Rudolf Rocker was born in 1873 in Mainz, Germany, and died in 1958 in New York. During his life, Rocker witnessed a rapidly changing world, and he extensively documented these changes. In a microcosm, Rocker's life reflects the development of the various trends within the anarchist movement, of which he was a prominent member. He joined the anarchist ranks at an early age, and to his last breath he remained an ardent believer in the goals and principles of anarchism. Rocker's main philosophical concern had been personal freedoms and the ability of society to protect these freedoms by non-coercive means. Rocker rejected the morality of all forms of authority, whether state, party or privileged minority. The only form of organization condoned by him was that of workers' federations or syndicates. In Rocker's vision, these federations would serve as the basis for creating a federated Europe, and ultimately a federated world order. A disciple of Peter Kropotkin, Rocker established his prominence in anarchist philosophy as the ideologue of anarchosyndicalism, his main contribution being the combination of theoretical anarchist theses with a practical syndicalist platform of action. Rocker's most important contribution to political philosophy, Nationalism and Culture, contains both a comprehensive analysis of the rise of national sentiments, and a theoretical attempt to refute the morality of the state. Rocker left his mark on anarchist history not only as a theoretician, but also as a practitioner. He was particularly active among the Jewish immigrants in London's East End, where he organized a cohesive and militant anarchist group. He led the local workers in industrial struggles against the "sweating system," and for two decades Rocker, a gentile with no knowledge of Yiddish, edited the Jewish anarchist organ, the Arbeter Fraint. In 1923, Rocker became known internationally due to his role in founding the Syndicalist International, the aim of which was to halt the growing influence of the Comintern. Despite his political activities and writings, Rocker's life remained a neglected chapter in the history of anarchism. Drawing extensively on Yiddish sources, this work attempts to save Rocker from his undeserved oblivion.

The author argues that the Berlin Wall was more than merely a political construction. Demonstrating the powerful language of architecture, its form was psychologically driven and grounded in historical tradition and culture. Furthermore, it exemplified how architectural constructs are not static but acquire opposing and fluctuating meanings and symbolisms. The wall was, and is, a dynamic condition. More than an object, it was a modern procedure. Not only was it affected by its cultural and socio-political context, but it, in turn, affected its context--space, the pace of time, history, cultural thought and expression. It was an analogue of politics and a palimpsest of culture. Among other modes of expression (such as film, literature and visual art, including graffiti), architecture has been used as a tool to address political agendas connected to the wall. Examination of this architecture divulges a gulf--with notable bridges--between the nature of theoretical and of built projects; and similarly, between projects proposed for a hypothetically projected post-wall situation and those proposed after the wall actually came down.

This dissertation situates Berkeley's "master argument" for idealism (PHK I, 23 and DHP I, 200) in the context of Descartes' theory of ideas, and seeks to show that within that context the argument is convincing. In addition, the dissertation argues that Descartes' theory of ideas was not representationalist., as is often supposed, but a kind of direct realism; Cartesian ideas render intelligible individuals directly present to the intellect. In this respect Cartesian idea theory is very similar to a theory of species expounded by Antonio Rubio and other Jesuit philosophers at the turn of the seventeenth century; Jesuit writings of this period include several interesting anticipations of Cartesian doctrine. Finally, the dissertation discusses the relationship between Berkeley's master argument and the semantic paradoxes of Berry, Koenig and Richard, and suggests that all these arguments commit a fallacy of vicious circularity, related to but distinct from the fallacy signaled by Bertrand Russell.

Social mobility was a feature of life in early modern England, and its effect on the gentry was the material for a number of plays written in the first decades of the 17th century: Shakespeare's All's Well That Ends Well, Massinger's The Maid of Honour and The Bondman, and Middleton's The Changeling. In these plays the dramatists examine the moral questions of fitness for membership in the elite. They use received notions of sexual desire and gender hierarchy together with a narrative of social mobility to question and to legitimate this mobility. Social aspiration and sexual desire could be put into a productive dramatic relationship because in contemporary thought they were connected at a fundamental ethical level. Their theatrical conjunction put sex into discourse in Foucault's sense and deployed it in new ways. The first three plays investigate the possibility of a more inclusive elite which would be open, through marriage, to virtuous outsiders. Though the social mobility of the protagonists does not threaten the hierarchy, the erotic energy which is inseparable from their aspiration has a disruptive potential which calls their project into question. Nothing less than a transformation of the desiring self is required to legitimate their ambition. In the downward mobility represented in The Changeling there is no transformation of the self; uncontrolled desire leads to chaos in the social order, and the play constructs a cleavage between the respectable and the morally reprehensible parts of society. Though the plays endorse the control of desire as the touchstone of acceptance into the elite, the theatrical representation of this desire in the struggle to deserve status functions in a productive rather than a repressive way. It creates a secular sexual discourse which became an integral part of the entertainment provided by the commercial theater. Moreover, this representation of desire is deployed to change the way society is perceived. The audience is persuaded to envisage an elite reformed by the inclusion of people of merit from outside it, and to accept the corollary of this--the separation and exclusion of the morally reprehensible.

