This thesis is a collection of Mr. Stagg's contributions to athletics covering a period of the last sixty-six years, partly as a participant, but largely as a coach, director of physical education, and as a leader of men. Herein the author wishes to bring tribute to this great man who has contributed more to the field of athletics and the development of manhood than could be written hare in the form of facts and figures. His achievements and inventions in the various phases of athletics speak for themselves and will go down in the archives representing this field of endeavor. As a true Christian leader Mr. Stagg has created an enviable character that has left its imprint on many thousands of men whom he has guided through college and university careers. Through this truly great influence on men, his ideals and code of ethics will be felt throughout the world for many centuries to come.

Each year shows an Increased enrollment in the universities and colleges of California. The compulsory education law has served to keep more students in high school a longer time and upon graduation many of these pupils desire to attend an institution of higher learning. This fact, together with the influx of people into California from all parts of the United States and abroad to make their homes, has added materially to the numbers of prospective college students. It has been the policy of the colleges and universities in the State of California to admit graduates from accredited high schools without examination if the applicant hag the unqualified recommendation of the principal of the high school from which he graduates. This group Is designated as recommended students, a group which in most high schools comprises not more than twenty to fifty per cent of the graduating classes. The majority of the higher institutions of California have allowed the decision as to who should he recommended to remain with the secondary school principal. The College of the Pacific has followed the policy of accepting recommended graduates of accredited high schools who present fifteen entrance units, at least twelve of which must be of recommended grade.

The intent of this work is to emphasize that the concept of clinical pharmacy is no longer an innovation or an educational experiment, but rather is a reality which requires national recognition, professional as well as legislative support, and clearly planned educational preparation.

In this thesis, I will argue that the characters and groups in Walker's The Color Purple and The Temple of My Familiar, who practice holistic survival, remain or become whole, which is the key to living a meaningful life. For Walker, holistic survival entails embracing the fragments of our past, present, and future experiences. The past is made up of knowing about our personal experiences and remembering our heritage. The present is made up of healing the past by taking responsibility for the pain we have caused and valuing fellow life, and the future is made by using the past and present to create hope. It is not enough to merely survive, to continue breathing;rather, in order to survive whole, we must also successfully paste together the fragments that make up our past, present, and future. However, the consequences of neglecting any fragment can cause us to become lost. We can either collect and come to terms with our many fragments in order to become whole, or our experiences will remain scattered, leaving us fragmented beings.

This study could not be, and is not intended to be, an exhaustive historical report of all the theatrical activity encompassed by the Drama Department at The University of the Pacific. To embark on such a venture would be well beyond the capabilities and the patience of the present writer. In fact, to attempt a history of any one of the several facets of this organization would be a major undertaking. Fortunately, a ·partial study of the activities of Pacific Little Theatre has been made in the form of a thesis by DeMarcus Brown, Director of' Pacific Theatre. This work, which also is not exhaustive, is, in many instances, the only reliable source of information pertinent to some of the early productions staged on the Stockton Campus. In recent years, a growing concern has been expressed by· the staff of Pacific Theatre for a more accurate system of preserving the vital records of the activities of the department. In the past, programs have been lost, pictures have been misplaced or are unidentifiable and dates of productions forgotten. The records of some productions have been reduced to little more than a memory. It is, therefore, imperative that an attempt be made to record the pertinent data concerning the productions not covered by the earlier study, namely, those productions staged between the years of 1935 and 1962. No attempt will be made to delve into the records of the Studio Theatre, Fallon Theatre or the Playbox. These areas are beyond the scope of the present study as each is of sufficient magnitude to warrant a separate treatise. For aid in locating elusive documentary evidence, I am- indebted to Miss Martha Pierce and Mr. Max Gobel, who have been more than generous in loaning materials from their private collections. I also wish to express my gratitude to Miss Cecile Morrison for her help in editing certain portions of the contents. DeMarcus Brown, Founder and Director of Pacific Theatre, has been an invaluable source for unrecorded data. His remarkable memory has supplied intricate details of certain productions where no records could be found.

