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In the United States, the transition from aristocratic agriculturalism to liberal democratic industrialism was distinguished from instances of this transformation in other countries by a threat to the territorial integrity of the Union. In this dissertation, I provide novel insight into this unique challenge and its link to American political development. Drawing on recent works on the process of secession, I have developed an innovative framework for the analysis of secession in which the institutional design of the state plays a central role in facilitating this act of territorial and political withdrawal. This framework specifies five factors that contribute to the development, timing, and success of a movement for secession: grievance, the institutional design of the state, boundaries, leadership, and sequence. My framework is generalizable and can be used to illuminate the desire for secession in other regions of the world. / In order to provide a thorough analysis of this case of secession, I examine the historical background of the decision to secede, with an emphasis on the nullification crisis and the first secession crisis. Without the steps and missteps taken in these moments, secession would have been unlikely. In addition, I examine the actions of the other states of the South: the early-seceders of the Deep South, the late-seceders of the Upper South, and the non-seceders of the Border South. / I conclude that secession in South Carolina was the result of a number of dynamically interacting factors, beginning with the grievance experienced by the elites and the rest of the white, male population of South Carolina. This grievance was produced by demographic changes in the Union that allowed Republican Abraham Lincoln to be elected president without needing electoral support in the South. The grievance (fear) wrought by these changes animated the desire for secession, but secession was politically feasible because of the institutional design of the American state. Central to my argument is the notion that federal states are both easier to enter, because they facilitate the maintenance of local autonomy, and easier to exit (than other states), because the maintenance of state capacity and a high degree of autonomy at the state level makes withdrawal from the federal state possible with minimal disruption. / The very sequence by which secession was accomplished provides essential insight into the dynamics of secession. The South did not secede simultaneously, but sequentially---with South Carolina seceding unilaterally, and forcing the hand of the remaining states. Given the divisions present in the South, this strategy of seeking sequential exit through unilateral secession in South Carolina was the best possible strategy to realize the goal of a Southern Confederacy.

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This doctoral thesis analyses the evolution of responses to Jane Austen's fiction through continuations of her unfinished novel The Watsons (c.1803-5). Although the first full “appropriation” of an Austen novel ever published was a continuation of The Watsons and a total of eight completions appeared between 1850 and 2008, little research has been done to link the afterlife of The Watsons and changing perceptions of Austen. This thesis argues that the completions of The Watsons significantly illuminate Austen's reception: they expose conflicting readings of Austen's novels through textual negotiations between the completer's and Austen's voice. My study begins by examining how the first continuation, Catherine Hubback's The Younger Sister (1850), implies an alternative image of the Victorian Austen to that propounded by James Edward Austen-Leigh, Austen's first official biographer (Chapter 1). The next two chapters focus on the effects of World War I and II on modes of reading Austen. Through L. Oulton's (1923), Edith Brown's (1928) and John Coates's (1958) completions of The Watsons, this study examines the connection between Austen's fiction and different notions of Englishness, politics and the nation. Chapter Four addresses the contribution of the 1990s completions to the debate over Austen's feminism. Finally, Chapter Five analyses recent trends in Austenalia, which thwart the production of successful completions of The Watsons. My thesis presents the first substantial analysis of this body of work.

Presented herein is a detailed study of London Town, a tobacco port in Anne Arundel County, Maryland established during the British colonial period in North America. Long defunct, the town has been the subject of archaeological excavations since 1995. This research was undertaken to answer questions regarding the town's history, economic system, and its role in the local economy: what was the nature of the town; who lived in the town; and what were the forces that caused the town to grow and subsequently fail? Answering these questions has revealed a comprehensive portrait of London Town's undocumented past. This research proves that London Town played an important role in the economic development of Maryland and Anne Arundel County. It was one of many towns established in 1683 by the Maryland Assembly in the "Act for the Advancement of Trade." Only a small number of these towns survived beyond the colonial period. Those tobacco towns that have disappeared have been labelled the "lost towns" of Maryland by local historians and archaeologists: few of these towns have been studied in any detail. This study of London Town combines historical and archaeological research to illustrate the impact that outside forces such as war, market pressures, and regional development had on its growth and existence. This work documents the history of London Town and its role in the colonial mercantile system during the eighteenth century and is presented as a case study for future comparison.