This dissertation discusses the complex representation of foreigners in sixteenth-century English drama. It relates literary evidence to contemporary implicit and overt allegations that vices brought to England by both immigrant aliens and returning English travelers were corrupting, infecting, or "alienating" England and the English. My thesis argues that, during the Elizabethan period, the English experienced an increasing awareness of their own "national" identity vis-a-vis immigrant aliens and ideas of the alien "other" in literary representation. Such awareness spawned an English obsession with preserving an imaginary core of "English identity" against alien encroachments. The "alienation" of the English is both physical and psychological. Aliens buy up property and evict innocent English tenants; they ruin English artisans by importing fashionable trifles and using inferior materials in order to undercut the domestic market price; and they pass on their evil, alien ethics and heterodoxy. The English who remain unaffected by the alien find themselves needing to "colonize" their own country as they feel increasingly identified as the strange "other" in an "alienated" society. The English response varies from calls for expulsion of the aliens to petitions for mass English repentance. Through an investigation of general trends and specific literary and cultural events, this study finds that English community, although self-assured and proud, effectively loses this battle with the alien. By the end of the sixteenth century, despite the efforts of preachers, polemicists, and prophets, who publish and perform at length in an attempt to reform the wayward island nation, the English are "alienated." By locating a discussion of the emergence of "national identity" in the sixteenth century, this dissertation provides a foundation for, and encourages rehistoricized reading of, the (post-) colonial studies that engage with English identity in the seventeenth century. Before it was possible for the English to think of (re)defining themselves by means of their seventeenth-century "discoveries," they were creating an idea of Englishness in response to the incoming alien; English identity thus becomes an attribute of the colonial travelers that was radically altered--rather than invented anew--in the process of exploration and exploitation.

<p> The cultural sensation known as the movida madrile&ntilde;a has been a subject of fascination since its origins in Madrid throughout the late 1970s and 1980s. This dissertation examines one of its most famous products, the journal <i>La Luna de Madrid</i> (1983-1988). This dissertation explores examples of illustration and photography throughout the journal's first seven issues, from November 1983-May 1984. Concentrating on the use of strategies from tourism promotion, this framework reveals how visual elements work with text to encourage readers to become tourists of modern Madrid. </p><p> Chapter One provides a background of how tourism images and messages have shaped perceptions of Spanish cultural identity from dictatorship to democracy, from the 1950s to the 1980s. Within this context, it is possible to understand the efficacy of tourism promotional tropes in portraying an attractive vision of Madrid in the journal's pages. </p><p> Chapter Two emphasizes how the movida represented the positive changes developing in Post-Franco Madrid, leading local and regional political leaders to employ this phenomenon in programs focused upon cultural revitalization and civic participation. This chapter argues that the movida not only appears as the main cultural tendency of interest within <i>La Luna de Madrid </i>, but that its treatment within the journal allows it to be viewed as an attractive tourism destination. </p><p> Chapter Three and Chapter Four provide close readings and in-depth visual analysis of certain repeated illustrated and photographic segments within <i> La Luna de Madrid</i> from November 1983-May 1984. By narrowing the research scope to these first seven months of publication, we can examine how patterns of viewing are established that encourage readers to contemplate selective historical and contemporary cultural trends in Madrid from the perspective of a tourist. </p><p> The combination of text and imagery at work in <i>La Luna de Madrid </i> reinforces the efforts of the various creative practices of the movida while giving readers opportunities to participate in this cultural scene. This dissertation argues that experiments with the visual and rhetorical tropes of tourism in <i>La Luna de Madrid</i> attempt to foster favorable impressions of the Spanish capital's past and present.</p>

<p>This project report discusses the development of the transverse flute in the eighteenth century with reference to J. S. Bach's <i>Partita in A Minor</i> for unaccompanied flute. Though still relatively new, the transverse flute of this period rapidly developed to become the new standard over the recorder due to the new opportunities it provided to composers. The works of Bach serve as a prime example for showing the instrument's increasing popularity, and his motivations for creating the <i>Partita in A Minor </i> reveal the influences of many composers and performers of the transverse flute, such as Pierre Buffardin and Johann Joachim Quantz, on the instrument's developing idiom throughout the century. </p>

<p> This project report examines four solo-songs by Jean Sibelius and offers an analysis of the style of his Finnish nationalism. The paper presents two types of nationalism, and delves into the type of nationalism to which Sibelius's solo-songs belong. A brief history of Finland and the Finnish nationalist movement is discussed, in addition to the importance of the Kalevala to the Finnish nationalist movement. Musical descriptions of the poetry and songs "Demanten pa marssn&ouml;n," "Flickan kom ifr&aring;m sin &auml;lsklings mote," "Var det en dr&ouml;m?" and "Svarta rosor" are presented, and an acceptable performance practice for Sibelius's solo-songs is considered. </p>

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