Missionaries in the emancipation

In recent years, historians have attempted to reassess the image of sectarian Ireland by offering an ethnically and religiously complex narrative of social intersection. Due to the changing intellectual and political climate in Ireland, archaeologists and historians can now begin revaluating the myths of the conquered and conqueror. As settlers poured into the Irish landscape to carry out the English government’s plantation schemes, they brought traditions and goods from home, and attempted to incorporate these into their lives abroad. Woodland clearance supplied timber and destroyed the wood kerne-infested fastness, and new houses erected on plantation settlements rattled a landscape still speckled with the wattle huts of its native inhabitants. Using the 1641 Depositions as the core of this dissertation, this research endeavours to contextualise evidence of material culture embedded within the written testimonies, beginning with the private world of the home and ending with the public devotional space of the church. Evidence found in the depositions will be placed alongside archaeological evidence, cartography, a small collection of wills and inventories, and seventeenth-century trade records. This thesis investigates the extent in which the English and Irish communities were at conflict in a material way: in their homes, local economy, clothing, household goods and religion.

Potters and ceramics traditions

Penal politics and imprisonment in the English-speaking west are often presented as having become increasingly harsh and exclusionary since about 1970. Yet, curiously little attention has been given to Ireland and Scotland, two nations considered as exceptions to these pervasive punitive trends, and this presents some considerable gaps in our understanding of penal politics in this era. This thesis uses sociological and historical research to provide an in-depth comparative analysis of political culture and imprisonment regimes in Ireland and Scotland from 1970 until the 1990s. In so doing, the thesis also explores issues central to the history of punishment and comparative penology, in particular the 'punitive turn' in the late twentieth century. Using oral history interviews, archival research and documentary analysis this thesis recovers the history of penal culture in these two jurisdictions and examines how that changed and evolved over the latter part of the twentieth century. It draws upon resources from cultural sociology, governmentality studies and the sociology of punishment to develop the necessary conceptual resources to illuminate and compare penal politics and the varied practices which constitute imprisonment. Imprisonment regimes here are studied as comprising kinds of places, sets of routines and practices. Political culture, meanwhile, is understood as the working cultural symbols, passions, logic of government, political categories, and perceived social origins of crime. While providing grounded and detailed historical accounts of Ireland and Scotland these cases show how generic and global concepts, such as managerialism, rehabilitation, zero tolerance and incarceration intersect with their local social conditions and political relations. This thesis demonstrates that the heterogeneity of imprisonment regimes is a reflection of their political and social context. Therefore, the differences we see in the uses of imprisonment cross-nationally will both reflect and reconstitute their contrasting political cultures.

The central aim of this thesis is to critically examine the values associated with dogs in Victorian British art and visual culture. It studies the redefining and restructuring of the domestic dog as it was conceptualized in visual culture and the art market. It proposes that the dog was strongly associated with social values and moral debates which often occurred within a visual arena, including exhibitions, illustrated newspapers, and prints. Consequently, visual representations of the dog can be seen as an important means through which to study Victorian culture and society. Historians have agreed that the Victorian period was a significant turning point for how we perceive the dog. Harriet Ritvo, Michael Worboys and Neil Pemberton cite the Victorian period as founding or popularizing many recognisable canine constructs; such as competitive breeding; a widespread acceptance of dogs as pets; and the association of particular breeds with particular classes of people. Phillip Howell defines the Victorian period as the point at which the domestic dog was conceptually established. The figurative domestic dog did not simply exist in the home but was part of the home; an embodiment of its core (often middle class) values. As such, the domestic dog became the standard by which all other dogs were perceived and the focal point for related social debates. Yet most studies concerning the Victorian dog overlook the contribution of visual culture to these cultural developments. William Secord compiled an extensive catalogue of Victorian dog artwork and Diana Donald examined Landseer and the dog as an artistic model yet neither have fully situated the dog within a broader Victorian social environment, nor was their intention to critically examine the dog’s signification within the larger visual landscape. Chapter One provides this overview, while subsequent chapters provide studies of key canine motifs and the manner in which they operated in art and visual culture. Underpinning this thesis is a concern with the Victorian moral values and ideals of domesticity in urban environments. These values and their relation to the dog are explored through the framework of the social history of art. Seen through this methodology, this thesis allows the relationship between canine debates, social concerns, and visual representations to be understood. It will argue that the figure of the dog had a significant role to play both socially and visually within Victorian society and propose a reappraisal of the dog in art historical study.

The disciplinary anxiety that has emerged between art history and visual culture studies increasingly dominates academic research and institutional practice both in global and South African contexts. The research posed here explores the contested relationship between the discipline of art history and the newly-emerging field of visual culture studies. For, despite the fact that art history has already transformed itself due to ideological pressures, this transformation is evidently no longer sufficient to ward off the visual cultural onslaught. Since the disciplinary boundaries between art history and visual culture studies intersect - or, more aptly, collide - this research examines whether these two fields are complementary or antagonistic endeavours. The proliferation of multitudes of ambiguous visual images, perpetuated by the rise of new media technologies, has complicated image production and consumption. As a result, a critique of all image-making technologies - including art - has gained momentum in light of the increasing entanglement of images with human existence. In particular, this research argues that art history can no longer maintain its allegiance to hierarchical distinctions between images, nor can it rely on traditional art historical methodologies only in its analysis and interpretation of images. This research proposes that art history visual culture studies can critically analyse the ideological functions of images in our postmodern era more appropriately than traditional art history is able to do. / Dissertation (MA (Visual Arts))--University of Pretoria, 2007. / Visual Arts / unrestricted

