Guided by Uses and Gratifications Theory, this study investigated the relationship between Chinese college students' use of social media and their social activism. Data collected from a goup-administered survey of 309 undergraduate students at a large university in eastern China was used to answer four research questions. The results indicated that Chinese college students who used social media for information seeking were likely to participate in individual social activism. Besides, students who used social media for self-status seeking and information seeking were likely to participate in collective social activism. No significant correlation between entertainment motivation and social activism were found. Neither can socializing motivation predict Chinese college students' social activism. In addition, gender had an impact on individual social activism and frequency of social media use could affect both individual and collective social activism.

Varios críticos han notado la influencia de Gabriele D’Annunzio en la obra de Don Ramón del Valle-Inclán y uno, Julio Casares, ha señalado un episodio de clara imitación, pero, por lo que pudimos averiguar, no se ha hecho un estudio detenido puntualizando las muchas semejanzas específicas que existen entre los dos autores. En este trabajo se examinarán varios recursos estilísticos y temas que aparecen en algunas obras en prosa de la fase modernista de Valle-Inclán, relacionándolos con los que fueron empleados anteriormente por Gabriele D’Annunzio en sus obras en prosa. Esto pondrá en evidencia las semejanzas específicas que se hallan en los varios escritos, y comprobará que Valle-Inclán verdaderamente siguió las huellas dannunzianas. En este estudio se tomarán en cuenta únicamente los rasgos más significativos para mostrar puntos comunes entre los dos autores. Nos remitimos a los escritos de D’Annunzio solamente en lo que puede tener relación con los escritos de Valle-Inclán considerados aquí.

The purpose of this study is to compare the narrative and framing techniques used by Geoffrey Chaucer and John Gower. These authors were selected for several reasons. Being contemporaries, they lived through the days of the reign of Richard II, his deposition, and the accession of Henry IV. This was a time change: the age of chivalry and true knighthood was ending; the middle class was establishing commerce, towns, guilds; openly and violently the peasants were beginning to reject their servile positions; the corruption within the organized church was being publicly exposed, and efforts, believed heretical by some, were being made to effect its purification. The discussion in this paper will be limited to the major work of each author. For Gower this is the Confessio Amantis, his only English work of any length; for Chaucer it is the Canterbury Tales, which, incomplete as it is, is generally accepted as the crown jewel of medieval English literature. The discussion wil be limited further to the framing and linking devices and to the four tales which appear in both books: "Constance" (Man of Law's tale), "Florent" (Wife of Bath's tale), "Phebus and Cornide" (Manciple's tale), and "Virginia" (Physician's tales).

The Rime of the Ancient Mariner1 is essentially a poem of survival through transformation, one which, according to William Walsh, 'has to do equally with man's capacity for failure and with that which makes available to him resources for recovery."2 It is also. as Richard Haven recognizes, "the record of the evolution of self." 3 Even more specifically, however, The Ancient Mariner is s tale which reveals key elements of Carl Jung's thought: the process of individuation, the nature of shadow and anima forces, the power of dreams and symbolism. Given the myriad and divergent interpretations of the poem--I heartily agree with C.M. Bowra that "there" is no final or single approach" 4 to Coleridge's masterpiece--my purpose must be explorative, suggestive. A Jungian perspective fairly encourages an exploratory approach, as Carl Kepper contends: The very heart of the applicability of Jung to the problem of symbolism is that he requires of us not that we explain (in the sense of explaining away, reducing to something more familiar) the symbol but that we explore it, not that we we remove. the mystery but that we seek to know it in all the mysteriousness it presents.5 In this searching, delving spirit, then, I will discuss the way the Mariner's--and to a lesser extent, the Wedding-Guest's--experiences represent fundamental aspects of the individuation process, which Jung defines as " ' coming to selfhood' or 'self-realization.' " 6 I will concentrate on the roles of the shadow and anima, respectively, vital and necessary constructs of this process. In these sections and throughout the essay, I will emphasize the essential position both Coleridge and Jung attribute to the law of opposites and closely related rebirth motif. Finally, I will explore the ways dreams, color, and bird imagery are symbolic and develop transformation or individuation to reflect the Mariner's degree of awakening. Not only will the complementary of opposites be discussed in this context, but wat Coleridge terms "the principle of unity in multeity"10 --what mythologist Joseph Campbell calls "unity in multiplicity"11 --and its relation to individuation will be considered. The focus throughout this essay will be on that transformational energy which promotes individuation and rebirth: "The study of the symbols of transformation," explains Violet S. de Laszlo, . . . centers upon the basic demand which is imposed upon every individual, that it, the urge as well as the necessity to become self-conscious of himself. . . . For Jung, the path towards this awareness is identical with the process of individuation. Insofar as the transformation results in a new and deeper awareness, it is experienced as a rebirth. . . .12

Horacio Quiroga was born in the city of Salto, Uruguay, December 31, 1879. His birth was registered with the Argentinian consulate as his parents were citizens of that country. Quiroga attended school, first at the Instituto Universal de Montevideo, then at the Politécnico de Salto and finally at the University. His natural independence caused him to leave home at an early age.