The author commences with an analysis of the nature of completeness in a variety of situations and media, including visual arts, music, video arts and literature. "Completeness" is determined to be both difficult to define and subject to any individual's personal interpretation. A distinction is made between the 'finished-ness' of works and their completeness as a factor in aesthetic enjoyment. It is noted that some works, though unfinished, are nevertheless complete aesthetically. Various aspects of completeness are defined, discussed, and considered, including absolute, thematic, plot, authorial, segmental, inclusive, emotional, anticipatory, source/material, functional, and formal completeness. It is proposed that the more of these aspects of completeness present in a work, the more complete the work will seem. Examples illustrating each of the different aspects of completeness are given. The Canterbury Tales, by Geoffrey Chaucer, is examined with reference to the proposed aspects of completeness. The various ways in which the work can be and has been considered incomplete are discussed. The four fragmentary Tales in The Canterbury Tales--The Cook's Tale, The Squire's Tale, The Tale of Sir Thopas, and The Monk's Tale--are examined. First, the ways in which they can be considered incomplete are considered; next, the ways in which they can be considered complete despite being fragmentary are discussed. The Canterbury Tales as a whole (if fragmentary) work is discussed. Its fragmentary nature is considered and possible explanations for difficulties are given. A case is made for considering The Canterbury Tales to be aesthetically complete and satisfying piece of literature as it stands.

Syntax, word usage, and paragraph development form the substance of the analysis of the Apologia. The use of subordination, repetition, and antithesis in sentence construction; the choice of words to produce rhythm and prove mood, as well as the implied metaphor; and careful blending of these elements into an organic unity which reflect not only the personality of the man, but his very thought process; these are the common elements identified by critics of the Apologia. To what extent these elements exist in the prose of the university sermons, and what other elements of style are identifiable in these sermons are the subject of this paper.

Hemingway’s first short story, “Up in Michigan,” portrays the growth and destruction of a young girls’ romantic illusions about love through her infatuation with and seduction by an apparently gentleman who is really an insensitive brute. Hemingway explores this typically anti-romantic theme in what appears at first glance to be straightforward journalistic style. But the prose, like almost everything else in this story, is deceptive, for lurking beneath the flat surface of its denotative diction and simple syntax lie linguistics strategies and dynamically charged meanings through whose interplay the real disillusioning world of the story emerges. In thus concealing the inward psychological phenomena of disillusionment within linguistic substructures which only release their meaning when seen as poetic forces playing against each other beneath the narrative level, Hemingway forces “form” to express the theme that appearance is deceptive.

English poetry in particular has received both enrichment and motivation from classical sources. The case of Percy Bysshe Shelley, nineteenth century English Romantic poet, provides an excellent illustration of this point. This study will attemp to place before the reader evidence of Shelley's debt to ancient Greece as revealed in his life and his poetry, with particular emphasis upon the influences of Aeschylus and Plato.

For several reasons Dos Passos is important to the development of American literature. His novels, with their integrity, breadth, and architectonic form, are painted on a larger canvas than any other American writers. In Manhattan Transfer, his fourth novel, he attempted to portray the greatest metropolis in the world, New York City. He succeeded as well as anyone ever has. Then, refusing to rest on his cars, he went on to the trilogy U. S. A., which takes all of twentieth century American life as its subject. This is Dos Passos' epic of modern Americanlife, the most successful of the many attempts to write the "great American novel". So the vert scope and excellence of Dos Passos' novels demand consideration Then there are technical innovations--tentative in Manhattan Transfer, thoroughgoing in U. S. A.--which have added dimensions to the American novel. Some of these are entirely original, some stem from James Joyce's Ulysses. Yet even the borrowed devices have been completely assimilated. These new techniques arose partly because of the feeling that naturalism gave an inadequate picture of all aspects of humanity. And, as the critic Edmund Wilson has shown, Joyce met this problem by a synthesis of the two French literary methods, symbolism and naturalism. Now Dos Passos has introduced this symbolism-naturalism into American literature. And he has democratized the experimental techniques; Joyce is read mainly by literary experts; Dos Passos can be read by anyone. If, as some believe, the importance of this amalgamation of symbolism and naturalism lies in the future, then Dos Passos will be remembered as the first American writer to use it. While Dos Passos has always been in the vanguard, his relations with his generation have been intimate and pervasive. In many ways he is more typical of his generation than any other significant writer. The Zeitgeist of the War generation is fundamental to all his books. He is both a result and a cause of America's coming of age--and the defeat of neo-Humanism. Even the development of his political ideas has in many ways paralleled the ideas of other writers, For instance, his disillusionment in the radical parties contained in Adventures of a Young (1939) came to nearly all writers later in the same year with the Russian-German pact, Thus, though Dos Passos was an innovator, neither his internal development as an artist nor his contribution to American literature can be understood except in the context of his age. This is to be, then, a study of the interrelations between Dos Passos' personal philosophy, objectives, and techniques and the influence of the Zeitgeist on them.