This dissertation explores the memories and motivations of women who helped mold Pan-African cultural nationalism through challenging, refining, and reshaping organizations influenced by Kawaida, the black liberation philosophy that gave rise to Kwanzaa. This study focuses on female advocates in the Us Organization, Committee for a Unified Newark and the Congress of African People, the East, and Ahidiana. Emphasizing the years 1965 through the mid-to-late 1980s, the work delves into the women’s developing sense of racial and gender consciousness against the backdrop of the Black Power Movement. The study contextualizes recollections of women within the groups’ growth and development, ultimately tracing the organizations’ weakening, demise, and influence on subsequent generations. It examines female advocates within the larger milieu of the Civil Rights Movement’s retrenchment and the rise of Black Power. The dissertation also considers the impact of resurgent African-American nationalism, global independence movements, concomitant Black Campus, Black Arts, and Black Studies Movements, and the groups’ struggles amidst state repression and rising conservatism. Employing oral history, womanist approaches, and primary documents, this work seeks to increase what is known about female Pan-African cultural nationalists. Scholarly literature and archival sources reflect a dearth of cultural-nationalist women’s voices in the historical record. Several organizational histories have included the women’s contributions, but do not substantially engage their backgrounds, motives, and reasoning. Although women were initially restricted to “complementary” roles as helpmates, they were important in shaping and sustaining Pan-African cultural-nationalist organizations by serving as key actors in food cooperatives, educational programs, mass communications pursuits, community enterprises, and political organizing. As female advocates grappled with sexism in Kawaida-influenced groups, they also developed literature, programs, and organizations that broadened the cultural-nationalist vision for ending oppression. Women particularly helped reformulate and modernize Pan-African cultural nationalism over time and space by resisting and redefining restrictive gender roles. As such, they left a legacy of “kazi leadership” focused on collectivity, a commitment to performing the sustained work of bringing about black freedom, and centering African and African-descended people’s ideas and experiences.

The purpose of this paper is to uncover the history of New Orleans’s Irish Channel and, through the use of archaeological evidence from two household privies, to trace the social processes involved in the formation of ethnicity and social identity in the late nineteenth and early twentieth century. Despite its name and the annual St. Patrick's Day celebrations that take place in its streets, the Irish Channel was never an ethnic enclave of Irish identity. With an equal number of Germans, along with some English and French immigrants, and certain streets comprised fully of African-Americans, the Irish Channel was home to a diverse assortment of people all with unique and fluid conceptions of "identity." This paper attempts to flesh out the changing social, cultural, and institutional boundaries surrounding the formation of ethnic and cultural identities in the Irish Channel at the turn of twentieth century. By combining contemporary anthropological theory on ethnicity and cultural change with an analysis of the archaeological data and the historical and social contexts in which material culture was used, I challenge the usefulness of assimilationist approaches to understanding culture and the archaeological record. Using the archaeology of two Irish Channel families, I demonstrate the need for studying the complex, multidimensional relationship between material culture and identity in order to gain a deeper understanding of the past.

A presente tese analisa historicamente cinco diferentes momentos em que músicos populares e intelectuais eruditos brasileiros estabeleceram intercâmbios e trabalharam em parceria na construção de discursos sobre o ser nacional, sob influência marcante de um ideário de vanguarda. Para cada um desses momentos, elegeram-se parcerias representativas a serem estudadas. Os momentos abordados, compreendidos entre 1924 e 1969, foram o modernismo, o regionalismo baiano, a bossa-nova, a música de protesto da década de 1960 e o tropicalismo, tendo como representantes escolhidos, respectivamente: Marcelo Tupinambá e Mário de Andrade; Dorival Caymmi e Jorge Amado; Antônio Carlos Jobim, João Gilberto e Vinícius de Moraes; Carlos Lyra e Gianfrancesco Guarnieri; Caetano Veloso e Rogério Duprat. / This thesis examines five different historical moments when Brazilian popular musicians and high culture intellectual established exchanges and worked together in the construction of discourses about the national being, under strong influence of a cutting-edge set of ideas, ranging between 1924 and 1969. For each of these moments, were elected one representative partnership to be studied. The moments discussed were modernism, Bahias regionalism, bossa-nova, protest song movement of the 1960s decade and tropicalism, whose main representatives artists chosen were, respectively: Marcelo Tupinambá and Mário de Andrade; Dorival Caymmi and Jorge Amado; Antonio Carlos Jobim, João Gilberto and Vinícius de Moraes; Carlos Lyra and Gianfrancesco Guarnieri; Caetano Veloso and Rogério Duprat.

Esta Dissertação de Mestrado descreve o nascimento, a inserção e o desenvolvimento das religiões não Católicas em solo brasileiro. Discorre, entre as que estão em maior evidência, sobre suas doutrinas e práticas fundamentais. Por outro lado, analisa a produção científica brasileira sobre a temática, ocorrida entre 1900 e 2000, através de um balanço bibliográfico. Procura, assim, verificar quais religiões foram mais estudadas pela comunidade científica, bem como as lacunas existentes. / This Master thesis describes the birth, insertion and development of the noncatholic religions in the Brazilian territory. It concerns about the dogmas and basic practices of the most popular ones. On the other hand, it analyses the Brazilian scientific production about such issue between 1900 and 2000, through a bybliographic research. Thus far, this text aims to verify which religions were studied the most by the scientific community, as well as the blanks left by them.