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Awekualawaachish, a Crow leader, negotiated the treaties of 1851 and 1868 with the U.S. Government. The purpose of this study was to investigate this leader's family background, war deeds, and political record. A review of documents and oral history of the Crow people revealed that this Crow Chief loved his people and negotiated to reserve land and a decent livelihood for future generations. It was evident that he had a role in shaping Crow political and social history and these are summarized. The study revealed that in spite of his valiant attempts to negotiate a fair deal for the Crow people government schemes such as Treaties, Agreements, Executive Orders, Laws, and Court Decisions have undermined what was originally negotiated. His negotiations and subsequent legislation are summarized.

William Bell was an active photographer for more than a half century, successfully making the technical and commercial transitions from the daguerreotype process of the 1840s and 1850s to the collodion processes of the 1860s, 1870s, and 1880s, and finally to the dry plate processes that dominated the medium from the mid-1880s until the time of Bell's death in 1910. The purpose of this thesis is to provide a biography of Bell (1830-1910), to assess his contributions to photography, and to suggest something of the growth of professionalism in nineteenth century photography using Bell as "typical."

By the time Dionysius of Halicarnassus came to compose the brief biographies that introduce his essays on the ancient Athenian orators common histories of a variety of literary figures had already been assembled by earlier compilers of bioi into a collection known as the koine historia. This anonymous collection of biographies was the source that rhetoricians and other writers turned to for a standard account of an orator's life. This dissertation sets out to examine the development of the biographical tradition behind the common history, as it came to be preserved in a collection of bioi known as Ps.-Plutarch. In ancient times a canon of the ten best Attic orators was recognized. In Plutarch's collection of essays, the Moralia, is preserved a set of brief biographies of the orators of the canon, but this collection is no longer considered a genuine work of Plutarch. The introduction provides an extensive review of past scholarship on the problems of the nature and authorship of this collection, generally known as Ps.-Plutarch. It shows that the biographies are composites that were expanded through centuries of additions from a primitive core. The basic biography, which is still discernible and was originally composed by a grammarian, perhaps Caecilius of Caleacte (30 B.C.), was modeled on the biographies of the koine historia. The biographies found in this anonymous collection are themselves the product of Alexandrian scholarship. Chapter 1 examines the common history as the source of the biographies of Dionysius and Ps.-Plutarch. A comparison of their lives of Isocrates shows that the author of Ps.-Plutarch not only used the same source as Dionysius but also made a number of substantial additions, particularly of an anecdotal kind, to his account. These additions were taken from two places: from the same common history and f r om the biographer Hermippus. But the same comparison reveals that this biographer was an important source not only of the anecdotes on Isocrates, but also of much of the common history as it was preserved by Dionysius and Ps-Plutarch. Hermippus proved an important source for the compilers of the common history, since he himself gathered together and transmitted existing traditions on the orators. Chapters 2 and 3 examine and evaluate the historicity of the earlier contributions of Demetrius of Phalerum and Idomeneus of Lampsacus. The former treated Demosthenes in a treatise on rhetoric; the latter the orators Demosthenes, Aeschines and Hypereides in his polemic on the Athenian demagogues. The evidence indicates that Hermippus picked up, incorporated into his own biographies and transmitted into the later tradition their treatments of these orators. The final chapter (4) is devoted to Hermippus himself. He was a highly respected biographer and scholar in antiquity and his biographies were characterized by their rich mixture of anecdote and erudition. In particular attention was paid to his collection of biographies On the Isocrateans, which was schematically arranged into a diadoché as a construct of the history of 4th century Attic prose. From there attempts were made to reconstruct the scheme and content of his biographies of Demosthenes, Hypereides and Isocrates. From this study it became apparent that the type of biography written by Hermippus was essentially antiquarian in approach. Much of the research was into literary sources. That is to say much of the biographical information was inferred from texts, whether of the orator under consideration or of contemporary comic poets, or even from other antiquarian works, such Demetrius' work on rhetoric. In the end this type of biography was itself a product of same antiquarian interests that characterized much of the scholarship of the Alexandrian period.

