Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2006. / Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2211. Advisers: Anya P. Royce; Eduardo Brondizio. "Title from dissertation home page (viewed June 21, 2007)."

This thesis will re-evaluate the Chartist movement through research into day-to-day practice in four areas: sociability, material networks, gender and political subjectivity. It will demonstrate that Chartism's activism and the everyday lives of its members were indistinct. In the early years of the movement and the years preceding it, activism and political thought engaged with the quotidian to successfully build a movement that was not only relevant to but an integral part of people's everyday lives. This thesis will analyse how this interaction was not limited to Chartist activists politicising everyday grievances, but also how day-to-day practices and relationships contributed to the infrastructure, intellectual culture and political programme of the movement. This thesis will make original contributions to a number of debates. It challenges the dominant view of Chartism as first and foremost a political movement distinct from its social conditions. It will be argued that this dichotomy between the political and the social cannot be sustained, and it will be shown that activists were most successful when they drew from and were part of society. It will criticise the related trend in studies of Chartism and Radicalism to focus on political identity, meaning and forms of communication. It will argue that these topics are valuable, but need to be seen within a wider existential framework and integrated with an approach that sees cultural activity as one part of a range of activities. As such, it will illustrate the ways that cultural practices are bound with social relationships. Following this, it will make the case for practice to be looked at not just in symbolic or ritualistic terms but also in terms of day-to-day activities that were crucial for the development and maintenance of political movements. It will be argued that prosaic, mundane and day-to-day activities are integral aspects of social movements and as such are worthwhile areas of research. Finally, it will add to our understanding of Chartism by providing biographical information on Henry Vincent, an under-researched figure, and the south west and west of England, under-researched regions. This thesis is organised into two parts. The first will follow the work of activists in developing Chartism in the south west of England from the end of the Swing Riots until the Chartist Convention of 1839. Here it will be argued that Chartism relied upon a close and intensive interaction between activists and the communities they were politicising, with the result being that the movement was coloured by the politics, intellectual culture and practices of those communities. The second section will look at how the private lives and social networks of individual activists were integral to their political ideas, rhetoric and capacity to work as activists. Correspondence, documents produced by the state, the radical press and the internal records of the Chartist movement all shed light on the way everyday life and political thought and action merged.

This dissertation analyzes the expansion of narrative journalism and the institutional change in the American newspaper industry in the last quarter of the 20th century. In doing so, it offers the first institutionally-situated history of narrative journalism’s evolution from the New Journalism of the 1960s to longform literary journalism in the 1990s. This analysis shows that the New Journalism, contrary to popular beliefs, did indeed have a significant impact on daily news production in American newspapers. Yet, this study also demonstrates that the evolution of narrative techniques in late twentieth century American journalism was more nuanced, more purposeful and more institutionally based than the New Journalism myth suggests. When editors and journalists adapted narrative journalism in daily newspaper between the 1960s and the early 2000s, they responded to a variety of cultural and institutional influences and then developed a narrative news logic to mediate and channel these influences. Eventually, narrative journalism took shape as a distinct “cultural form of news,” adding a novel way of reporting and writing the news in daily newspapers. This dissertation examines how narrative innovations took hold in American newspapers and how in turn the production logic of newspapers affected narrative conventions. Relying on archival research, oral history interviews and textual analysis, this study traces and analyzes the emergence of narrative journalism in American newspapers between the 1960s and the 1990s. A combination of individual efforts and institutional initiatives changed newsroom cultures, fostered an interpretive community and created rituals, establishing an alternative way of reporting and writing the news in American newspapers. This work offers a nuanced description of how a new set of institutions, norms, processes, and actors emerged in journalism and how this novel news regime shaped the attitudes and practices of media producers and consumers in the late 20th century.

