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Texte remanié de: Thesis Ph. D.--Chapel Hill--University of North Carolina. / Bibliogr. p. 339-354.

The purpose of this thesis is to look at the motivations behind the life and work of Caroline Chisholm, nee Jones, 1808-1877, and to ascertain why British historians have chosen to ignore her contribution to the nineteenth century emigration movement, while attending closely to such women as Nightingale for example. The Introduction to the thesis discusses the difficulties of writing a biography of a nineteenth century woman, who lived at the threshold of modernity, from the perspective of the twenty-first century, in the period identified as late modernity or postmodernity. The critical issues of writing a historical biography are explored. Chapter Two continues the debate in relation to the Sources, Methods and Problems that have been met with in writing the thesis. Chapters Three to Seven consider Chisholm's life and work in the more conventional narrative format, detailing where new evidence has been found. By showing where misinformation and errors have arisen in earlier biographies that have been perpetuated by subsequent biographies, they give specificity to the debate discussed in the Introduction. Chapters Eight to Ten discuss, in far greater depth than a conventional narrative format allows, the relevant political, religious and social influences which shaped and influenced Chisholm's life, and which facilitate an understanding of her motivation and character.

This paper aims to follow the development of radio broadcasting piracy. We focused on two main and very different media landscapes - the United Kingdom and the United States of America. In the beginning, the concept of piracy differed locally. The United Kingdom's pirates were people who received radio broadcasting of the British Broadcasting Company without paying an annual license for listening. In the media landscape of America, piracy was connected with the broadcasting of their own signal. US pirates were broadcasters who caused an interference with any other licensed station. This concept of piracy developed in British media landscape too. Later, it was primarily associated with offshore broadcasters who anchored their floating studios in international waters. This kind of radio piracy was the most popular in the United Kingdom because of a radio broadcasting monopoly of the BBC. Piracy in the United States of America is associated with efforts of amateur radio experimenters. When their signals strengthened, all their activities became illegal. In both cases, piracy was a strong stimulus for a change. In the United Kingdom, the BBC formed new channels with diverse content and in the United Stated of America the position of micro- broadcasters has been strengthened.

This thesis investigates elite and genteel women’s production and consumption of material objects in Britain during the period 1750-1830. Each of its four chapters identifies a central process that characterised these engagements with material culture, focusing on ‘Migration,’ ‘Description,’ ‘Translation,’ and ‘Exchange’ in turn. The Introduction examines each of these with regard to the historiography of eighteenth-century material culture and its relationship with gender, social relations, domesticity, and materiality. It argues that by viewing material culture through the lenses of microhistory and the case study, we might gain a sense not only of how individual women acquired, used, and conceived of objects, but also how this related to the broader processes by which material culture functioned during this period. Chapter 1 identifies the importance of needlework in the construction of prescribed feminine identities, and focuses on representations of needlework in portraiture, genre prints, and conduct literature. The chapter argues that such objects created a ‘grammar’ of respectable domestic femininity that migrated through visual, literary, and material genres, reflecting the permeability of cultural forms during this period. Chapter 2 examines the role of description in the journals and correspondence of the travel writer Caroline Lybbe Powys, concentrating on her 1756 tour of Norfolk. Following the work of the cultural anthropologist Clifford Geertz, the chapter argues that the ‘thick description’ that characterises Lybbe Powys’s accounts of domestic visiting and tourism locates both the homes of her hosts and her own epistolary practices within an interpretative framework of hospitality, sociability, and materiality in which description was central. Chapter 3 considers the interior decoration of A la Ronde, the home of the cousins Jane and Mary Parminter, located in Exmouth in Devon. The chapter argues that the processes of translation that characterised the Parminters’ acquisition and display of their collection of souvenirs transformed these objects both physically and semantically, allowing the cousins to co-opt them into personal narratives, redolent of travel, the home, and the family. Chapter 4 focuses on Plas Newydd, the home of Lady Eleanor Butler and Sarah Ponsonby. It examines how the gift exchange enacted at the house facilitated the creation of ‘gift relationships,’ which both reflected and constituted the connections between Butler and Ponsonby, their numerous friends and visitors to their home, between Plas Newydd and the surrounding landscape, and between material culture, experience, and sentiment, more broadly. Together, the constituent chapters of the thesis demonstrate that there was no simple connection between gender and material culture. However, by interrogating the key cultural processes in which this relationship operated, the thesis hopes to demonstrate the complexity and fluidity of its manifestations.

