Black Studies programs are disappearing on college campuses. There is a need to know why these programs are being phased out of school curriculums. Two contributing factors leading to the disappearance of Black Studies are: the lack of student enrollment, and the cutback in the government education budget. A two-part survey was used to obtain an idea of what students think about Black Studies and if they consider them important. The result of the survey indicates that students know the importance of Black Studies but enroll in programs that may offer better financial stability.

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The purpose of this research is to recount and analyze the role of the Atlanta Urban League in securing the Negro hospital—Hughes Spalding Pavilion of the Grady Hospital Center. The campaign took place in the late 1940's when Atlanta was strictly segregated, and non-indigent Negroes had only small private hospital facilities with no place for training Negro physicians. The Hill-Burton Act provided the impetus for the cooperation of the League and the Fulton-DeKalb Hospital Authority in the struggle for the hospital. Mrs. Grace Towns Hamilton as Executive Secretary of the League, and Mr. Hughes Spalding as Chairman of the Authority combined their efforts and enlisted the support of local and national Negro and white leaders in this successful campaign for a Negro hospital. While employing the techniques of oral history and the historical method, the investigator interviewed several prominent Atlantans including doctors and other professionals to ascertain the lifestyle of Negroes in Atlanta in the 1940's as well as the plight of the Negro insofar as medical facilities were concerned. The bulk of the material on the Atlanta Urban League was found in the Grace Hamilton Collection at Atlanta University, although the minutes of the League proved to be an invaluable source and may be examined by permission at the Atlanta Urban League offices.

This study examined the similarities and differences between John S. Mbiti's analysis of African religion and the theology of the Pan-African Orthodox Christian Church (P.A.O.C.C.). The study sought to establish whether the similarities represent African retentions and conscious adaptations within the P.A.O.C.C. Five aspects were considered in the analysis of African Religion and the P.A.O.C.C. They are: revelation, god, humanity, savior/messiah and church. The researcher found that within the theology of the P.A.O.C.C. there exist significant African retentions and learned adaptations of African religion that parallel Mbiti's analysis of African religion. The P.A.O.C.C. consider themselves a theological institution with Afrocentric practices and tradition. The conclusions suggest that the Pan-African Orthodox Christian Church is an institution of contemporary Afrocentric religious expression.

<p> This master&rsquo;s thesis presents language community information, a descriptive grammatical sketch and analysis of structures in <i>maqlaqsyals </i> (Klamath-Modoc), a severely endangered isolate language traditionally spoken in present-day southern Oregon and northern California. The basis for this thesis is data from descriptive grammars from Gatschet (1890) and Barker (1964) as well as further linguistic and academic literature surrounding <i> maqlaqsyals</i>. This thesis is important because there is limited literature on <i>maqlaqsyals</i> that is accessible to the language community and this thesis fills the literature gap. This thesis is an example in practice of linguistic sovereignty. This thesis provides accessible linguistic resources written by an Indigenous community member asserting local control. Additionally, this thesis is crucial because children are on longer learning <i>maqlaqsyals </i> as a first language. Second language speakers must become more knowledgeable of language structure in order to converse with other speakers, setting a future environment in which children can be taught <i>maqlaqsyals</i> as a first language.</p>

Fugitive Nation: Contagious Democracies in American Literature of the Early National Period, 1793-1838 takes aim at the legislative gag-order on racial issues during the early national period. The gag-order suppressed national discussions of slavery and racial injustice until abolitionism rose in the 1830s, and its legacy continues today to impair our historical understanding of this deeply conflicted period of the American past. In order to restore this "fugitive" history, Fugitive Nation reconstructs a historical memory by uncovering the erstwhile silent record of race relations during the early national period, while demonstrating how this history of racial injustice is at the root of a liberal democratic tradition in American Letters. Thus, my study traces the ideological connections among disparate national narratives, from the more literary works of Charles Brockden Brown and James Fenimore Cooper, to the more popular and partisan documents circulating in the early national period. Magazines, congressional and society records, personal narratives, and documentary histories, such as cross-cultural accounts of the 1793 yellow fever epidemic and the annual reports of the American Colonization Society, provide a fuller understanding of the different roles race played in the nation's transformation from colony to state, even as they provide richly nuanced readings of early American literary works. Ultimately, Fugitive Nation corrects the fallacy of the "Great Contradiction"---that racial hierarchies were somehow inconsistent with a liberal Democracy---by demonstrating that America grew out of, and actually required, an increasingly punitive and divisive system of race relations.