<p> Dr. Charles Hirt and the Department of Church and Choral Music at the University of Southern California (USC) produced some of America's most successful choral conductors and administrators. Many of those students are conducting or administrating at the finest colleges and universities, secondary schools, churches, and community choral organizations in the nation. From the earliest moments of his career, Charles Hirt himself received a seemingly endless string of accolades. Always focused on the betterment and future of the choral arts, he was a "founding father" of significant choral organizations such as the American Choral Directors Association (ACDA), Choral Conductors Guild of California, and the International Federation of Choral Music. It was also his visionary mindset that served as a hallmark of his tenure at USC and arguably earned him the right to stand as an equal alongside the greatest of American choral conductors. </p><p> It is the aim of this study to examine Hirt's significant contributions to the University of Southern California and his legacy as it continues on in his students and the subsequent generation of choral leaders they generated. </p>

<p> American expatriate Sylvia Beach (1887-1962) is mostly recognized for her contribution to Modernist literature by publishing James Joyce's <i> Ulysses</i> and <i>avant-garde</i> magazines. However, the objective of this study is to resurrect Beach's legacy as a leader by discovering how Beach, through opening Shakespeare and Company, an English-language bookshop in Paris, led the literary community who expatriated to Paris in the early twentieth century. Beach's journey into leadership began when she bravely opened her bookshop in a foreign country in 1919, at the closing of World War I, during a time when few women owned their own businesses. By creating a place, a home away from home, for the disillusioned and disenfranchised expatriates writers, Beach created a safe environment for the expatriates&mdash;a place to find their identity. By befriending them, earning their trust, and gaining their help in the <i>Ulysses</i> publishing venture, Beach created an environment of collaboration among the writers, many of whom remained lifelong friends. Beach's business model was unprecedented, and with vision and boldness, at Shakespeare and Company, Beach exemplified leadership by continually helping others, and thus transformed Shakespeare and Company into one of the most recognized bookstores of the time.</p>

In the fall of 1952, George Platt Lynes created one of his most memorable photographs: the image of two nude men--one black, one white--reclining in an intimate embrace. Lynes titled the print Man in His Element, but due to its overt homoeroticism and interracial content he could not show it in public. Instead, Lynes privately distributed the photograph and its variants through the mail and told the story of their creation in letters to a close friend. Lynes's letters were an integral part of his artistic and voyeuristic activities. Through writing Lynes framed the ambivalent racial coding of Man in His Element and its variants, and in doing so, he asserted his authority as a white, socially privileged man. Lynes's writings also functioned as a form of confessional discourse which enabled the photographer to document and speak the truth about his marginalized sexual identity and artistic production.

G. K. Chesterton (1874--1936), an English journalist and man-of-letters, gained an broad audience for his cultural criticism in the first decades of the twentieth century. This dissertation presents an explanation for Chesterton's widespread popularity based on a reading of contemporary reviews of Chesterton's work. It argues that one of the chief reasons for Chesterton's popularity was that he provided an understanding of English national identity at a time when this was problematic for the British public. His early literary criticism on Charles Dickens and Robert Browning, written in the context of the Anglo-Boer War and widespread anti-war agitation, questioned the Kiplingesque glorification of the British Empire and the racial identifications of Englishness. In attempting to create a spiritual or cultural rather than racial genealogy for Englishness, Chesterton got involved in debates over England's religious heritage, the Church of England's establishment, and the role of religion in state education, the nature of English liberalism, and the possibilities for a native English brand of socialism. These debates led him eventually to reformulate the Whig history of England---particularly in his epic poem of King Alfred, The Ballad of the White Horse (1911), his propaganda during World War I, and his Short History of England (1918)---to tell a tale in which the persistence of Christian orthodoxy was the key to England's peculiar liberal cultural inheritance. After his death in 1936, Chesterton's conception of England as a nation with a past rooted in European Christendom contributed to rhetorical understandings of England's identity and role during World War II.

