Between 1760 and 1812, the fertile lands around Lake Champlain's Missisquoi Bay were bisected by an international boundary. During this intense period of settlement, these lands were also subject to competing claims by various individuals, states, empires, and Native nations, all of who used grants, leases, surveys, and titles to further their claims. However, this copious property creation did not result in a coherent landscape, governed by authoritative states. Instead, participants used competing titles and overlapping grants to negotiate a spectrum of territorial claims. In many cases, the political, geographic, and economic ambiguities of property were seen as opportunities, rather than liabilities, by the diverse parties who claimed and occupied Missisquoi land. / Entre 1760 et 1812, les terres fertiles situées autour du lac Champlain, plus précisément de la baie Missisquoi, ont été coupées en deux par une frontière internationale. Durant cette période intense de colonisation, l'endroit fut également l'objet de revendications par divers états, empires, personnes et nations autochtones qui utilisèrent différents titres, baux, plan d'arpentages et concession pour faire avancer leurs demandes. Cependant, la création de ces nombreuses propriétés n'a pas abouti au façonnage d'un paysage cohérent, politiquement stable et soumis à l'autorité claire d'un état. Au contraire, les participants ont utilisé les titres litigieux pour négocier un spectre des demandes territoriales. Dans de nombreux cas, les ambiguïtés politiques, géographiques et économiques du concept de propriété furent considérées comme des opportunités plutôt que des inconvénients par les différents partis qui ont demandé et qui ont occupé les terres du Missisquoi.

<p> This thesis concerns itself with the crisis of symbolism in contemporary America and the impact this has on the collective and individual American in the 21st century. The research is rooted in the perspective of Jungian philosophy and tradition, and is presented through hermeneutic methodology. This thesis explains why symbols are important in creating consciousness, viewpoints of Jungian analysts about a crisis of symbolism, the role of nothingness as a contemporary anti-symbol symbol, and the way the lack of symbolism plays out in collective American symptomology. This thesis reaches the conclusion that Americans have effectively eliminated meaningful symbols and have entered a post-deconstructionist era in order to allow space in which to create new, more meaningful symbols. The role of the contemporary depth psychologists is to remind their patients of their part in participating in symbol making as a participation in the psychological health of society as a whole.</p>

<p> Utilizing Kenneth Burke's dramatistic pentad, I argue that the rhetoric of Alaskan reality television produces a new strain of the American frontier myth wherein agents struggle to live within an omnipotent scene. After tracing the evolution of the pentadic elements in literature and film embodying the eastern and western variations of the myth, I analyze <i>Deadliest Catch, Flying Wild Alaska</i>, and <i>Gold Rush</i> and thereby discover that the discourse does not revive older versions, but instead formulates a contemporary iteration that diminishes tension between the dialectical values of individualism and community. As the United States faces daunting exigencies concerning the economy, technology, and the environment in the new millennium, the myth of the Alaskan frontier offers ways for people to cope with their anxieties. This thesis concludes with a discussion of implications and ideas for future research.</p>

<p> This paper examines the evolving methods of incorporating indigenous and popular Mexican music since the Nationalistic period in M&eacute;xico. This project report also shows how the integration of Mexican folk music in Mexican composers' works has changed throughout the years. This paper analyzes the compositions <i>Sinfon&iacute;a india</i> written by Carlos Ch&aacute;vez and <i>&iexcl;&Uacute;nicamente la verdad!</i> written by Gabriela Ort&iacute;z. This paper also analyzes "<i>Tezcatlipoca, </i> A Sacrifice Dance," a chamber orchestra work by myself, a Mexican-American student composer. "<i>Tezcatlipoca,</i> A Sacrifice Dance" incorporates Mexican folk music as well as Carlos Ch&aacute;vez, Gabriela Ort&iacute;z and many other Mexican composers.</p>

<p> &ldquo;The Story You Are About to Hear Is True&rdquo;: <i>Dragnet, </i> Transmedia Storytelling, and the Postwar Police Procedural" places the radio, television program, and feature film, <i>Dragnet</i> (19491959), at the intersection of cultural history and media history during the U.S. postwar period. The program, which follows two police detectives as they investigated crime, was drawn from real cases from the Los Angeles Police Department. By bringing audiences into police work with a new seriousness, <i> Dragnet</i> functioned artistically and ideologically as a pedagogical site for U.S. citizens. Heavily influenced by the program's collaboration with the LAPD, <i>Dragnet</i> presented an ideal of civic cooperation that responded to the increased faith in professionalized knowledge and organizational competence resulting from the successes of World War II. </p><p> This dissertation argues that <i>Dragnet</i>'s place in postwar culture cannot be understood apart from its place in media history. The source of <i>Dragnet</i>'s pedagogical effectiveness, as well as its popularity, was an aesthetically ambitious form of realism that crossed media platforms. By breaking the hackneyed conventions of crime drama, <i>Dragnet</i> reinvigorated radio drama (19491957). It then carried its prestige over to television (1951-1959), where it defined the terms of one of the new medium's most stable genres, the police procedural. In 1954, it became one of the first television shows to become a feature film. In addition to its contribution to postwar culture, <i>Dragnet</i>'s fluid movement across media fills out the history of transmedia storytelling and convergence culture, making an important intervention in media studies.</p><p> Combining archival research and close textual analysis to see the full spectrum of <i>Dragnet</i>'s cultural influence, this project contributes to a fuller understanding of how industrial practices shape civic knowledge and definitions of citizenship, a critical concern in an increasingly mediated age.</p>

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Thesis (Ph.D.)--University of California, Berkeley, 2006. / (UMI)AAI3253896. Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0379. Advisers: Mark Sandberg; Linda Williams.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4457. Adviser: Dara E. Goldman. Includes bibliographical references (leaves 193-212) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4333. Adviser: Carla A. Santos. Includes bibliographical references (leaves 152-161) Available on microfilm from Pro Quest Information and Learning.

This senior thesis studies the evolution and ideals of several populations in Los Angeles through the lens of car culture. The automobile is a symbol of expression and upon analyzing it, a great deal can be revealed about its owner. Los Angeles is home to the hot rodding, lowriding, and import tuning car movements. All three major car cultures were born from a marginalized youth population. The three movements shed light on the sentiments and assimilation process of the various ethnic communities that created the car culture. This essay will show how each movement not only influenced one another, but also the car industry as a whole. Additionally, this essay examines how advancements in technology have led the current millennial generation to form a mass youth culture. The mass youth culture of the present day is much different than the young populations of past time periods, and that is reflected when analyzing modern day car culture.