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<p>National Crimes and Southern Horrors examines the contested meanings of the terms civilization, race, and empire in trans-Atlantic conversations during the last two decades of the nineteenth century. It argues that understanding these dialogues requires us to understand the interplay between regional and transnational definitions of these terms. It further explains both white Southern opposition to empire at the end of the nineteenth century as well as white Southern acceptance of their region as similar to European empires and imperial mission described in Rudyard Kipling's poem, "The White Man's Burden." Reading newspaper US and British articles and editorials, international periodicals, personal papers of activists and politicians in both the US South and Britain, it uncovers the dynamic definitions of race, empire, and civilization at play in the work of constructing the US South as both a part of and distinct from the imperial world. Reading conversations about Irish home rule, the gold standard, international bimetallism, British interactions with white and black Southerners, the disfranchisement of black men in the US South, the construction of Jim Crow, lynching in the US South, Turkish atrocities in Armenia, the Philippine American War and the Boer War, it reveals that to understand the transnational development of white supremacy in imperial sites in Africa, Asia, the West Indies, and the US South requires to look not only at the ways whites within each site defined their right to rule but also in the ways they looked to each other. It also argues that understanding the place of the US South within trans-Atlantic conversations about race and civilization but also regional politics and the ways that regional concerns structured and limited how people in Britain and the US South saw each other. Through comparison and conflict, the US South was an essential part in constructing global color lines, and imperial ideologies worked to prop up white Southern defenses for segregation and Jim Crow.</p> / Dissertation

"Manufacturing Ruin" argues that the most important moments in the history of the concept and consciousness of "American ruin" accompany volatile episodes of progress and decline in American manufacturing. This dissertation attends to the construction of "American ruin" in response to the rise of manufacturing in the early to mid-nineteenth century and the decline of industrial capitalism in the twentieth and twenty-first centuries. Americans have manufactured picturesque ruins and spectacular episodes of ruination both to conceal and reveal and to "contain" and "harness" destructive forces inherent to capitalism. In some cases, ruins have been represented in ways that conceal processes of ruination inherent to their own destruction. In other instances, episodes of destruction demonstrate that in attending to particular processes of ruination, Americans have intentionally ignored others. / text

This dissertation analyzes the social function of native art in colonial New Spain through the examination of a genre of maps painted by Indian artists known as Land Grants or Mapas de Mercedes. Land Grant maps constitute the response of the native population to a Spanish land distribution practice implemented in the sixteenth century to allocate the territory among its dwellers in an orderly fashion and prevent the illegal occupation of the land. One remarkable feature this program adopted in New Spain was its strong visual component; the viceroy requested a painted map as part of each lawsuit's evidence. This is unique to the viceroyalty of New Spain and did not happen anywhere else in the Americas. It is reflective of the Indigenous deep-rooted tradition of thinking visually and dealing with everyday matters through the use of painted manuscripts. It was also stimulated by the Spaniard's belief in the truth-value of native pictorials. The result was a vast production of maps of which approximately 700 have survived. Since they were produced for the specific context of land grants and have their own distinctive characteristics, it is possible to say that this was also the birth of a new artistic genre. The present work examines how Indians in the colonial period created these artworks that enabled them to negotiate with the colonizers, defend their rights, and ultimately attain a more favorable position in society. This project demonstrates that the Indians took up this opportunity to design maps that were an essential component of their defense strategy. My research is based on a thorough examination of the originals at the National Archives in Mexico. I combined visual analysis with the transcription and paleography of the case’s files, and a review of primary and secondary historical sources. This interdisciplinary approach enabled me to demonstrate that native artists not only described the contested site in their maps but also translated their own ideas about this space into visual form. My research underscores Indian agency and illustrates how they used Spanish laws to their advantage in preserving their possessions, sometimes to the twenty-first century. / History of Art and Architecture