Theoreticians of the problem of the other have overlooked a crucial distinction between two competing modes of alterity: The Other, a classic strategy of metaphorical, externalized singularity, and The Double, a modern strategy of metonymical, internalized multiplicity. The discovery of these two modes of alterity untangles many of the difficulties encountered in attempting to reconcile the theories of writers frequently seen as inimical to one another, including Jacques Lacan, Jacques Derrida, Emmanuel Levinas, Sigmund Freud, Julia Kristeva, Luce Irigaray, Edward Said, and Tzvetan Todorov. These two strategic modes enable women and men, artists and writers, to create "constellations of desire"--traditional and non-traditional "imaginary" psychological outlines constructed from the fixed points or reference in our lives--to deal with loss and alterity. While this paradigm can be profitably applied to many eras of loss, one particularly enlightening local instantiation of the problem occurs in the Victorian era, specifically in the life and works of Dante Gabriel Rossetti and Christina Georgina Rossetti. The Rossettis rall under the sign of Gemini in the Victorian constellations of desire: brother and sister poets, standing in the same place, they yet face in opposite directions and follow reversed trajectories with reference to their fixed stars or family, faith, and the female. The strategies of The Double and The Other occur repeatedly throughout their lives, in their interactions with their father and their siblings, where questions of voice and textual incest become prominent; in their problematical relationships to ascEtic, aesthetic, and erotic forms of faith; and in their relationship to the female--mother, fallen woman, and beloved epipsyche--both as lived experience and as envisioned/revisioned object of the gaze. Particular eruptions materialize in poems and paintings such as Dante Gabriel's "Jenny," "Blessed Damozel," "Proserpine," "Ecce Ancilla Domini!," "Sister Helen," "Ave," "Hand and Soul," "A Last Confession"; and Christina's "Goblin Market," "A Royal Princess," Sing-Song, "Maggie A Lady," "Maude Clare," and "Monna Innominata," as well as her drawings. The picture that emerges allows Christina the strength as well as the anguish of her faith, making her a more complex and interesting writer than previously acknowledged, while it recuperates Dante Gabriel's reputation from accusations of chauvinism and obscurantism.

This thesis portrays an attempt to write and learn from the whole of life within and through the framework of a thesis. Written in the place- and space-times of three years it both questions and searches for the meaning of curriculum as the "running of the course," the purpose and methods and frameworks by which I live and write. Part of an ongoing personal journey to understand inclusion, the thesis begins with an understanding that change towards a more inclusive world involves change in my self, and the desire and intent to practice a different way of knowing my own interrelatedness with others and world. Both the content and form of the thesis explore the main themes of relationship and expression; how the hidden and unwritten parts of past, of self, of other, belong in the present and can be brought to birth. It is presented as a layered portrait showing the many forms through which I come to understand and articulate the world over time. My own words—poetry, autobiographical pieces, journal entries, letters, and interpretive pieces-are the means to bringing lost themes in my life to meaning on the pages of a thesis. But writing and life are more than self-expression. Through the words and presence of others, through living with and reading and responding to the other, I learn a more meaningful course of action. Writing and living in relation to others as woman, graduate student, teacher, family member and immigrant, I come to an understanding of my self and my place with others in the world as one of responsibility and response. In writing the meaning of my curriculum I also write possible meanings for education. Through mindful presence a teacher can look below the surface to see the worth of another, and give a response that will birth and nurture a curriculum waiting to be born. Writing personal experience in the framework of a thesis, while problematic throughout, in the end I found necessary to bring outside to inside, objectivity to subjectivity, interpretation to art, and tentative, uncertain conclusion to radical questioning. In the very end I find silence. The mystery of the unknowable, the eloquence of the inexpressible in its presence. Yet always the longing, the reaching, to understand and give voice. And so I sit at the side of the river writing, leaf by leaf, layer by layer, the roots of curriculum. / xi, 126 leaves : ill. ; 28 cm.