Thesis advisor: Paul Christensen / Contemporary public perceptions of nationalism see the concept as a toxic ideology of isolationist politicians. In contrast, through an analysis of work produced by public servants whose identities are tied more closely with those of artists than politicians, this thesis shifts focus to nationalist sentiments built around inclusivity. Using poems of Ilia Chavchavadze and Thomas Davis, this text serves as a comparative overview of nation-building strategies within Georgia and Ireland. The importance of land, myths, heroic characters, motherly figures, and calls to self-sacrifice are present in poems of both nations, uniting them in the struggle against colonial oppression and offering a common formula for creating a national identity. / Thesis (BA) — Boston College, 2019-05. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: International Studies.

The 1920s land boom in Florida produced a wide variety of characters. Among the most important, but lesser known, of those was David Paul Davis. Davis was born in November 1885 in Green Cove Springs, Florida. His family moved to Tampa in 1895, where he attended school and held a number of different jobs. He left Tampa in 1908 and reappeared in Jacksonville in 1915. That same year, in Jacksonville, he married Marjorie H. Merritt. The young couple moved to Miami in 1920, where Davis began to sell real estate. He became quite adept, developing a number of subdivisions in the Buena Vista section of the city. He made a considerable fortune in Miami, but lost his wife, who died while giving birth to their second child. Davis moved back to Tampa in 1924 and began work on the largest development on Florida's west coast. That development, Davis Islands, made him wildly rich and nationally famous. He followed up Davis Islands with Davis Shores, a subdivision in St. Augustine that Davis envisioned as being twice the size of Davis Islands. The Florida land boom collapsed before Davis could complete Davis Shores. In an attempt to keep the St. Augustine project afloat, Davis sold his Tampa development in August 1926. The effort was in vain and Davis slipped further into debt. He died under mysterious circumstances while en route to Europe aboard a luxury liner on October 12, 1926.

Title from PDF of title page. / Document formatted into pages; contains 89 pages. / Thesis (M.A.)--University of South Florida, 2003. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: The 1920s land boom in Florida produced a wide variety of characters. Among the most important, but lesser known, of those was David Paul Davis. Davis was born in November 1885 in Green Cove Springs, Florida. His family moved to Tampa in 1895, where he attended school and held a number of different jobs. He left Tampa in 1908 and reappeared in Jacksonville in 1915. That same year, in Jacksonville, he married Marjorie H. Merritt. The young couple moved to Miami in 1920, where Davis began to sell real estate. He became quite adept, developing a number of subdivisions in the Buena Vista section of the city. He made a considerable fortune in Miami, but lost his wife, who died while giving birth to their second child. Davis moved back to Tampa in 1924 and began work on the largest development on Florida's west coast. That development, Davis Islands, made him wildly rich and nationally famous. / ABSTRACT: He followed up Davis Islands with Davis Shores, a subdivision in St. Augustine that Davis envisioned as being twice the size of Davis Islands. The Florida land boom collapsed before Davis could complete Davis Shores. In an attempt to keep the St. Augustine project afloat, Davis sold his Tampa development in August 1926. The effort was in vain and Davis slipped further into debt. He died under mysterious circumstances while en route to Europe aboard a luxury liner on October 12, 1926. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

published_or_final_version / abstract / Architecture / Master / Master of Landscape Architecture

Thesis (M. Soc. Sc.)--University of Hong Kong, 1984.

Thesis (M.Soc.Sc.)--University of Hong Kong, 1984. / Also available in print.