The tragedy, La casa de Bernarda Alba, by Federico Garcia Lorca is generally recognized as one of the finest poetic tragedies of the Twentieth Century, yet it has not drawn the critical attention afforded the plays of Lorca's contemporaries, such as 'Tennessee Williams, for example. Ironically, Williams' early plays evince a definite. Lorquian influence. Close attention has been paid to the poetic texture of.Williams plays, providing an important contribution to understanding the art of his poetic tragedy. The same has not been true of Lorca. This may he due partly to the fact that Lorca's ·tragedies have not played very well in the United States and partly due to political considerations in his native Spain. It is the purpose of this essay to make a detailed analysis of the poetic structure of La casa de Bernarda Alba to show Lorca's brilliant welding of the basic elements 10f' the drama into one underlying statement of theme, This will be accomplished through a close reading of the play as originally written in the Spanish language with especial attention paid to its setting, dominant image patterns, characters, and action. These, then, will be examined and elucidated in relationship to thematics, thus demonstrating Lorca's dramatic technique of fusing these fundamental parts through use of language and symbol into one unified whole.

Institutions of higher education rely upon the support of their alumni to provide financial stability. This outward show of confidence by alumni is also an important indication for external constituents who rank colleges and universities based on funding sources such as corporations and foundations. Private universities, in particular, have been cultivating their alumni to support their alma maters through annual and endowed gifts to provide the financial support to continue educating future generations of students. This study surveyed undergraduate alumni from the University of the Pacific through a voluntary questionnaire that was made available to alumni through the alumni e-news letter, "What's Up, Pacific?" The purpose of the study was to analyze the factors that motivate undergraduate alumni at the University of the Pacific to make gifts to their alma mater and to examine if social exchange theory can be applied to the giving behaviors of these alumni. The research questions that were addressed were 1) to what extent were Pacific alumni satisfied with their University of the Pacific experiences as a student and as alumni, 2) what internal and external factors motivate these alumni to make a gift, regardless, of the amount to the university, and, 3) how does social exchange theory serve to explain, at least in part, the behavior underlying alumni giving patterns at the University of the Pacific? Descriptive statistics and cross-tabulations were developed to analyze the data which showed that the vast majority of alumni were overall satisfied with their experiences as students (95%) and as alumni (76%). The motivators that alumni sited as the most likely to compel them to make a gift included satisfaction with their Pacific experience, commitment to support future generations of Pacific students, wanting to further the cause of the university, the importance of giving back, and the fact that giving to their alma mater makes them feel good. There were many open ended comments that support the social exchange theory as it serves to explain donor behavior. Recommendations for further research were included in the dissertation.

It will be the purpose of this thesis to survey and to evaluate twentieth-century criticisms of Chaucer's Canterbury Tales. Because the topic is so broad, it is necessary to find methods of limiting the subject so that it· may be adequately covered herein. This paper will be limited primarily to books published on the topic under consideration. To cover all the work in periodical literature would go beyond the scope of this study. Perhaps that task can be covered by someone else.

For many years the officials of the College of the Pacific and the Chairman of the Speech Department have expressed a desire to review the growth and development of the Speech and Hearing Clinic since its inception in the summer of 1937. Statement of the Problem: The purpose of this study is to ascertain the factors concerned with the growth and development of the College of the Pacific Speech and Hearing Clinic. Importance of the study: To present to the College of the Pacific Speech Department a compilation concerning the growth and development of the Speech and Hearing Clinic so that past operations may be evaluated and plans for the future formulated.

This essay demonstrates how three popular writers of the twentieth century have created novels that contain echoes of Eliot's poem. They are F. Scott Fitzgerald's The Great Gatsby (1925), Ernest Hemingway's The Sun Also Rises (1926), and John Steinbeck's To a God Unknown (1933). I chose these particular novels because they exemplify widely different and distinctive echoes of the poem. Fitzgerald's use of waste land imagery is readily perceptible the most effective in defining and summing up the temper of the Jazz Age in America. Hemingway's borrowing lies principally in parallel characterization (Jake Barnes as he Fisher King is the outstanding example) and in depicting a morally and spiritually bankrupt world by showing that a satisfactory sexual relationship between man and woman is impossible. Steinbeck's borrowing is unique. HIs novel not only contains the Fisher King figure, desert land imagery, water motif, and the quest theme, but his protagonist, Joseph Wayne, like Eliot's Fisher King-Tiresias protagonist, is able to metamorphose from one "personage" into another. Steinbeck's borrowings are not used by him for the purpose of depicting the world of the Twenties, or any era. He may have done no more than build upon a piece of literature from the immediate past as Eliot had done from the more remote past when he created The Waste Land. There is also a possibility that Steinbeck disagrees with some of Eliot's philosophical ideas and playfully chides the poet for harboring them. In showing the nfluence of the poem on three important American novelists, perhaps this essay will disprove Karl Shapiro's statement that "at no point in the career of Eliot has there been the slightest indication of literary following,"5 and will furnish proof that Robert E. Knoll's statement regarding the influence of The Waste Land is a valid one: What The Rape of the Lock was to the Augustans and Tintern Abbey to the Romantics, The Waste Land has become to the Moderns, It is inescapable.6