<p> <i>We Support Our Troops</i> is a series of three mural sized prints in panoramic format. The images can be described as Rochester urban landscapes in which the commercial images of the billboards were replaced with images of Latin American resistance movements. The title is an appropriation of the United States pro-war slogan twisted into the support context of these movements. The prints are made in the contemporary and non-toxic printmaking technique <i>4 Color Inversion Intaglio-Type</i>, developed by Master Printmaker Keith Howard. The Intaglio-Type techniques are the ones in which the photopolymer film ImagOn^&reg; is used. </p><p> A technical and historical approach is used in this written document. Included is a detailed explanation of the process with descriptions of the photographic equipment and software used for the image capture and creation of the landscapes. A step-by-step description of the <i>4 Color Intaglio-Type </i> technique follows, from making the plates physically to the printing process. This technical walkthrough illustrates why this Intaglio-Type technique is the optimum fusion of the digital imagery with traditional printmaking techniques. Also, the description highlights the large format printing difficulties overcome in this research, with new possibilities yet to discover with the Akua Colors^&reg; inks.</p><p> The Latin American resistance movements referenced in this work are: The <i>EZLN</i> (National Zapatista Liberation Army) from Chiapas, Mexico; the <i>APPO</i> (Popular Assembly of the People of Oaxaca), from Oaxaca, Mexico; the <i>EPB</i> (Popular Boricua Army) or <i> Macheteros</i> from Puerto Rico; and the <i>Piqueteros</i> from Argentina. A historical overview of each of these movements is included. </p><p> Through this thesis I intend to shed light on the economic disparity between the United States and Latin American countries caused by their political relationship. To identify myself with a political movement, rather than to educate or criticize the status quo. In order to effectively make this statement, the images were carefully worked in terms of composition, color and content. These elements included in the large panoramic format are strong enough to entice the viewers to stop, look, enjoy and ultimately reflect on the meaning behind the images.</p>

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<p> In public schools, student expression commonly calls for the attention of school staff in one form or another. Educators have a practical interest in understanding the boundaries of student freedom of speech rights and are often directed to the four student speech cases decided to date by the Supreme Court (<i>Tinker v Des Moines</i> (1969), <i>Bethel v Fraser </i> (1986), <i>Hazelwood v Kuhlmeier</i> (1988), and <i> Morse v Frederick</i> (2007)). Sources about these cases abound, but most focus on legal reform issues such as the political arguments of opposing preferences for more student freedom or more school district control or the lack of clear guidance for handling violations </p><p> I propose an alternative approach to understanding the Supreme Court&rsquo;s student speech jurisprudence focusing not on its correctness but on cultural influences which have worked and continue to work on the Court both from without and within. This approach may lead to a new understanding of Court decisions as legally binding on educators and an appreciation of the necessary rhetorical artistry of the Justices who write them. Not intended in any way as an apologetic of the Court&rsquo;s decisions on student speech, this study is based particularly on the work of Strauber (1987), Kahn (1999) and Mautner (2011). It takes the form of a cultural history going back to the Fourteenth Amendment&rsquo;s influence on individual rights from its ratification in 1868 to its application in Tinker in 1969 and beyond. </p><p> Seen as cultural process which begins with the Amendment&rsquo;s initial almost complete ineffectiveness in restricting state abridgment of fundamental rights including speech to its eventual arrival, fully empowered, at the schoolhouse gate, this study attempts to make student speech rights more accessible to educators and others. The tensions between the popular culture which espouses the will of the people and the internal legal culture of the Court itself and its most outspoken and articulate Justices resolve into decisions which become the law of the land, at least for the moment. The study also offers implications for administrators together with suggestions on how to stay current with free speech case law applicable to the schools.</p>

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<p> Examines early attempts to formalize congressional oversight of intelligence, and details what level of congressional oversight existed for the Bay of Pigs operation.</p>

<p> The end of the Revolutionary War proved to be a significant moment in United States history. Not only did it signal the birth of a new nation, but it also affected the institution of slavery. Wartime rhetoric such as "All men are created equal," left the future of American slavery in doubt. Northern and mid-Atlantic states began to implement emancipation plans, and the question of what to do with free blacks became a pressing one. It soon became apparent that free blacks would not be given the same rights as white Americans, and the desire to have blacks removed from society began to increase. One proposed solution to this problem was the idea of sending free and manumitted slaves to Africa. A man by the name of John Brown Russwurm (1799&ndash;1851) would play a prominent role in the colonization movement, and his life and legacy reflect the controversy surrounding the idea of colonization.</p>