<p>This dissertation contributes to Indigenous archaeology, particularly along the Northwest Coast, the Coast Salish region and the territory of the Squamish Nation. I examine the regional archaeological sequence and provide an Indigenous perspective of time and space of Squamish Nation territory. Closer examination of this region’s archaeological record focuses on the occurrence of suitable igneous tool stone sources and their use over the past 10,000 years. A full understanding of these lithic sources comes from three different perspectives Squamish Nation culture, the archaeological and geological records.</p> <p>I propose that lithic sources are important places of the Squamish Nation cultural landscape and that the distributions of certain material types is linked to Squamish Nation place names and oral histories. Expanding this concept outward, I consider the distribution of the occurrence of these materials from 25 archaeological sites ranging from sea level ocean shore to mountainous alpine contexts. I then examine lithic source materials and artifacts from these sites on a visual and chemical basis (X-Ray Fluorescence) to illustrate the varying importance of certain lithic materials across Squamish Nation territory. Resulting analysis demonstrates that these materials have varying spatial and temporal distributions that relate to predominant themes of Squamish Nation oral history, concepts of Transformation and Mythical Beings. Material distributions, place names, oral history related to the region’s archaeological record are discussed under different theoretical frameworks of the Northwest Coast building from culture history, processual, post processual, and humanist perspectives cumulating at a Indigenous perspective of lithic sources and flaked stone artifact distributions.</p> / Doctor of Philosophy (PhD)

<p>**missing pages 115-117</p> / Doctor of Philosophy (PhD)

By the mid-1950s leisure travel became both a new arena in the civil rights movement as well as a tactic in that struggle. Middle class African Americans felt their travel (both domestic and international) constituted both a critique of race relations at home and a realization of their rights as citizens. Alongside this development, I argue, was the proliferation of black travel columns and travel ads that simultaneously upheld the Caribbean as a model of racial progressivism while reinforcing its status as an exotic location dedicated to the pleasure of American tourists. By 1960 this ostensibly apolitical movement became politicized when ex-boxer Joe Louis met resistance from the mainstream press after promoting Fidel Castro's Cuba as a black American playground. In this second section I argue that the scandal surrounding Louis' PR campaign was revelatory of white unease regarding the transnational racial/political connections being forged between a selection of African Americans and Castro, thus constituting the story as yet another episode in the entangled development of the Cold War and the civil rights movement. / History

This dissertation investigates the mediation of art on Swedish television during the 1950s and 1960s. The aim is to examine how the new medium of television was put to use in the dissemination and promotion of contemporary and modernist art during this time. The primary research question concerns the significance and consequences of television as a media form for the practices of art popularization and art education. The introduction of the new medium coincided with the post-war emergence of the welfare state and ambitions of governmental and non-governmental organizations and initiatives to make modern art an integral part of modern society. This dissertation investigates the role and significance of television in these endeavours from the point of view of Sveriges Radio/TV, by focusing on the actors involved as well as the form and content of arts programming at the time. The study makes use of mediatization theory and the concept of remediation, in order to capture and analyse the dynamics as well as the conflicts between television and art at the time. The study uses the method of media-specific genre analysis, inspired by cultural theory, asserting that arts programming is a cultural category made up of practices and processes and interwoven with ideological structures and power relationships. The dissertation is divided into three chapters investigating different aspects of the phenomenon of art on TV during the specific historical period.  The dissertation shows how the 1950s and 1960s witnessed great hopes for television as a way of disseminating art and educating the public on matters of art, aspirations closely connected to notions of art distribution as a way to achieve cultural democratization. First and foremost, however, the close study of the practices of arts programming shows how the relationship between television and art at the time was also characterized by problems and conflict. Using the terminology of mediatization theory, it is possible to speak of conflicts between distinct logics. These conflicts can further be understood on several levels, adhering to the twin logics of remediation: transparent immediacy and hypermediacy. The actors involved all shared a view of television as the great medium of the future when it came to disseminating and promoting art to the wider public. However, they also shared notions of television’s limitations when it came to the matter of ”doing justice” to a work of art when broadcast. This was first and foremost considered to be purely a matter of technical limitations, such as the lack of colour and the small screen size. It is however also evident that the actors’ view of their task and that of the medium with regard to arts programming, to represent works of art to the viewers as honestly as possible, delimited the form and content of shows and programming. On another level, the conflict between art and television was a matter of art’s supposedly critical and societal value. According to the actors, art was considered something other than regular programming, in the sense that art constituted different ways of seeing and perceiving the world. The function and importance of arts programming, then, was considered to be in the ways it differed from regular programming, making possible to educate the TV-viewing public in critical thinking towards the manipulation of media as well as providing ways of developing the form and aesthetics of the television medium.