Writer and critic Caroline Gordon has been a participant on the Southern literary scene since the early 1930s, yet her works have been neither studied nor appreciated as frequently as the works of her male contemporaries. Her novels and short fiction never received the critical acclaim that they merited due to the perpetuation of the erroneous idea that women have little to say. While at the time other female writers were exploring their emancipation, Gordon retreated to the consistent confines of male-dominated tradition and created fiction embodying her conservative philosophy. This thesis will examine five pieces of her short fiction, 'The Petrified Woman," "Tom Rivers," "One More Day," "The Brilliant Leaves," and "The Presence," to explore gender relationships and how Gordon's background and personal beliefs impacted her body of work.

Partita for 8 Voices (2012) is a groundbreaking a cappella work that earned its composer, Caroline Shaw, the record of youngest recipient of the Pulitzer Prize for Music in 2013. While the work continues to receive performances from its premiere ensemble, Roomful of Teeth, no transcription of the piece to any other ensemble type existed at the beginning of this DMA project. The author sought to transcribe a piece by a living female composer with no work for band into the wind band medium. The resulting transcription, Partita for 8 Voices & Wind Ensemble, adds a new work to the repertoire of band literature that includes new, esoteric, and proprietary extended technique for wind and percussion instruments. The purposes of this DMA project are 1) to provide a brief analysis of Partita for 8 Voices, 2) to provide details of the trials, errors, and successes during the transcription process of Partita for 8 Voices & Wind Ensemble as well as recommendations for future conductors of the work, and 3) to provide anecdotal evidence of the important relationship conductors build with composer intent by embarking on a transcription process. The first chapter includes a biography of Caroline Shaw, the vocal ensemble Roomful of Teeth, and a timeline of Shaw’s compositional process regarding Partita for 8 Voices. The second chapter is a brief theoretical, timbral, and technical analysis of Partita for 8 Voices. Chapters three through seven discuss the transcriptional process and conductor’s insights for each of the four movements of Partita for 8 Voices & Wind Ensemble and general considerations. Chapter eight discusses anecdotal evidence of what conductors learn from the transcription process. An appendix of information including interviews, a graphical analysis of technical and timbral events in Partita for 8 Voices, and the full score for Partita for 8 Voices & Wind Ensemble is also provided.

Thesis (Ph. D.)--Louisiana State University, Baton Rouge, 2007. / Title from document title page.

Thesis (M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Karen Weyler; submitted to the Dept. English. Includes bibliographical references (p. 36-38 , p. 66-68).

Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808-1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. Many of these works varied in style and content, but all helped in creating an ideal identity for Caroline. In all of the works she is portrayed as a powerful woman. She is either powerful by her settings (in the drawing room, or with Vesuvius in the background), her vast knowledge in the arts and fashion, her motherhood, her sensuality, or the way in which she is positioned and how she is staring back at the viewer within the works. The creation of this identity was uniquely Caroline's, mimicking Marie de Medici, Marie Antoinette and Josephine and Napoleon Bonaparte, while adding her own tastes and agendas to the creation. Through this identity she proved herself to be as equally French as Italianate through dress and surroundings. She even created a hybrid of fashion, wedding the styles together, by adding black velvet and lace to a simple empire-waisted silhouette. Caroline proved herself as politician, mother, educated and refined woman, pioneer in fashion, and Queen through the art that she purchased and commissioned.