Thesis (Ed. D.)--Illinois State University, 1990. / Title from title page screen, viewed December 2, 2005. Dissertation Committee: Dent M. Rhodes (chair), Barbara Sherman Heyl, Phyllis J. Kozlowski, William C. Woodson. Includes bibliographical references (leaves 217-235) and abstract. Also available in print.

ABSTRACT KENNETH BURKE, MUSIC, AND RHETORIC by Joel Lane Overall, Ph.D., 2013 Department of English Texas Christian University Dissertation Director: Dr. Ann George, Professor of English Dissertation Committee: Dr. Joddy Murray, Associate Professor of English Dr. Carrie Leverenz, Associate Professor of English Dr. Gary Mabry, Associate Professor of Music My dissertation focuses on the important but largely unexplored intersection between Kenneth Burke's interest in music and his rhetorical theory. Throughout his life, Burke expressed a deep interest in reviewing, writing, and playing a variety of musical genres, and my examination focuses primarily on music reviews Burke wrote for The Nation in the 1930s, correspondence he kept with friend and musical composer Louis Calabro in 1961, and music journals and compositions Burke wrote throughout his life. Based on my analysis of these artifacts, my dissertation a) shows how Burke's interest in music substantially influenced his rhetorical ideas; b) reveals a Burkean theory of multimodality through the incorporation of recent multimodal scholars such as Kristie Fleckenstein and Richard Lanham; c) understands Burke's view on nonlinguistic language by aligning him with language theorists such as Susanne Langer and Ernst Cassirer; and finally, d) shows how Burke himself employed rhetorical principles in his musical and multimodal works. In Chapter one, I outline my project, which employs a rhetorical history methodology. This methodology allows me not only to examine historical approaches to multimodality but also to argue for its value in current approaches. Drawing on four of Kenneth Burke's music reviews in The Nation, I argue in Chapter two that the shifting music scene of the 1930s heavily influenced Burke's development of the key concept "secular conversion" in Permanence and Change. In Chapter three, I focus on Burke's later Nation reviews to recreate the important socio-political role music was serving in Burke's rhetorical theory as WW II approached. Chapter four more fully examines Burke's views on music as a symbol system through his 1961 correspondence with Bennington colleague and music composer Louis Calabro. In the final chapter, I shift from examining Burke as a music critic and language theorist to examining Burke the musician and multimodal composer. Burke's musical compositions reveal an enactment his rhetorical theory in a nonlinguistic symbolic system.

This work examines the entrée of American oil companies in the Persian Gulf in the late 1920s and early 1930s up to the formation of OPEC in 1960 and finds the present U.S. entanglement in the Middle East related to those first three decades of American oil exploitation. As American oil companies aligned with the British and their colonial history and the U.S. government and its increasingly hegemonic and pro-Israeli foreign policy, the industry came to represent a new American imperialism, which intensified anti-Western sentiment in the twentieth century. With the formation of OPEC and nationalization, oil-producing states gained control over the production and pricing of crude; however, those states assumed ownership of an industry that dominated their domestic economies and only functioned within the Western system. While oil provided regional leaders with economic and political power, it also linked them to the West and made them servants of oil.

The abortion debate in the United States today is considered, with a particular focus on the use of rights language. The methodology of interpretation is dimensional anthropology rhetorical criticism, an approach developed by the author, which focuses on nature, divine transcendence, society, and individuality as the key dimensions within which rhetorical arguments are made regarding abortion. The first part of the thesis demonstrates that the use of rights language in the abortion debate (and in Western culture more generally) is in disarray. The second part of the thesis argues that: (1) rights language is always rhetorical, (2) dimensional anthropology enables us to understand better why different people use rights language in the way that they do, (3) René Girard`s account of the historical roots of rights language in the West is important to consider, (4) the pro-choice position can be criticized from the pro-life perspective as a failure to maintain balance within the dimensions.

This dissertation examines the late-eighteenth and early nineteenth century issue of British impressment of American seamen. It evaluates the degree to which British insistence on the right to impress negatively impacted the American national psyche. It also highlights the disparity between the public sentiment and sympathy for those sailors impressed, and the paucity of practical and financial assistance given to those who suffered the hardship. By focusing on the experience from the perspective of the impressed mariners themselves, this project illustrates the devastating personal hardships that the practice had on this humble section of American history.

Between 1865 and 1945, a number of prominent marriages united American heiresses and members of the British aristocracy. Through the lives of Lady Jennie Jerome Churchill, Duchess Consuelo Vanderbilt Balsan, and Lady Nancy Astor, this dissertation analyzes the lives and marriages of American-born, British-wed women within the context of diplomatic service and the Anglo-American rapprochement as they demonstrated a keen ability to de-masculinize the traditionally male world of diplomacy. These women surprised their familiesboth British and Americanand often themselvesas they exhibited an extraordinary degree of agency in a period that clearly placed women outside the boundaries of politics and diplomacy. Their positions as the wives of leading members of the British aristocracy provided them with unprecedented access to the eyes and ears of individuals at the highest level in Great Britain, the very decision-makers who formulated and implemented foreign policy with their home country. During the period under consideration, Americans and Britons began to view one another less as adversaries and more as allies. Through their marriages, these women skillfully and successfully blurred the lines of public politics and private lives in a period that did not afford women the right to vote. Without formal educations in politics or foreign policy, without the title or staff provided to a diplomat or ambassador, these women created an unprecedented degree of agency within a world that would have undeniably recoiled at the idea of a female diplomat or politician. Collectively and individually, these women informal ambassadors who worked to improve relations at the turn of the twentieth century and served an important role in terms of influencing foreign relations as the United States and Britain moved toward the special relationship.