The settlement history of the Vredefort Dome can be described as a process of cultural development. The Vaal River hydrosphere, which was for many years a prestigious settlement site, initially attracted large scale game and later livestock farmers. The drifts were a central part of a network of early strategic communication routes and outspans. From 1838, pioneer settlement, farm occupation and agricultural development followed, and the area eventually entered an agriculture-mining era. Gold-mining stimulated the regional economy and also played a significant role in the development of towns in the area. The Vaal River did not play a significant role from a mining perspective, but featured more prominently in the development of villages and, in a sense, served as a political boundary. The location of the water source often determined where people settled permanently. It also decided the position of the house and yard. From the outset, riparian dwellers attempted to manipulate the flow of the river by creating dams and utilising water for irrigation and domestic purposes. Drought conditions also left historical traces; water management projects upstream transformed the Vaal River into a steadily flowing stream, which led to the economic and cultural segregation of north and south. Man's fear associated with drought (too little water), floods (too much water), meteorology (the necessity of water), and the role of the supernatural (divining water) and superstition (the water snake stories) were expressed in the interaction between people and this water environment. A wide variety of people with distinct cultures lived alongside each other in the area. Western and African cultural goods, as well as customs and beliefs, were mutually adopted by these different cultural groups as a result of this contact. The way land has been used in the Dome area has evolved over the years. The culling of game made way for the permanent establishment of the livestocktravelling farmer. Hereafter prolonged drought conditions destroyed pastures and, consequently, large areas of land were ploughed for agricultural use. Agriculture, which is more labour intensive and needs more water for irrigation, was replaced by game farming, which is less labour intensive and requires less water This world heritage site has drawn global interest and ecotourism has attracted visitors to the Vaal River area. The riparian dwellers, however, remain victims of up-stream industrial and sewage pollution; in future, they are likely to fall prey to acid mine water pollution, with disastrous consequences. / PhD (History), North-West University, Vaal Triangle Campus, 2013

The excavation of the Sanctuary of Poseidon at Kalaureia in 1894 marks the beginning of Swedish archaeological fieldwork in Greece. During a couple of hot summer months, two philologists from Uppsala University, Sam Wide (1861-1918) and Lennart Kjellberg (1857-1936), worked in the sanctuary together with the architect Sven Kristenson (1858-1937), the Greek foreman Pankalos and around twenty local workmen. In 1997, the Swedish Institute at Athens began new excavations at the sanctuary. This thesis examines the beginnings of Swedish fieldwork in Greece. Within the framework of a cultural history of archaeology, inspired by archaeological ethnography and the New Cultural History, it explores how archaeology functioned as a cultural practice in the late nineteenth century. A micro-historical methodology makes use of a wide array of different source material connected to the excavation of 1894, its prelude and aftermath. The thesis takes the theoretical position that the premises for archaeological knowledge production are outcomes of contemporary power structures and cultural politics. Through an analysis of how the archaeologists constructed their self-images through a set of idealized stereotypes of bourgeois masculinity, academic politics of belonging is highlighted. The politics of belonging existed also on a national level, where the Swedish archaeologists entered into a competition with other foreign actors to claim heritage sites in Greece. The idealization of classical Greece as a birthplace of Western values, in combination with contemporary colonial and racist cultural frameworks in Europe, created particular gazes through which the modern country was appropriated and judged. These factors all shaped the practices through which archaeological knowledge was created at Kalaureia. Some excavations tend to have extensive afterlives through the production of histories of archaeology. Therefore, this thesis also explores the representations of the 1894 excavation in the historiography of Swedish classical archaeology. It highlights the strategies by which the excavation at Kalaureia has served to legitimize further Swedish engagements in Greek archaeology, and explores the way in which historiography shapes our professional identities.

Rwanda is a small resource poor country in East Africa that has experienced almost two decades’ worth of significant growth following a genocide that claimed almost 10% of the country’s population. This paper explores the role of positive autonomy in the countries path to development hoping to demonstrate that countries that are ready to pursue independent policy initiatives ought to be encouraged to do so by their international partners. Positive autonomy has three defining characteristics; the ability of a country to pursue its own internally driven policy choices, especially in the face of external opposition but not necessarily in the face of opposition, “ownership” of a community over policy developments that affect them, i.e. their involvement in the administration of policy, and lastly, the ability of a country to reject policy propositions from the outside. Negative autonomy would be a lack of two or more of those conditions. Using this model, I seek to show that these three characteristics have been pursued by Rwanda as a result of its pre-genocide history. I also seek to show that these three characteristics have played a vital role in the development of Rwanda by allowing the government to pursue innovative strategies outside of international norms. To demonstrate this conclusion, I first look to the pre and post-colonial histories of Rwanda in order to examine the role of negative autonomy, seeking to build a case that demonstrates its lasting impact in Rwanda’s political character. I then examine an extreme case of negative autonomy in the case of the CFA monetary union followed by an extended examination of a clear case of positive autonomy in Rwanda and the benefits and failures it has produced. I then briefly examine the relationship between development aid and influence also demonstrating that Rwanda’s position on development aid mirrors its position on positive autonomy in general. Finally, I briefly examine three different examples of positive autonomy in Rwanda as a supplement to the extended example to demonstrate that some of the biggest policy initiatives undertaken by the Rwandan government are either the result of positive autonomy, are successful because of positive autonomy or can be drastically improved by a better implementation of positive autonomy. I hope that this research can be seen as a fresh lens for examining the relationship between weak and powerful states to validate the position that more autonomy for weaker states in their decision-making processes can produce much more successful results in their development drives.