Death of the Celluloid Maiden: Images of Native American Women in Film traces and analyses the representation of Native American women in the history of American film. In particular, the work focuses on the figure of a young Native woman who falls in love with, aids, or otherwise is connected to the white hero and dies for that choice. I have labeled this representation the Celluloid Maiden trope. It contains two primary figures that I have termed the Celluloid Princess and the Sexualized Maiden. These figures inform each other from the 1910s through the 1960s and combine to form a hybrid character in the 1970s and 1990s. The trope emerges in conjunction with the myth of the Frontier and the white American Adam/hero figure as ambiguous references to inter-racial mixing and assimilation. While each generation of media maneuvers the trope to fit the political and social milieu of the period, it remains a solidly entrenched vehicle through which colonialism and racism are enacted on the body of the Native American woman. Within the Celluloid Maiden trope, native culture, sexuality, and race conflate into interchangeable identifiers of difference that participate in a larger discourse of nationalism, itself based on a hierarchy of race and gender. Thus, the Celluloid Maiden trope and its components are deeply tied to American identity politics and an ongoing re-establishment of a white, patriarchal system of power through its narratives of belonging, nation formation, colonization and racism. Death of the Celluloid Maiden's significance lies in its dedication to understanding the ways in which our culture utilizes racialized, gendered and sexualized bodies, especially female bodies, as sites for inscribing difference. The dissertation explores the complex web of power relations that exists in the cultural arena informing film images. In particular, I am concerned with how the historical and visually reproductive relationship between whites and Native Americans in general, which informs this particular image of Native American women specifically, creates intercultural boundaries that continually reinforce social, racial, and gendered difference.

This dissertation is a geographical analysis of development of the West Coast Megalopolis and its effect on the redistribution of population both nationally, and within the western United States. Since the 1960s and 1970s, population migration trends within the United States have been increasingly influenced by the emergence of a bi-coastal population core consisting of the traditional core region of the Northeastern Megalopolis and the burgeoning concentration of population along the Pacific Coast. This dissertation shows that the migration subsystems of the large Pacific Coast cities are the driving force behind the observed population redistribution trend toward deconcentration in the western United States. The highly effective out-migration streams from these inward population redistributors down the urban hierarchy also fuel the continued development of the interconnected urban subsystem of the western United States. This dissertation first documents the emergence of the bi-coastal population distribution within the United States through the use of historical county-level census data and Geographic Information System (GIS) technology. Distance-finding routines are used to generate a series of graphs and maps depicting the decadal redistribution of population from 1950 to 2000. This study then examines the population distribution trends from 1969 to 1997 among western Bureau of Economic Analysis Economic Areas using multiple statistical measures of concentration and cluster defined growth profiles. Recent internal migration patterns (1995-2000) of the western United States are then explored with respect to a new county-level typology of the functional urban system through the use of demographic effectiveness and migration impact analysis. Underpinning this research is the development of more intuitive and meaningful methods for examining population redistribution trends. By combining a multitude of analytical techniques and graphical devices, many of which were developed specifically for this study, and by deploying these techniques at different scales of aggregation, this dissertation offers a number of new ways of examining population redistribution. In doing so, this dissertation provides a detailed and novel documentation of the recent population redistribution patterns within the western United States.

The influence of traditional Chinese art permeates Alexander Tcherepnin's piano compositions, particularly his Five Concert Studies, Op. 52 . A survey of Tcherepnin's life, his musical achievements, and the impact various cultural influences exerted on his musical development reveals the depth of feeling Tcherepnin possessed for China and things Chinese. As a product of Tcherepnin's "Chinese Years" (1934--1937), the Five Concert Studies, Op. 52, show the direct influence of specific Chinese elements and original art forms that the composer imitated, including the Pi Ying Xi (Shadow Play), Mu Ou Xi (a traditional puppet show that Tcherepnin translated as Punch and Judy ), and the sound of the pipa (a guitar-like plucked instrument) and the qin (a zither-like stringed instrument or lute). Alexander Tcherepnin could not have written these pieces without firsthand knowledge of the Chinese culture to which he was deeply attracted. The Five Concert Studies are a culmination of his initial travels in China, his involvement with the development of an indigenous Chinese school of piano writing and his great love for the Chinese people.

The objective of this document is to provide information on Percy Grainger's innovations in writing for what Grainger himself described as "tuneful percussion" in his orchestral work The Warriors. To Grainger, "tuneful percussion" refers to mallet keyboard instruments and members of the traditional keyboard family including pianos, celesta, and other finger operated instruments. Three main subject areas are covered in this document. The first section will give a general background of the historical development of keyboard instruments in orchestral writing. The second area is devoted to Percy Grainger's musical background and what led to his interest in orchestral experimentation with melodic percussion instruments. This section concludes with a detailed look at the "tuneful percussion" scoring in The Warriors. The objective will be to prove that Grainger was the first composer to orchestrate for the entire melodic percussion section and to give this segment of the orchestra melodic and harmonic content equal to that of the other sections of the orchestra. The final section will cover other composers who were, and are, interested in writing extensively for the same orchestral family of instruments. In this final section, references will be made to the compositions of Carl Orff, Olivier Messiaen and a number of late 20th century composers.