Die vorliegende Arbeit untersucht die vermeintliche Krise staatlicher Ordnung Ende der 1960er Jahre in den USA und die Reaktionen der staatlichen Institutionen auf den Angriff durch politische Gewalt anhand einer performanz- und erzähltheoretischen Analyse von zwei Gerichtsprozessen. Beide Verfahren gegen Ikonen der Black Power-Bewegung, People vs. Huey Newton ab 1968, People vs. Angela Davis ab 1970 wurden zu einem Brennpunkt der gesamtgesellschaftlichen Debatte um Gerechtigkeit und demokratische Grundrechte. Durch eine Analyse der Interaktion aller beteiligten Akteure vor Gericht, der vorgebrachten Narrative sowohl im Gerichtsssaal als auch in der Presse, durch die Solidaritätskomittees der Angeklagten weitergetragen, ist eine performative Rekonstruktion des amerikanischen Rechtsstaates und der amerikanischen Demokratie auszumachen. Diese wurde unter Begriffen wie dem „fair trial“ und der Beziehung zwischen afroamerikanischen Bürgern und der Polizei und der Fähigkeit des Strafjustizsystems, Gerechtigkeit für alle seine Bürger zu garantieren, verhandelt. In den Prozessen wurde der inhärente Rassismus in der amerikanischen Gesellschaft als größte Hürde zwischen der bisherigen Rechtspraxis und einem solchen neu verhandelten Verständnis von Gerechtigkeit identifiziert, die als solche angenommene weiße Normalität des Justizapparats wurde sichtbar gemacht und dekonstruiert. In der performativen Neukonstruktion und -deutung der Akteure vor Gericht verschob sich dieses bisherige Machtgefälle vor allem innerhalb des Gerichtssaals, indem die Kategorien Race, Class und Gender neu zueinander in Bezug gesetzt wurden und die Angeklagten eine Selbstbehauptung als gleichwertige Rechtssubjekte im spezifischen Raum des Gerichts erlangen konnten. Zudem etablierte sich ein Juryauswahlverfahren, welches Bias explizit anerkannte. Durch diese Entwicklung wurde das narrative wie performative ‚Bedrohungsszenario‛, was zuvor von staatlichen Akteuren öffentlich konstruiert worden war, ausgehebelt; ein von staatlicher Seite angestoßener Sicherheitsdiskurs konnte sich nicht gesamtgesellschaftlich durchsetzten. / By analyzing two court cases, this dissertation examines the perceived crisis of Democracy in the late 1960s in the United States and the reactions of state institutions to the attack by political violence. Both trials against icons of the Black Power movement, People v. Huey Newton in 1968, People v. Angela Davis beginning in 1970, became a focal point of the overall social debate on justice and basic democratic rights. An analysis of the interaction of all of the protagonists involved in court, the narratives that were brought forward in the courtroom and in the press, and the defendants' solidarity committees reveal a performative reconstruction of the American rule of law and American democracy. This was negotiated under concepts such as the "fair trial" and the relationship between African-American citizens and the police and the ability of the criminal justice system to guarantee justice for all its citizens. In the trials, the inherent racism in American society was identified as the greatest obstacle between previous legal practice and such a renegotiated understanding of justice, making visible and deconstructing the white normality of the judicial system assumed as such. In the performative re-construction and reinterpretation of the actors in court, categories such race, class, and gender shifted, allowing the Defendants to achieve self-assertion as equal legal subjects. In addition, a jury selection procedure was established that explicitly recognized bias. This development undermined the narrative and performative "threat" which had previously been publicly constructed by politicians, and a security discourse initiated by the state was not able to assert itself throughout society.

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The purpose of this research is to examine how the Irish Republican Army has been represented in theatrical cinema since the 1930s. The goal is to demonstrate the necessity for historical accuracy in movies produced for public entertainment, which often neglect historical facts and circumstances in portraying an organization as controversial and complex as the IRA. This has been done by examining five movies produced for wide-distribution and comparing each to the detailed historical record. Upon analysis of these movies, it becomes clear that the films which are the most historically relevant are also the most powerful cinematic productions, both through emotional power and overall entertainment.

This monograph provides an in-depth examination of the background, musical, and performance issues related to Duke Ellington’s wordless melodies, as well as epigrammatic biographies of Ellington and three female vocalists whose voices he employed as instruments: Adelaide Hall, Kay Davis, and Alice Babs. As early as the twenties, Ellington innovatively used the voice as a wordless instrumental color—an idea he extended into both his secular and sacred works. His iconoclastic instrumentalization of the soprano voice in compositions such as “Creole Love Call”, “Minnehaha”, “Transblucency”, “On a Turquoise Cloud”, and “T.G.G.T.” merits consideration by scholars and performers alike; these artistically complex melodies offer valuable insights into Ellington’s organic and collaborative compositional process. Although Ellington’s wordless melodies for the soprano voice have fallen on the periphery of discussions on twentieth-century American music, perhaps out of sheer obscurity, the need for alternative teaching and performance materials gives rise to a host of topics for further study regarding these pieces. Assimilating Ellington’s programmatic and mood pieces for the instrumentalized soprano voice into the canon of chamber repertoire opens a new arena of scholarly and artistic endeavor for the trained singer. Therefore, central to this study are the following considerations: context, pedagogical challenges (range, tessitura, vowels, phrase length, etc.) nature of accompaniment and instrumentation, form, and the nature of Ellington’s vocal writing as it pertains to the wordless obbligato and concert works featuring the wordless voice including, “Minnehaha,” “Transblucency,” “On A Turquoise Cloud,” and “T.G.T.T.” aka “Too Good To Title.” This study evaluates Ellington’s technique of casting the wordless female voice in unique musical contexts via musical analysis, as well as pedagogical and interpretive assessments of selected Ellington pieces,. The resultant amalgam of musical identities, both instrumental and vocal, fostered creative polyphony and epitomized the coined “Ellington Effect.” The following analysis centers on a chronological survey of Ellington’s wordless melodies performed and recorded by Adelaide Hall, Kay Davis, and Alice Babs. The goal of this project is to present a study in historical context and significance, style, device, and pedagogical/performance considerations of those works that employ the flexibility, technique, and aural training of the studied singer with instrumental jazz idioms in a cross-genre context.