Do inventions that exist only on paper have less credibility than functional technologies? How has the meaning and significance of audiovisual media and technology changed over time? This dissertation examines historiography and methodology for media history, arguing for an interdisciplinary approach. It addresses methodological issues in media history—media in transition, media archaeology, and film history—through an examination of television’s speculative era. It tackles moving-image history through an historical investigation of Victorian and Machine age “television”. Because the concept and terminology of “television” changed dramatically during this period, I use the phrases “distant electric vision” and “seeing by electricity,” to define the concept of electric and electronic moving-image technology. By identifying manifestations of “television” before functional models existed, this dissertation examines the ways in which a modern concept of moving-image technology came into existence. Engineers and inventors, as well as audiences and journalists contributed to the construction of “television.” Newspaper announcements, editorial columns, letters to the editor, rumors and satires circulated. Victorian-era readers, writers and inventors pictured “seeing by electricity” to do for the eye what the telephone had done for the ear, bringing people closer together though separated by great distances. In contrast, early twentieth-century Machine-age engineers placed more emphasis on systems, communication, design, and picture quality. Developments in the 1920s with complex systems and electronics made “distant electric vision” a reality. This dissertation identifies several shifts that took place during television’s speculative era from the Victorian “annihilation of space” to Machine-Age systems engineering. Journalists, readers, and engineers all play a part in the rhetoric of innovation. From the Victorian era to the Machine age, the educational function of popular science and the role of audiences in constructing meaning and value for new technologies remain relatively consistent. I offer several case studies, including Thomas Edison’s inventions, illuminating engineering, and Bell Labs experiments with television. This dissertation argues that modern television design relies on the ability of the technology to make an unnatural experience seem as effortless as possible. Ultimately, it advocates for an expanded definition of media and technology, along with an historical emphasis on context.

Margaret Haughery (1813-1882), a widowed, illiterate Irish immigrant who became known as “the Bread Woman” of New Orleans and the “Angel of the Delta” had grossed over $40,000 by the time of her death. She owned and ran a dairy farm and nationally-known bakery, donated to orphanages, leased property, owned slaves, joined with business partners and brought lawsuits. Although Haughery accomplished much in her life, she is commonly remembered only for her benevolent work with orphans and the poor. In 1884, a statue of her, posed with orphans, was erected by the city’s elite, one of the earliest statues of a woman in the nation. This thesis argues that it was Haughery’s willingness to engage in the mundane business practices of the day, including slaveholding, that made her veneration as a benefactress possible. Using acts of sale, property records, wills, newspaper articles, advertisements, and representations of Haughery, this thesis explores the life behind the image of the “Bread Woman.”

It is very important to protect buildings against fire. Especially older wooden buildings and areas with a historically important heritage, i.e. areas that cannot be restored to their original condition upon loss. In Eskilstuna one such area is located - Rademachersmedjorna. On behalf of Eskilstuna Kommunfastigheter AB a documentation of Rademachersmedjorna’s constructional fire protection has been conducted in this report in order to have the area's fire protection level documented. The purpose of this study has been, via systematic field studies, to provide an overview of Rademachersmedjorna and document the area’s current fire protection level. Based on this information, a visualization of the area's constructional fire protection and risk zones has been developed to give a simple overview for users, managers and owners. The inventory can be used by Eskilstuna Kommunfastigheter AB for a quick and easy visualization of Rademachersmedjorna’s fire protection level and risk zones. Furthermore, this information could be used as a basis for planning future safety prevention efforts. The documentation over the area is based on the assessment method Bedömning av brandskydd i kulturbebyggelse (hereafter referred to as BSV-k) and the parts this method includes. There are a total of 16 buildings at the Rademacher area and only one building achieved an acceptable fire protection level according to BSV-k. There are several zones in the area that pose a higher risk for the occurrence of fire and fire spread. These higher vulnerable fire hazard zones are spread out over Rademachersmedjorna which means that the whole area quickly can get involved in case of fire. In this context it is important to avoid fire what so ever may arise. Removing combustible material in escape routes, in attics and combustible materials nearby the buildings are some fire prevention measures which can be applied. It is also important to note objects such as bins and wooden planks that exist between the buildings being potential fire carriers. In cases where the buildings distance to a nearby located building is very short, the potential fire carriers pose little threat as the fire can spread directly from building to building. To achieve an acceptable level of fire protection for Rademachersmedjorna - according to this study's assessment method - is sufficient in many cases to apply fire prevention.