelong commitment to the preservation of the national essence manifested itself in his two careers: one as a political activist and the other as a classical scholar. Even after the establishment of the Republic of China, Chang remained active in the political arena. He continued to speak out against whatever he perceived to endanger China's sovereignty or its culture. Apart from his involvement in politics, Chang also devoted himself to teaching and the study of China's rich cultural heritage. This effort to preserve the national essence was the most consistent thread in his life.

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This study seeks to show the editorial attitude of the Atlanta Constitution on the Negro question 1886-1889, with special emphasis upon social, political, economic, religious and educational questions. The years 1886-1889 were chosen because it was during this period that Henry Woodfin Grady was actively associated with this paper in an editorial capacity. He was at this time hailed throughout the country as the exponent of the New South. The newspaper career of Grady started while he was a student at the University of Georgia. He wrote a gossipy letter and contributed it to the Atlanta Constitution. The editor saw from this letter the future possibilities of Grady as a writer. From that time on he wrote regularly for the Constitution. In 1886 Grady bought an interest in the Atlanta Constitution . It was under Grady's direction that this paper attained the fame which it has since so well maintained.

Although separate addresses of Booker T. Washington have been reproduced and commented upon by writers of both newspaper articles and books, and Mr. E. Davidson Washington has edited a book of his father's addresses, 1 no full, analytical study It is the aim of this thesis to discover the sources of Mr. Washington's oratorical success. What were those qualities of this addresses that enabled him to get "the desired response"?2 What was it that made his speeches move, persuade, and conv 1E. Davidson Washington, Editor, Selected Speeches of Booker T. Washington, Garden City, New York, 1932. 2W. P. Sanford, Principles of Effective Speaking , New York, 1934, p. 6.

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Filmmaker Luis Bunuel occupies a unique position in the history of cinema: not only is Bunuel considered the definitive filmmaker associated with a major art movement--Surrealism--but he is also considered the embodiment of two national cinemas, those of Mexico and Spain. Bunuelian Surrealism actually derives from the atavistic medievalism of Spain, unique in Western Europe with its history of oppression, intolerance, persecution and specularized violence. It is a surrealism rooted in a profound sense of moral outrage, closer in spirit to the dark vision of his Aragonese predecessor, painter Francisco Goya, than to Andre Breton's Parisian inner circle. Consistent with their keen intelligence and true to their Spanishness, these Aragonese masters transcend cultural specificity with a message of universal applicability, In a resounding condemnation of mankind's victimization by the agents of sociopolitical control, they reveal the gaping abyss separating cultural cliche from the reality of human suffering.