Thesis advisor: Kevin Kenny / This dissertation examines the origins of American immigration policy. Without denying the importance of anti-Asian racism, it locates the roots of federal immigration policy in nativism and economics in nineteenth-century Massachusetts. The influx of poor Irish immigrants over the first half of the nineteenth century provoked anti-Irish nativism, or intense hostility toward foreigners, in Massachusetts. Building upon colonial laws for banishing paupers, nativists in Massachusetts developed policies for prohibiting the entry of destitute alien passengers by ship and railroad and for deporting immigrant paupers in the state to Ireland, Liverpool, British North America, or other American states where they resided before coming to Massachusetts. Prior to the adoption of the Fourteenth Amendment in 1868, citizenship and its attendant rights remained inchoate, allowing anti-Irish nativism to override certain rights and liberties that were later taken for granted. Nativist officials seized and banished paupers of Irish descent, including some who were born or naturalized in America. Historians have long seen anti-Irish nativism as a set of prejudiced ideas that generated few consequences at the level of law and policy, and have identified late-nineteenth-century federal Chinese exclusion laws as the beginnings of American immigration control. This dissertation argues that anti-Irish nativism in Massachusetts had a significant practical impact on Irish immigrants in the form of state deportation policies, and demonstrates that Massachusetts' policies, which were driven by a poisonous combination of prejudice against the Irish and economic concerns, helped lay the foundations for later federal restriction policies that applied to all immigrants. The argument unfolds in a transnational context, examining the migration of paupers from Ireland, their expulsion from America, and their post-deportation experiences in Britain and Ireland. In this way, deportation from the United States can be seen as part of a wider system of pauper restriction and forcible removal operating in the Atlantic world. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.

Thesis advisor: Sylvia Sellers-García / Between 1812-1829, the Spanish American colonies waged a war of independence against the Spanish crown. In Northern South America, this movement was spearheaded by the Enlightenment-educated Simón Bolívar, who understood that expelling the Spaniards necessitated winning widespread support from Spanish America's many distinct interest groups. Bolívar capitalized on his leadership and love for public speaking to wage a war of words against the Spanish that framed the actual revolution in such a way as to give it meaning. This campaign featured a number of varied rhetorical devices; each device intended in a unique way to appeal to its unique audience. By appealing to South America's many interest groups, Bolívar united South Americans under the common banner of independence and provided justification for the acts of violence that revolution necessitated. / Thesis (BA) — Boston College, 2015. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: History.

Thesis advisor: Marc Landy / The purpose of this paper is to demonstrate that the Civil War was indeed brought about because of the presence of slavery in this country. It is this paper's thesis that not only did slavery provide a demonstrable economic incentive for the South to secede from the Union but also provided a social impetus as well. Slavery created a society in the South that favored the economic independence of states rather than economic integration not just because of a love for state's rights but also because any form of economic integration would diminish returns from the sizeable investment they, slave-owners, had made in slavery. Furthermore, slavery created a type of siege mentality in the South. This mentality, while helpful in muting the class tensions between the slave holding elites and poor whites, created a narrow identity amongst southerners that would have made secession that much easier. This paper will look at how the concepts of social distance and social capital helped make secession a likely outcome for the southern states. With these two factors in play, the cost of leaving the Union, of re-coordinating a new constitutional arrangement, was less costly than it might have been if not for slavery. / Thesis (MA) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Political Science.

The trope of the discovered manuscript, in which a narrator or character finds a document and presents it to the readers or other characters, has been a part of the Gothic genre since its inception. The discovered manuscript trope persists, despite criticism and satire, in part because it enables Gothic stories to situate their readers. In the nineteenth-century, as the presence of lawyers, doctors, scientists, journalists and other experts grew in society, Gothic novelists drew upon their methodologies and their records to revise the discovered manuscript trope. This project examines the trope of the discovered manuscript throughout Gothic literature in the eighteenth and nineteenth centuries in order to discuss how the Gothic functions as a literature of terror and how its techniques evolved in response to the epistemologies espoused by empiricist philosophers and professional scientists. I draw upon Jacques Rancière's theories about the representative and aesthetic regimes for the identification of the artistic image to support three central, interrelated claims about the role, and evolution, of the discovered manuscript trope within Gothic fiction: 1) Gothic literature responds to an epistemological problem in the empiricist tradition revolving around the connections between sensory uncertainty and linguistic gaps; 2) reading and interpreting documents play vital roles in the Gothic tradition; and 3) examining documents in Gothic fiction as image operations illuminates how they participate in a story's epistemological drama. In order to support these claims, this project presents four chapters that discuss a broad range of Gothic texts from Walpole's <italics>The Castle of Otranto<italics> to Stoker's <italics>Dracula<italics>.

