This thesis explores the presence of the movement theories of Irmgard Bartenieff, Peggy Hackney, and Rudolf Von Laban in the following texts: Narrative of the Life of Frederick Douglass, An American Slave. Written by Himself (1845), The History of Mary Prince: A West Indian Slave (1831), Incidents in the Life of a Slave Girl, Written by Herself, Linda Brent (1861), Sherley Anne Williams’s Dessa Rose (1986) and Toni Morrison’s Beloved (1987). The terms and phrases of movement theory will be introduced to the contemporary critical discussion already surrounding the texts, both furthering and challenging existing arguments.

F.W. Harvey’s poetry was more popular during the First World War than many – if not most – of those whom we celebrate as ‘the war poets’ today. He is unique among the poets of that war for his insight into the life of the British POW in Germany, and for the influence of his work in the first of the British trench journals, the 5th Gloucester Gazette. Yet, he has received little national attention since his death in 1957, and scholarly work on his life is lacking, largely owing to a deficit of publicly-available primary sources and original material regarding his life and works. This has resulted in a failure to place him properly within the literary canon of the First World War. The recent discovery of Harvey’s papers allows us to examine his life and his contemporary cultural impact, and more fully to evaluate the value of his work and what it tells us about the First World War experience. Using Harvey’s papers, this biographical study will reconstruct the historical details of his life as they relate to the First World War. Concurrently, it will develop our understanding of his war-related work. This will demonstrate Harvey’s influence during the war, first as a trench poet, then as the poetic voice of the British POW. It will also examine how Harvey’s work continued to be affected by the war in the years after the armistice. The result will be a greater appreciation of the life and importance of a First World War poet whose voice was in danger of being lost to time.

This thesis examines the schisms in the antebellum Baptist and Methodist Churches regarding slavery. It was these internal ruptures in both denominations that helped influence life in the slave community. The slave narratives of Henry Bibb, William Wells Brown, Frederick Douglass and Harriet Jacobs reveal the impact the schisms had on master-slave relations and slave religious instruction. Moreover, the internal rupture in both denominations over the South‟s peculiar institution was instrumental in spawning a pro-slavery Christianity. This pro-slavery Christianity proved crucial in extending and strengthening white hegemony. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

submitted by Suen Bing. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (leaves 87-90). / Abstract also in Chinese. / Abstract --- p.i / Introduction --- p.1 / Chapter Chapter One: --- Republicanism and Progressive Historical Interpretations / What is Republicanism? --- p.7 / Republicanism as a Guiding Philosophy in Progressive Historical Scholarship --- p.16 / Chapter Chapter Two: --- Frederick Jackson Turner's Frontier Democracy: A Republican Way of Thinking / How Turner's thesis related frontier conditions with democracy? --- p.20 / In what way is Turner's thesis affected by republicanism? --- p.24 / A trace of republican idealism in Turner's later articles --- p.26 / The safety valve hypothesis: A supplement to Turner's free land ´ؤ democracy relationship --- p.31 / Free land - democracy vs. Education - democracy --- p.35 / Chapter Chapter Three: --- Industrial Democracy and American Civilization: The Two Sides of Charles A. Beard's Republican Thinking / The Industrial Society (1901) --- p.42 / An Economic Interpretation of the Constitution of the United States (1913) --- p.46 / "Contemporary American History, 1877-1913 (1914)" --- p.51 / The Rise of American Civilization (1927) --- p.54 / The American Spirit (1942) --- p.58 / Chapter Chapter Four: --- William Appleman Williams' Inheritance of Progressive Historians' Republican Tradition / American Russian Relations: 1871 ´ؤ1947 and The Tragedy of American Diplomacy --- p.64 / The Contours of American History --- p.72 / Great Evasion and Empire as a Way of Life --- p.77 / Conclusion --- p.83 / Bibliography --- p.87

O presente estudo possui características de uma pesquisa de natureza exploratória, cujo objetivo é comparar a Reengenharia e a Qualidade Total, através de Critérios de Relevância identificados a partir de uma revisão dos clássicos da literatura administrativa. A idéia aqui esboçada é procurar identificar o que é essencial nestes novos modelos, e quais seriam suas contribuições mais significativas para entender tais tecnologias enquanto instrumentos eficazes para que as organizações façam aquilo que elas se propõem a fazer. O produto do presente estudo visa oferecer subsídios para o entendimento das duas abordagens, bem como representa a tentativa de sugerir alternativas para a ampliação das mesmas. / The present study has the characteristic of an exploratory research . The objective is to compare Reengineering and Total Quality based on relevance criteria identified through the sutdy of selected authors of the administrative theory. The main ideia here outlined isto look for the essential elements in each model and find out which are their most significant contributions to the understanding of these new technologies as efficient instruments for carrying out the, organization objectives. The final product of the present study is a better understanding of both approaches and na attempt to contribute to their improvement.