The colonial clergymen who justified political resistance to British authorities from 1763 to 1783 did so in continuity with previous justifications of political resistance found within Reformed Protestantism. Clergymen such as Jonathan Mayhew who justified a right of resistance in the eighteenth century did not rely upon new varieties of Enlightenment or Lockean rationalism in formulating their arguments for political resistance. They instead reasserted common arguments found in traditional Protestant views of political resistance. The colonial clergy followed the theological precedents that were found not only in seventeenth-century resistance to Stuart absolutism and but also to the Stuart-imposed government of Edmund Andros over New England. The clergy tended to justify resistance to British policies on the basic grounds of self-defense as conflict with Britain intensified in the mid-1770s. The protests and arguments used by American clergymen were not uniquely American, as the same positions were held by many of the British clergy as well. The American clergy like John Witherspoon supported a final break between Britain and America not because of any newfound theology or philosophy but from a deep desire to conserve the traditional rights and liberties that American Protestants had long enjoyed.

Although many might consider Jane Austen to be outdated and clichéd, her work retains an undying appeal. During the last decade the English-speaking world has experienced an Austen renaissance as it has been treated to a number of film and television adaptations of her work, including Pride and Prejudice, Emma, Mansfield Park and Sense and Sensibility. Film critics such as Bill De Lapp (1996) and Sherry Dean (1996) have commented on the phenomenal response these productions received and have been amazed by Austen’s ability to compete with current movie scripts. The reasons for viewers and readers enjoying and identifying with Austen’s fiction are numerous. Readers of varying persuasions have different agendas and hence different views and interpretations of Austen. This thesis follows a gynocritical approach and applies a feminist point of view when reading and discussing Austen. Austen’s novels - Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, Sense and Sensibility, and Persuasion – are re-read and reevaluated from a feminist perspective in order to call attention to Austen’s awareness of women’s second-class position in her society. Women’s experiences in Austen’s time are compared to women’s experiences in society today in order to illustrate, in some way, the tremendous progress the feminist movement has made. In addition, by examining what Austen reveals about the material reality of women in her time, it is possible to explore the legacy that modern women have inherited. Literary critics such as André Brink (1998), Claudia Johnson (1988), and Gilbert and Gubar (1979) believe Austen to create feminist awareness in her novels. There are critics, however, who do not view Austen as necessarily feminist in her writing. Nancy Armstrong writes in Desire and Domestic Fiction (1987) that Austen’s objective is not a critique of the Abstract iv old order but rather a redefinition of wealth and status. In Culture and Imperialism (1993) Edward Said implicates Austen in the rationale for imperial expansion, while Barbara Seeber argues in “The Schooling of Marianne Dashwood” (1999) that Austen’s texts should be understood as dialogic. Others, such as Patricia Beer (1974), believe Austen’s fiction primarily to be about marriage since all her novels end with matrimony. My own reading of Austen takes into consideration her social milieu and patriarchal inheritance. It argues that Austen writes within the framework of patriarchy (for example by marrying off her heroines) possibly because she is aware that in order to survive as a woman (writer) in a male-favouring world and in a publishing world dominated by men, her critique needs to be covert. If read from a feminist perspective, Austen’s fiction draws our attention to issues such as women’s (lack of) education, the effects of not being given access to knowledge, marriage as a patriarchal institution of entrapment, and women’s identity. Her fiction reveals the effects of educating women for a life of domesticity, and illustrates that such an education is biased, leaving women powerless and without any means of self-protection in a male-dominated world. Although contemporary women in the Western world mostly enjoy equal education opportunities to men, they suffer the consequences of a legacy which denied them access to a proper education. Feminist writers such as Flis Henwood (2000) show that contemporary women believe certain areas of expertise belong to men exclusively. Others such as Linda Nochlin (1994) reveal that because women did not have access to higher education for so many years, they failed to produce great women artists like Chaucer or Cézanne. Austen’s fiction also exposes the economic and social system (of which education constitutes a major part) for enforcing marriage and for enfeebling women. In addition, it illustrates some of the realities and pitfalls of marriage. While Austen only subtly refers to Abstract v women’s disempowerment within marriage, contemporary feminist scholars such as Germaine Greer (1999) and Arnot, Araújo, Deliyanni, and Ivinson (2000) explicitly warn women that marriage is a patriarchal institution of entrapment and that it often leaves women feeling unfulfilled. The issue of marriage as a patriarchal institution has been thought important and has been addressed by feminists because it contributes to women’s powerlessness. Feminist scholars today find it imperative to expose all forms of power in order to eradicate women’s subordination. bell hooks comments in Feminist Theory: From Margin to Center (2000) on the importance of revealing unfair power relations in order to eliminate oppression of any kind. Austen does not necessarily express the wish to eradicate forms of power or oppression in her novels. Yet, if we read her work from a feminist point of view, we are made aware of the social construction of power. From her fiction we can infer that male power is enshrined in the very structure of society, and this makes us aware of women’s lack of power in her time. Austen’s novels, however, are not merely novels of powerlessness but of empowerment. By creating rounded women characters and by giving them the power to judge, to refuse and to write, Austen challenges the stereotyped view of woman as either overpowering monster or weak and fragile angel. In addition, her novels seem to question women’s inherited identity and to suggest that qualities such as emotionality and mothering are not natural aspects of being a woman. Because she suggests ways in which women might empower themselves, albeit within patriarchal parameters, one could argue that she contributes, in a small way, to the transformation of existing power relations and to the eradication of women’s servile position in society.