The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvořák’s chamber music in the context of Sonata Theory, using the treatise as a jumping off point in order to analyze his music. This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert’s influence on Dvořák’s music was notable, so after comparing some of Dvořák’s writing about Schubert’s music, I examine specific musical elements (sonic, formal, and structural) from Schubert’s String Quintet in C Major, D. 956 that Dvořák emulates in his string quartet in the same key. Chapters 3 and 4 put Dvořák’s sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvořák’s use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer’s use of energy gain in the transition section of a sonata. Additionally, many of Dvořák’s sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvořák extends S-rhetoric in order to delay the close of the exposition. Even though not originally intended for this music, Hepokoski and Darcy’s treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvořák’s music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.

Islamophobia has been pack and parcel in the Western civilisation from the days of Charlemagne via the Crusades and the rise of Orientalism, as opposed to Occidentalism, to the modern day reporting of Islamic terrorist threat. Many were fascinated by the degree of civilisation and the exoticism of the Ottomans, especially the sexual virtues (or lack thereof) were of particular interest of the travellers into the Ottoman Empire. This image quickly came to change by the mid 19th century when clashes between the British Empire and the Ottomans were increasingly common, especially in India who were part of the British Empire with a large Muslim population whose loyalties were with the Sultan of Istanbul.   We have used a theoretical framework with the foundation in Edward Saïd’s orientalism as well as modern Islamic frame theory as published by Deepar Kumar, Ruth Wodak and J.R. Martins.   The broader aim of this thesis is, through the use of both theories used by media studies scholars as well as traditional historians to explore how the Swedish people viewed Muslims through the eyes of the rural press in the 19th century. In particular, which frames were used depicting the Ottomans and did the coverage of the Ottoman Empire change during the 19th century?

My thesis examines social observation in the poetry of John Clare, focusing on his work in the years before he was committed to an asylum in 1837. The project illuminates a plurality of perspectives in his poetry that has not been fully recognized in previous critical studies. It resituates the conventional scholarly approach to Clare, which has been preoccupied by an overly oppositional conception of the ‘two cultures’ that he inhabited: the oral and the literary. My thesis positions him as an intellectually curious seeker whose poetry is invigorated by his experience of different value systems in both the country and the city. Each chapter considers how Clare develops different strategies of social observation in the context of different discourses, and how he unsettles the validity of various attitudes to human behaviour. Chapter One, ‘Naturalizing Perspectives’, offers a new approach to Clare’s interest in natural history, by examining its influence on his portrayal of human behaviour, when he adopts the detailed observational habits of the naturalist. Chapter Two, ‘Refined Perspectives’, shows how he negotiates the influences of poets who represented the social structure of rural life, and poets who were interested in rural subjectivity, in order to identify the distinctiveness of his presentation of customary culture in ‘The Village Minstrel’. Chapter Three, ‘Female Perspectives’, considers his interest in his female readership, and examines how his courtship tales – which have generally been neglected by critics – engage with the concerns about conduct and social elevation that occupied the literature aimed for this audience. Chapter Four, ‘National Perspectives’, examines how he responds to the ferment of political ideas in his time through his representations of the nation – another area that has been little served in critical studies. My Conclusion considers Clare’s later poetry in the asylum and his developing self-consciousness as a social observer.

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Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1892. / MIT copy bound with: Design for a school of architecture and general studies / A. D. Koch. Accompanying drawings held by MIT Museum. / Statement of responsibility appears on p. [9]. / [by Robert R. Taylor]. / B.S.