La thèse propose une nouvelle édition critique du corpus lyrique du troubadour Guilhem Figueira (BdT 217), originaire de Toulouse mais actif principalement en Italie du Nord dans la première moitié du XIIIe siècle. Poète représentatif du climat historique et culturel toulousain à l’époque de la croisade contre les Albigeois, protagoniste de la diaspora de poètes et intellectuels et membre d’un cercle idéal de troubadours frédériciens, Figueira nous a laissé une chanson d’amour, deux sirventes contre la papauté de Rome et les faux clergés, deux sirventes pour Frédéric II et deux chansons de croisade. Il échangea aussi deux coblas et une tenson avec Aimeric de Peguilhan (BdT 10). Par rapport à l’édition de référence (Emil Levy, 1880) on a inclus une cobla esparsa anonyme contre Sordel (BdT 437) conservé dans le chansonnier P ; par contre, on a décidé de ne pas accueillir les deux pièces qui lui sont attribuées par le chansonnier a2. On a fourni une étude de la tradition manuscrite, qui compte aujourd’hui cinq nouveaux témoins, avec une mise à jour de la bibliographie ; une étude des thèmes, de la métrique et de la langue de Figueira, une traduction des pièces en italien et un commentaire ponctuel des textes ; un glossaire complet et deux annexes (l’édition du sirventes BdT 217.4a qu’on n’a pas jugé authentique mais qui sert pour l’interprétation d’une autre poésie et les premiers résultats d’une recherche sur Emil Levy éditeur de troubadours, avec l’édition de neuf lettres qu’il envoya à Ernesto Monaci entre 1879 et 1887 et que nous avons trouvé à Rome). / The thesis proposes a new critical edition of the lyric production by Guilhem Figueira (BdT 217), who was born in Toulouse and active during the first half of the XIIIth century, mainly in Northern Italy. Figueira’s corpus is representative of the historical and cultural climate in Toulouse during the Albigensian crusade; he was himself a protagonist of the diaspora of poets and intellectuals and a member of an ideal circle of Friderician troubadours. He left a love song, two sirventes against the papacy and the false clergy, two sirventes for Frederic II and two crusade songs. He also exchanged two coblas and one tenson with Aimeric de Peguilhan (BdT 10). In comparison with the critical edition by Emil Levy (1880), we have included an anonymous cobla esparsa against Sordel (BdT 437), preserved by the chansonnier P; on the other hand, we have decided not to accept two other poems assigned to him by a2. The thesis opens with a study of the tradition, which today includes five new witnesses, with an update of the bibliography; we have provided a study of themes, metric and language of Figueira, an Italian translation and a punctual commentary of the poems; a complete glossary and two appendices (the edition of sirventes BdT 217.4a, which we considered inauthentic but helpful to the correct interpretation of another poem; and the first results of a research on Emil Levy editor of troubadours, with the edition of nine letters he sent to Ernesto Monaci between 1879 and 1887 that we have found in Rome).

This thesis is a study of the events that occurred during the first five months of Fort Duchesne, Utah, between August and December 1886. The primary focus is on Frederick William Benteen, one of the heroes who fought and survived the Battle of the Little Big Horn. The three Ute tribes--Uintah, White River, and Uncompahgne--are also discussed as they pertain to Fort Duchesne.A difficulty arose the first day a site was chosen at Fort Duchesne. Surprisingly, it did not involve the Indians, but the post commander. The central problem is what caused the long delay in building the fort. This study presents several possible theories as to why troops were still billeted in tents during the winter months of December and January. These include Major Benteen's inexperience as a construction engineer commander and his insatiable drinking habit he had acquired.

No description available.

Marguerite “Peggy” Guggenheim is best known for her legacy of collecting modern art in both Europe and the United States, but scholars have overlooked her importance as a patron of modern architecture, specifically the exhibition spaces that showcased her art collection. This thesis fills the gap of literature by tracing the architectural history of the collection. Guggenheim represented a catalyst for bridging the role of art and architecture by promoting modern art through three different spatial approaches: creating collaborative and didactic gallery workspaces at Galerie Guggenheim Jeune in London (1938-1939), establishing architectural spaces that employed unique display techniques at Art of This Century in New York (1942-1948), and instituting a final home-museum at Palazzo Venier dei Leoni in Venice (1949-present). Through the use of primary sources, such as Guggenheim’s autobiography, archival sources including familial correspondences, original black and white photographs, newspaper articles, and architectural drawings, I resituate Guggenheim as not only an art patron and collector, but also a benefactor of modern architectural spaces. / text

A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework. / text