This study examines the critical prose written by William Butler Yeats in the period 1896-1903, and identifies the evolution within it of a mode of literary history. I concentrate on Ideas of Good and Evil, and on the selected edition Poems of Spenser. The introduction examines notions of golden ages and of original fracture, and the insertion of these tropes into a variety of literary histories. I consider some of the aims and problems of literary history as a genre, and the peculiar solutions offered by Yeats's approaches. I give particular attention to Yeats's alternation between two views of poetry: as evading time, and as forming the significant history of nations. The first chapter examines those essays in Ideas of Good and Evil written earliest. I consider the essays on Blake first, because Blake was the most significant influence on the writing of Yeats's idiosyncratic literary histories. I proceed to the essays on Shelley, on a new age of imaginative community, and on magic. The second chapter demonstrates how Yeats's ideals and ideas became modified in more practical considerations of audience, poetic rhythm and theatrical convention, and I identify the new kinds of literary history in the essays on Morris and Shakespeare, which are concerned with fracture, limitation and the loss of unmediated access to timeless imaginative resources. The third chapter briefly examines Yeats's very early imitations of Edmund Spenser, and then considers the uses of literary history in Yeats's edition of Spenser. The final chapter identifies Yeats's later returns to Spenser, and shows how the earlier modes of literary history governed subsequent adaptations. My conclusion summarises the advantages and limitations of Yeatsian literary history, and place my study into the context of Yeats's whole career, comparing these literary histories with A Vision

This thesis investigates the changing cinematic representations of a particular figure in horror culture: the Zombie. Current critical perspectives on the figure of the Zombie have yet to establish literary and cultural antecedents to the cinematic portrayal of the Zombie, preferring to position it as a mere product of American horror films of the 1930s. This study critiques this standpoint, arguing that global uses of the Zombie in differing media indicate a symbolic figure attuned to changing cultural contexts. The thesis therefore combines cultural and historical analysis with close textual readings of visual and written sources, paying close attention to the changing contexts of global film production and distribution. In order to present the cinematic Zombie as a product of historical, geographical and cultural shifts in horror film production, the thesis begins by critiquing existing accounts of Zombie film, drawing attention to the notion of generic canons of film as determined by both popular and academic film critics and draws attention to the fractured nature of genre as a method of positioning and critiquing film texts. In this, an interdisciplinary approach, drawing on the methods of cultural-historical and psycho-analytical critiques of horror film, is appraised and then applied to the texts under discussion. The first chapter positions a working thematic and visual deconstruction of the Zombie as an embodiment of the abject, positioning it as a result of changing cultural discussions in fiction on the nature of death and burial. This establishes a thematic framework to apply throughout the following chapters, noting alterations to representations. The second chapter offers a historicised account of appearances of the fictional Zombie before American cinematic productions of the 1930s, critiquing claims that this is the only original production context for the Zombie. The third chapter charts the changing production contexts of American Zombie film until the mid 1960s, to introduce the critiques of authorial importance placed upon the works of George A. Romero, which are discussed in Chapter 4. This critique in turn questions established notions of generic canon and international influence, which are discussed in Chapters 5 and 6. These chapters question the idea of American filmic product dominance in national contexts, charting the discussions of the Zombie body found in differing national cinemas. It is shown that dialogues of representation can be both nationally specific and meant for global audiences, brought about by the changing production and exhibition markets of the 1970s onwards. This in turn challenges the idea that the American model is the dominant representation in the contemporary Zombie film, discussed in Chapter 7. The thesis therefore charts three separate areas for discussion, that of historical, cultural and production contexts that can be held accountable for changing cinematic representations. Particular attention is placed on the thematic and visual use of the Zombie within differing media and firmly position cinematic representations as indicative of wider changes in popular media and their intended audiences. The thesis therefore offers a detailed historical and cultural taxonomy of Zombie film, furthering previous studies, but also presents a more detailed exploration of cultural contexts than previous critics have attempted.

