This research concerns the history of how the stories—narratives—which people tell about the Port of New Orleans and its related freight transportation have impacted Port-related traffic congestion on the last mile. “Last mile” refers to the last segment of a freight journey. In the context of the Port, it is the distance between the Tchoupitoulas Street exit ramp on US 90 and the entrance/exit of the Clarence Henry Truckway. The Clarence Henry Truckway is a 3.5-mile one way in/one way out dedicated truck route behind the floodwall of the Port on Tchoupitoulas street. Its access is threatened by proposed tourism-related developments. Chapter one is an overview congestion at the Port and developments which will impact access. It gives the context of freight and logistics, economic development, congestion, and the environment. It then turns to an overview of the Port’s history and importance. Chapter two reviews urban studies and anthropology literature relative to freight. Chapter three discusses the primarily archival methodology. Chapter four discusses narrative in nine freight options: the Riverfront Expressway, freight on Decatur Street, Louisiana Avenue and other uptown arterials, extending Leake Avenue behind Audubon Park, a ship lock and channel connecting the Mississippi River with the Mississippi River Gulf Outlet (MRGO), the MRGO itself, replacing the Inner Harbor Navigational Canal (IHNC or “Industrial canal”) lock, New Orleans Public Belt Railroad (NOPB) cars parked along Leake Avenue; and the Port’s proposed shipping container terminal at the Sinclair tract in Meraux, St. Bernard parish. Chapter five discusses the history of the Port freight narrative from organized Port dockworker labor. Chapter six covers the rise of the tourism/convention narrative. Chapter seven is about gentrification and the Port. Chapters eight and nine are a concluding discussion with policy recommendations. This research argues that community narratives are primary in the facilitation of freight transportation infrastructure, rather than economic concerns about its benefit to the Port. The histories of these narratives show that the social and political capital of the potentially affected residents was more powerful than the economic development and job creation narratives of the business community and the Port.

This finding aid of interviews is drawn from the Arnold R. Hirsch Collection at the Amistad Research Center. Between 1987 and 1994, historian Arnold Hirsch interviewed New Orleans’ first black mayor, Ernest Morial, and others related to that crucial era in New Orleans political history. This collection consists of 37 audiocassettes tapes that contain oral history interviews conducted by Arnold Hirsch with various New Orleanians who were active in city government and political activism. This project-based thesis covers the research and construction of the finding aid completed for this collection during an internship at the Amistad Research Center, as well as the metadata collected and created for the collection. This collection and finding aid are being housed at the Amistad Research Center.

The proposed public history project, La Fièvre Jaune, will be one component of a larger exhibit sponsored by the Archdiocese of New Orleans, Office of Archives and Records entitled Song of Farewell: Catholic Cemeteries of New Orleans, focusing on New Orleans’s historic Catholic cemeteries, funeral chapels, relics, and burial rights. Using cemetery and death records, La Fièvre Jaune documents many of the Catholic, largely Irish immigrants struck by yellow fever in 1853 and the role of St. Patrick’s cemetery as the burial site for this population. The epidemic took the lives of some 8,000 people. This project will provide insight into the ways that the Catholic Church in New Orleans responded to the 1853 yellow fever epidemic using photographs, official correspondence, as well as cemetery and death records. The entire exhibit will be housed at the Old Ursuline Convent Museum in the French Quarter.

ABSTRACT This paper will detail the process of creating and making the film Everything that Shines is not Gold. This paper divides into four parts: writing process, pre-production, production, and postproduction. The first part will touch on how the story came about and the writing process. The second part will cover the pre-production aspects and how I dealt with a strict deadline. Next, I will talk about directing. In the fourth part, I will discuss the long and tiring postproduction workflow. Last, I will reflect on making and what I learned.

