No description available.

Thesis (M.A.)--Florida State University, 2003. / Advisor: John Corrigan, Florida State University, College of Arts and Sciences, Dept. of Religion. Title and description from dissertation home page (viewed Feb. 25,2004). Includes bibliographical references.

"Ownership, Engagement, and Entrepreneurship: the gens de couleur libres and the Architecture of Antebellum New Orleans, 1820-1850" examines the architectural activities of New Orleans' gens de couleur libres, or free people of color, and the historical, cultural, and economic implications of their contributions to nineteenth-century American architecture. Specifically, this dissertation explores the histories of two black Creole families engaged in the building trades and real estate in the antebellum New Orleans, emphasizing their activities as a process of building culture that created and supported ethnic and architectural identity on individual and communal levels. The years from 1820 to 1850 saw New Orleans become an important American metropolis and industrialized commercial center. Changes in architecture included the introduction of East Coast urban forms, the introduction of Federal and Greek Revival styles, and professionalization of the building trades and the role of the architect. The antebellum period provides a challenging framework in which to the view the architecture-related accomplishments of New Orleans' gens de couleur libres. They faced a paradoxical situation where the stability of New Orleans' economy and racial hierarchies could positively or negatively affect their success in building as well as owning and developing property. Still the gens de couleur libres' investments thrived as racial separation was becoming increasingly strict and enabled the gens de couleur libres to retain black and Creole control in the city. The members of the Dolliole and Soulié families were key players as builders, owners, and speculators. The gens de couleur libres contact with the built environment created a process of ownership, engagement, and entrepreneurship through which they established, maintained, and underscored their individual and community identities. This process forms the foundation for the organization of the dissertation and invites analysis of the meaning of the gens de couleur libres' influence on New Orleans' antebellum architecture on several levels: social meaning as architecture affected the welfare and relations of the community of free people of color; cultural meaning as architecture pertained to, and was derived from, the artistic and intellectual pursuits of the gens de couleur libres and transmitted from one generation to the next; and socio-economic meaning as architecture affected the production, distribution, and use of wealth for individuals and in the gens de couleur libres community at large. Approaching the study of architecture through a set of diverse lenses including social networks and real estate speculation alongside building design and construction, this dissertation interjects the legacy of the gens de couleur libres into American architectural history. / text

The following report documents the evolution of the script The Other Side of Shadow and the effects that extensive rewriting, character work, and story restructuring have had on the author. / text

<p>After the devastation wrought by Hurricanes Katrina and Rita in the Fall of 2005, millions of dollars of Northern philanthropic aid have poured into the Gulf Coast, as have volunteers, rebuilding professionals, and NGO workers. Subsequently, New Orleans has witnessed an explosion of NGOs and Social Enterprises, all intent on rebuilding the city and "doing good" for its residents. However, it was not simply the opening of the economic floodgates that has drawn so many outsiders to the city, it was also the threat to New Orleans' mythic exceptionalism as the so-called "Creole Capital," which has spurred so many willing foot soldiers to action. Drawing on ethnographic material gleaned from participant observation, interviews, and some archival research, this dissertation attempts to demystify the social and cultural forces shaping New Orleans' ongoing process of rebuilding and recovery. Special attention is paid to the role of the arts and of aesthetics as political tools, and forms of capital available to Black actors. Illuminating the political and economic contexts within which the work of community building takes place reveals both the possibilities and the limitations which face Black New Orleanians, embedded in this dynamic landscape. Attending to external forces as well as internal relationships, it becomes clear that Black artist-activists see institution-building as a way to 1) build upon some of the only forms of capital available to Black New Orleanians - that is, social and cultural capital; 2) organize Black communities and begin to exercise some forms of Black Power; and 3) to sustain local social movements.</p> / Dissertation

Zugl.: Trier, Univ., Diss., 2007

Thesis (M.S.)--University of New Orleans, 2004. / Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Masters of Science in Hospitality and Tourism Management"--Thesis t.p. Vita. Includes bibliographical references.

This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. Chapter 4 explores opera-inspired composition in New Orleans through a focus on popular sheet music for the piano, in order to problematise our expectations of ‘local creativity’. Finally, Chapter 5 examines travel writing from both sides of the Atlantic in which the Théâtre d’Orléans features, arguing that the ‘idea’ of opera—including the imagined experience of Parisian opera-going— played an important role in articulating the authors’ perceptions of inter-cultural encounter in New Orleans. This thesis, therefore, seeks to unpick the processes involved in transatlantic opera from a number of angles. I resituate New Orleans, arguing that the city was not simply on the musical periphery, but that it was instead an integral part of an increasingly connected operatic world, which nonetheless sustained its own individual theatrical culture. This work, therefore, helps us both to challenge and expand ingrained ideas about French centralisation, North American cultural development, and cultural transfer up to the mid-nineteenth century.

0 / SPK / specialcollections@tulane.edu

0 / SPK / specialcollections@tulane.edu