Magister Artium - MA / In this thesis I focus on the ways I believe Jane Austen re-imagines the idea of the hero. In popular fiction of her time, such as Samuel Richardson’s Sir Charles Grandison (1753), what we had as a hero figure served as a male monitor, to guide and instruct the female heroine. The hero begins the novel fully formed, and therefore does not go through significant development through the course of the novel. In addition to Sir Charles Grandison, I read two popular novels of Austen’s time, Fanny Burney’s Cecilia and Maria Edgeworth’s Belinda. An examination of Burney’s construction of Delvile and Edgeworth’s construction of Clarence Hervey allows me to engage with popular conceptions of the ideal hero of the late eighteenth and early nineteenth centuries. Burney and Edgeworth deviate from these ideals in order to accommodate conventions of the new Realist novel. I argue that Austen reimagines her male protagonist so that hero and heroine are well-matched and discuss, similarly, how Burney and Edgeworth create heroes as a complement to their heroines. Austen’s re-imagining of her male protagonist forms part of her contribution to the genre of the Realist novel. Austen suggests the complexity of her hero through metaphors of setting. I discuss the ways in which the descriptions of Pemberley act as a metaphor for Darcy’s character, and explore Austen’s adaptations of the picturesque as metaphors to further plot and character development. I offer a comparative reading of Darcy and Pemberley with Mr Bennet and Longbourn as suggestive in understanding the significance of setting for the heroine’s changing perceptions of the character of the hero. I explore Austen’s use of free indirect discourse and the epistolary mode in conveying “psychological or moral conflict” in relation to Captain Wentworth in Persuasion and Mr Knightley in Emma, offering some comparison to Darcy. This lends itself to a discussion on the ways in which Austen’s heroes may be read as a critique of the teachings of Lord Chesterfield’s Letters to His Son (1774). I conclude the thesis with a discussion of the ways in which Darcy has influenced the stereotype of the modern romance hero. Using two South African romance novels I suggest the ways in which the writers adapt conventions of writing heroes to cater for the new black South African middle class at which the novels are aimed. My reading of Jane Austen’s novels will highlight the significance of Austen’s work in contemporary writing, and will question present-day views that the writing of the eighteenth- and nineteenth-centuries is not relevant to African literature.