Although the Butterfield Overland Mail operated in Texas for just thirty months, during that time it influenced and intersected much of the states history. In West Texas especially, Butterfield, in conjunction with the U.S. Army, helped develop the regions initial infrastructure and economy. In Texas, the Army spent four dollars for every one dollar expended by Butterfield. The Overland Mail Company, however, made a greater economic imprint on some parts of West Texas than the army. Between the Colorado and Pecos rivers lay the heart of the Butterfield frontier. Here the Overland Mail Company proved the primary economic force, building, supplying, and defending its remote stations with little to no support from the military. Along this frontier, Butterfield, not the army, built the regions infrastructure and primed its economic pump. For those living on the Texas frontier, the postmaster generals establishment of a transcontinental mail line between St. Louis and San Francisco and the U.S. Armys outposts offered the real prospect of making money from the federal government and related agencies. Neither the overland mail service nor the military forts could survive without regular supplies and services. The federal frontier economy was a powerful magnet that pulled people to the western frontier. Many migrated westward to get a fresh start in life. Some came to fulfill their dreams and aspirations, and perhaps get rich off of the burgeoning frontier economy. While a few of the regions inhabitants became wealthy, others lost everything they had. Some even lost their lives. The overland frontier in Texas is best seen as a series of fluid, multiple frontiers rather than one monolithic, linear, Old West frontier common to a number of previous interpretations. Woven into the narrative is a hybrid of different perspectives and interpretations of West Texas. This work combines environmental history, economic history, and ethnohistory to obtain a more complete understanding of the region, its people, and its stories. Antebellum West Texas was a series of meeting places, zones of convergence, and encounters.

Although racial violence took place across the state of Texas and the South, throughout the late nineteenth and early twentieth century, the situation that developed in Corsicana was unique in itself. In no other Texas city did so many volatile situations coexist simultaneously. Not only did Navarro County represent the old antebellum South, through its agricultural community, it also represented the new Progressive Era with its advancements and modernizations. Adding to this volatile mix was the prosperous new Texas petroleum industry. It was in this unstable condition that the young African American man John Henderson met a horrible death at the hands of an enraged lynch mob.

While many studies place masculinity and whiteness in Modernist contexts, and other studies isolate the function of apocalypse in Modernism, "American Apocalypse" is the first study to understand how literary Modernism, American whiteness, and apocalypse function together to reinscribe American racial hierarchies in interwar American literature. By intersecting the fields of Modernism, whiteness, masculinity, Biblical studies, and adaptation theory, my dissertation argues how writers and visual artists contrive normative American whiteness through the use of the apocalyptic motif and its literary equivalent, epiphany. In religion and in literature, apocalypse seeks to reveal a hidden, more powerful reality, and I argue how Modernist writers adapt the apocalypse to define whiteness in an increasingly multi-racial America. What makes American whiteness especially normative and powerful is its organicism--its ability to mask itself as an element of the demi-monde in order to assert itself more powerfully in literary epiphanies. I survey Modernist American literature and various visual adaptations to show how writers apocalyptically inscribe whiteness with its properties of universality and masculinity. <bold>Chapter 1</bold> explores the dialectic of American whiteness and apocalyptic themes of hiddenness and revelation conjured by the brief allusions in F. Scott Fitzgerald's short story "The Offshore Pirate" to Anatole France's <italic>The Revolt of the Angels</italic>. <bold>Chapter 2</bold> turns to the contrast of Biblical apocalyptic motifs in the American rural and urban narratives of Zora Neal Hurston's <italic>Their Eyes Were Watching God</italic>, John Steinbeck's <italic>The Grapes of Wrath</italic>, and John Dos Passos's <italic>Manhattan Transfer</italic>. <bold>Chapter 3</bold> explores the apocalyptic relationship of American white masculinity and American place in Zane Grey's <italic>The Vanishing American</italic>, F. Scott Fitzgerald's <italic>The Great Gatsby</italic>, and George S. Schuyler's <italic>Black No More</italic>. <bold>Chapter 4</bold> isolates the roles of irony and parody in constructions of American whiteness in Sherwood Anderson's <italic>Dark Laughter</italic>, William Faulkner's <italic>Mosquitoes</italic>, and Ernest Hemingway's <italic>The Torrents of Spring</italic>. I end the dissertation with a brief analysis of Humphrey Bogart's role as Frank Taylor in the anti-nativist film <italic>Black Legion</italic> and Santa Claus in John Henrik Clarke's "Santa Claus is a White Man" to show ultimately how the American process of becoming raced is inseparable from apocalyptic discourse.

This research offers a new approach to the history of criminology in Peru. It focuses on the different ways Peruvian criminologists imagined crime, criminals, and themselves from 1890 to 1934. I argue that criminological texts are spaces were Peruvian intellectuals expressed academic curiosity, moral sensitivity, and personal interest. The way criminologists imagined criminals and themselves reflected the urban, demographic, political, and socio-economic transformations in Lima. They also reflected the process of professionalization developed throughout the nineteenth century. Through their studies, criminologists contributed to the elite's project of modernization by criminalizing people that did not match their exclusive concept of order and progress. They also used the criminological discourse to link the country to broader processes in which increasing criminality resulted from modernity. Thus, Peruvian criminologists interpreted criminality not only as a threat but also as a sign of progress.