Focusing on interactions between Britain and the US in the field of popular song, this thesis explores the constitutive relationship between discourse, performance, and identity via critical and postcolonial theory. I interrogate how and why nostalgic and essentialising visions of alterity were used to resist mass consumption, global capitalism, and the changes wrought by modernity during the twentieth century. I argue that folk music does not exist outside the discourse of revivalism and is therefore best seen as an institutionalised system of knowledge animating the 'low Other'. Chapter 1, '"Dancing Puppets": Nationalism, Social Darwinism, and the Transatlantic Invention of Folksong', uncovers moments of mediation between 'primitive' cultures and metropolitan elites during the early twentieth century. Employing the idea of gatekeeping, I critique a genealogy of powerful voices including Cecil J. Sharp and John A. Lomax alongside others who persistently challenged their orthodoxies. Chapter 2, '"His Rough, Stubborn Muse": Industrial Balladry, Class, and the Politics of Realism', investigates Marxist visions of working-class culture, showing how ideas of rural authenticity were translated onto urban contexts. Focusing on the BBC 'radio ballads', I argue that industrial folksong was a form of social realism intended as a gendered bulwark against threats posed by Americanisation and postwar affluence. Chapter 3, '"Found True and Unspoiled": Blues, Performance, and the Mythology of Racial Display', explores African American culture, showing how desires written into a revivalist gaze forced artists to assume what I term 'black masks' for the benefit of white male fantasy. Focusing on televised performances, I argue that the semiotics of blues events provide a way of understanding the workings of racial identity itself. I conclude by proposing that what I term the 'folkloric imagination' is a simulacrum brought into existence by ideological fantasy - a manifestation of the colonialist Real.

This thesis examines how the remembrance of deportation from France during the Second World War impacted the creation of two memorials in Paris in the postwar years. The two memorials, located just over 500 meters apart in the center of Paris and inaugurated within seven years of one another, physically embody each of these narratives. The Tomb of the Unknown Jewish Martyr, created by the Contemporary Jewish Documentation Center (CDJC) in 1956, represents the narrative of Jewish persecution and genocide throughout Europe during the Second World War. Expanded in 2005, the Tomb is now known as the Shoah Memorial and is an internationally recognized research center. The Memorial of Deportation, created by the Réseau du Souvenir in 1962, exemplifies the narrative of French deportees; typically made up of resisters and political enemies of the Vichy regime, and represents French universalism – downplaying the difference in victim identity. This thesis observes how the deportee narratives aligns with the postwar Resistance myth – which sought to unify the nations after war, defeat, occupation, and near civil war by papering over French culpability – influenced the memorialization of the deportee experience as well as how memorialization changed over time. It argues that the Memorial of Deportation maintained a national narrative, focusing on French victims regardless of the political or religious beliefs, wanting to highlight universal French victimhood, while the other, the Tomb of the Unknown Jewish Martyr, sought to commemorate the millions of Jews persecuted and targeted for destruction despite the canonization of the myth as history in France and fought to hold France responsible for its role in the genocide.

The valley and region in which Murray is located was well known to the trappers and exploreres before the Mormon Pioneers entered the area. The Escalante expedition visited the general area as early as September of 1776, and left a description of Utah Valley and its inhabitants. While in the Utah Valley, the Indians gave the Spaniards information about the valley to the north and the lake there.Come fifty years later, the region became well known to the fur trappers of the great fur companies. Peter Skene Ogden, Jedediah Smith, and Provost with their companies of men traversed the region and became well acquainted with it. After the arrival of the first trappers, the area was often visited by white men, either trapping or exploring.With the Mormons entering the valley, came the settlers who were to make the first settlement at South Cottonwood. Green Flake, a member of the first party of pioneers is reported to have built a house for James Flake in the area where the Mississippi Saints settled in 1848. This area became known as the Amasa Lyman Survey and was the nucleus from which the South Cottonwood ard grew.

The establishment of Zion has been a goal of interest to every dispensation. The building of temples and participation in temple ordinances has likewise been a practice of many generations throughout history. In the present dispensation, Joseph Smith declared the need to construct temples in connection with the building of a Latter-day Zion.The purpose of this study has been to discover a correlation between temple activity and the development of the Church membership in their preparation for the establishment of Zion. It has been concluded that the temples do perform a very significant role in the development of the Latter-day Saints as a zion-people prior to their establishment of a zion-place.

This project uses cartoons to examine a period in Spanish history when the forces of a developing Spanish national identity met with the challenges of war and decolonization. I argue that fear of an uncertain future combined with the disaster of a collapsing empire were projected onto the images of the enemy and are preserved in the many editorial cartoons of the age. By deconstructing the iconology in these cartoons, and by exploring the dialectic of otherness present in these images, I reconstruct the turn-of-the-century Spanish identity that emerged during a period of rapid transition.