From the introduction: Purposes of the problem: The purpose of this study was to obtain a representative sample of public opinion to the three following questions: (1) To what extent is the public informed of certain basic facts pertaining to the workings of the College of the Pacific? (2) What does the public think of the College of the Pacific in certain areas? (3) What does the public expect of the College of the Pacific relative to certain policies and issues? The data of this study were obtained by means of a questionnaire sent to residents of the metropolitan area of Stockton, California, September, 1950.

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This study explored assumptions about communication styles used by nationals of countries that share what is perceived as a common native language. Participants were from Argentina, Chile, and Paraguay, and the common native language was Spanish. Data were gathered before and after their attendance at a five-day training event with attendees from Argentina, Brazil, Chile, and Paraguay via surv'ey questionnaires (pre) and interview questionnaires (post). The data were analyzed for participants' assumptions about communication styles and whether these were confirmed or challenged by intercultural interaction. They were also analyzed for ways in which the perception of a shared native language could influence assumptions and interactions. The results revealed four primary communication styles involved in participants' assumptions: 1) Harmony versus Assertiveness, 2) Accessibility versus Exclusiveness, 3) Vocabulary, and 4) Intercultural Conflict Styles, among other insights related to the study questions.

Doctorow has a curiously complex problem in Ragtime. He wants to say something meaningful, to arrive at some truth about the ragtime era of America; he wants to reveal the essence of the people of that eram who and what affected them, whom and what they affected. But the facts alone cannot solve Doctorow's program. They will provide only locatable, accountable, recorded deeds. Art, by itself, cannot solve the problem either, since the problem is too bound up in history. The problem of Ragtime, then, is to conjoin somehow the accountable facts and the unrecorded effects those facts might have had. Ragtime needs to show how the historical figures of the early twentieth century and their philosophies affected unnamed families and caused much social unrest and change. Doctorow's solutions is what might be called ragtime journalism. The new journalism attempted to create realistic novels that convinced us of their factual veracity by using real people and scenes to present an authentic recreation of reality. But Doctorow uses real people and scenes to create an unauthentic reality, to create a very obvious fiction.3.

The life of André Gide is divided into four periods: his early life which he considered his period of darkness, his adolescence which was his period of mental confusion, his early mature years which was his period of defiance, and his later years which was his period of leadership. By studying his life the growth of his individualistic approach to everything and his reasons for not conforming to the pattern established by tradition will be traced.

The purpose of this thesis, if with respect only to the short fiction, will be to provide some measure of resurrection for a much-ignored and much-maligned talent. Scholarly interest in John Steinbeck has been distinctly minimal and even his admirers admit his artistic decline of recent years. Unlike the attention lavished upon his illustrious contemporaries, William Faulkner and Ernest Hemingway, the number of major critical surveys of Steinbeck's works can be counted upon the fingers of one's hand. It has been customary to regard Hemingway and Faulkner, usually in company with F. Scott Fitzgerald, as titans, while John Steinbeck's, cast as a johnny-come-lately, tends to be regarded as a dwarf among mammoths, an intruder among the immortals. Even those critics who, like so many readers, have enjoyed the gifted storytelling of the man, whose intentions are kind, and who come to praise, often stay, in the word of F. W. Watt, "to damn, or at least to remonstrate with the author on the theme of artistic seriousness and moral responsibility."2 Steinbeck is peculiarly annoying to his friends for the precise reason that many of his party have expected much more from him than he was perhaps able or capable of giving, especially after his departure from California. Certainly one of the most popular and repeated criticisms is that Steinbeck has never lived up to his potential, that he has never lived up to the promise he displayed in his "golden age" of the 'thirties, and that far greater things should have come from him to sustain a critical reputation which has suffered, especially in the post-war years, a steepening decline. Such indictments ignore the fact that by 1945 the expatriate and the southerner, like the man of the West, had already written the bes of what was within them. Thereafter, Hemingway, Faulkner, and Steinbeck continued to write; but what they wrote, most agree, was not the measure of what had gone before.

The pressure on athletes to perform and stay healthy is ever more intense. This being the case, athletes suffering injuries of the operative nature with extensive rehabilitation protocols are more prone to psychological ramifications related to their injury and rehabilitation. Literature has addressed some of the issues; however the role of self-efficacy on rehabilitation adherence has not directly been evaluated. Furthermore, the particular nature of self-efficacy related to athletic participation, injury, and subsequent rehabilitation, as well as the role an athletic trainer plays in enhancing or diminishing one's sense of self-efficacy has not specifically been evaluated. Therefore the purpose of this study is to uncover some of the literature gaps and is two-fold: (i) to evaluate how an athlete's sense of self-efficacy impacts his/her adherence to their rehabilitation program, and (ii) to assess the impact an athletic trainer may have on an athlete's self-efficacy during rehabilitation. Results of this study are intended to enhance the quality and efficiency of athletic injury rehabilitation and have been designed with the athletic training professional in mind .

In August, 1954, William Faulkner’s twentieth book of fiction, A Fable, was published. As might be expected by anyone knowing of Faulkner’s previous career and critical reception, the reviewers received it with widely divergent opinions. None seems to have found the book an unqualified success, the word “failure” occurs in many of the reviews, and a number confess inability to find motivation for various actions or the pertinence of certain episodes, More than one reviewer reveals quite obviously that he has not been able to follow the plot. As a matter of fact, the runner is one the few main characters who are alive at the end of the story, and his last words on the last page of the book probably contain the essence of the novel, as we shall see. However, reviews are necessarily printed soon after book distribution (this one apparently even before), and A Fable, like most of Faulkner’s books, requires more than one reading. It is apparent that despite several books, hundreds of shorter studies, and dozens of doctoral dissertations (virtually all since 1950) written about him, WIlliam Faulkner still remains a controversial figure. He is still writing and still expressing his highly quotable opinions to interviewers, Since his moral vision has long been a matter of interest and conjecture, since his Nobel Prize Acceptance Speech presumably expressed his own credo for his life’s work, and since some disparity between the work and the credo has been claimed, and investigation of the moral implications of A Fable would appear to be worthwhile. One might ask the following questions: What sort of creature is man? What sort of world does he live in? How may man best live in his world? We shall determine Faulkner’s answers to there questions chiefly as he gave them in A Fable, although other sources may be an occasional help. In conclusion, some attempt will be made to relate this novel to Faulkner’s whole work to date in respect to point of view and artistic value.

Although there is some difference of opinion today concerning George Sand's position in French literature, it is a definite fact that she was an important literary figure during her lifetime. By important, I do not necessarily mean that she was always popular, for she received a great deal of unfavorable criticism; but her name was famous name, her works were generally the talked-of books, and her influence was feared. "George Sand" attached to a new publication brought immediate interest and heated discussion. Commercial men capitalized on this fact, for we are told that a certain in Rafin named a new perfume after the famous author, and one of two balloons let loose from Paris to establish communication with the provisory government at Bordeaux carried the appellation "George Sand".1 George Sand has, by all means, a claim to high position in the realm of French literature. The ideal, the illusion of life, which she presents, has done a great deal to assure this position, but it is not all. For the first time in the history of the literature of France, the humble peasants took their place in the novel.