For two hundred years the history of the Battle of New Orleans has suffered from the neglected state of the historiography on the War of 1812 and the static state of the Battle's orthodox narrative. This dissertation identifies and deconstructs the central themes of the Battle's orthodox narrative. It reveals how these long standing presumptions surfaced through the Battle's public commemoration in the nineteenth century and have fostered misleading perceptions about Louisiana’s involvement in the war, the defense preparations undertaken in New Orleans prior to Andrew Jackson's arrival, and the so-called unity that was achieved through the victory. By incorporating the actions and experiences of women and the enslaved into the Battle's history, this dissertation exposes the traditional marginalization of these groups in accounts of the Battle and its subsequent memorialization. It shows that the absence of women and the enslaved in the cultivation of the Battle's public memory was a deliberate measure taken by white slaveholding elites to preserve racial and social divisions that were blurred by the Battle's symbolic message of the power of unity. The actions of a third group, free men of color, are examined to illustrate how critical they were to the victory and how dangerous the memory of their service was to white slaveholding elites, especially in the 1850s. These new perspectives on the Battle and its public commemoration challenge the unchanging nature of the Battle's history and indicate that there is far more to the Battle's story than has ever been told. / acase@tulane.edu

In the work of Alice Dunbar-Nelson the city and culture of 19th century New Orleans figures prominently, and is a major character affecting the lives of her protagonists. While race, class, and gender are among the focuses of many scholars the eccentricity and cultural history of the most exotic American city, and its impact on Dunbar-Nelson’s writing is unmistakable. This essay will discuss how the diverse cultural environment of New Orleans in the 19th century allowed Alice Dunbar Nelson to create narratives which allowed her short stories to speak to the shifting identities of women and the social uncertainty of African Americans in the Jim Crow south. A consideration of New Orleans’ cultural history is important when reading Dunbar-Nelson’s work, whose significance has often been disregarded because of what some considered its lack of racial markers.

Thesis (M.S.)--Mississippi State University. Department of Computational Engineering. / Title from title screen. Includes bibliographical references.

Thesis (All-College Honors) - - State University of New York College at Cortland, 2008 - - Department of History. / Includes bibliographical references (p.42-4).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2003. / Includes abstract and vita. Includes bibliographical references (leaves 179-184).

The two fields of historic preservation and sustainable design include many similar values concerning conservation, yet produce buildings that ultimately look and perform differently. Historic preservation relies on the maintenance of traditional materials to ensure that historic buildings are preserved for future generations. Sustainable design typically works with new construction to create buildings that have little negative impact on the environment. The similarities yet separateness that exist between historic preservation and sustainable design provide a compelling platform to ask how we can combine the two fields within one building project. The combination of these two felds is currently being explored in post-Katrina New Orleans, and I am asking how we can combine historic preservation with aspects of sustainable design to create a sustainable preservation hybrid, or fusion between technological aspects of “green” design with traditional methods of preservation, that will allow historic buildings to maintain their integrity and achieve the values of sustainability. New Orleans provides a great opportunity to examine this question due to the damage caused by Hurricane Katrina and the ensuing efforts to rebuild the city. One specific area of New Orleans, the historic district of Holy Cross, plays home to two key organizations involved in the rebuilding: the Preservation Resource Center, which preserves the existing historic housing stock, and Global Green, which builds new, sustainable design projects. These two organizations work right down the street from one another, yet have yet to combine their building methods or work together on a shared project. This relationship between Global Green/sustainable design and the Preservation Resource Center/historic preservation provides a good opportunity to examine how elements of new sustainable design can be combined with the traditional methods of preservation in order to achieve a sustainable preservation hybrid. I examine the creation of a sustainable preservation hybrid by conducting a literature review, interviews and site visits, and energy modeling. The literature review reveals that preservationists and architects involved with sustainable design like the idea of creating a hybrid, but still lack a thorough understanding of each other’s tacit values. The interviews reveal how the organizations working in Holy Cross also embrace the idea of a sustainable preservation hybrid, yet remain somewhat lost as to how to actually create such a building. The energy modeling then demonstrates which combination of “green” materials from sustainable design and “traditional” materials from historic preservation combine to create a building that achieves both the values of sustainable design and historic preservation. Whether or not we can combine preservation and sustainable design to make a hybrid poses an original and relevant question in the context of post-Katrina New Orleans and elsewhere. Since we are currently facing an energy crisis, the conclusions as to how we can combine these two fields prove how a single, historic building can simultaneously conserve both environmental and historic resources. / text