This thesis focuses on the financial careers of Lionel and Barron Jacobs in Tucson, Arizona, from 1867 to 1913. As early merchants, the Jacobs brothers discovered that cash and credit were scarce in the region, and in 1870 opened a money exchange and lending business. Then in 1879, the Jacobs brothers opened the Pima County Bank to serve the increased economic activity caused by the Tombstone silver discoveries. Mastering the details of banking, they developed management skills and insights. They organized and operated the First National Bank of Tucson (1882-1885), the Bank of Tucson (1885-1887), the Consolidated Bank of Tucson (1887-1890), and the Arizona National Bank (1890-1913). At retirement the Jacobs brothers were among the preeminent financiers of Arizona. A study of their banking experience provides a valuable perspective on the economic growth of southern Arizona during the late nineteenth century and mirrors the problems that bankers faced on remote frontiers.

Gävle beräknas inom de kommande åren växa med cirka 500 invånare per år, vilket måste avspeglas i satsningar på bostäder, arbete och service. Fastigheten Skeppsbyggaren, mer känd som Philipsontomten, bär anor från svunna industriepoker och har sedan mitten av 1990-talet stått oexploaterad. Genom att närma sig vattnet med en alltmer publik verksamhet och bostäder kan kvarteret Skeppsbyggaren medföra en förtätning samt utvidgning av de centrala delarna i Gävle. Vidare kan fastigheten bli ett bidrag till en redan värdefull kulturmiljö, något som bör ligga i både invånarnas, kommunens och ägaren CA Fastigheters intresse. Vårt arbete har gått ut på att projektera ett miljöcertifierat gestaltningsförslag för Skeppsbyggaren som bidrar till en hållbar stadsutveckling och en positiv exponering av Gävle som stad. Att miljöcertifiera byggnader är något som vunnit mark de senaste åren, men vid projektering av hela bostadsområden finns ett värde i att ta ett ytterligare steg och behandla hållbarhetsfrågor rörande hela stadsdelen. Den problembild som varit knuten till fastigheten är den intilliggande industriverksamheten, områdets ansträngda trafiksituation och att gator i anslutning till fastigheten upplevs som otrygga och därmed oattraktiva att beträda. Även den höga risken för markföroreningar associerade till tidigare verksamheter har varit en central fråga. Med stöd av Gehls och Jacobs teorier om en stadsdelsplanering som lockar till möten, aktiviteter och trygghet har vi med människan i centrum tagit fram vårt gestaltningsförslag. Området utgörs huvudsakligen av flera sammanhängande byggnader som tillsammans skapar en bullerdämpande barriär mot Södra Skeppsbron och Brodingatan. Denna bebyggelse kompletteras med ett punkthus samt en lågbebyggelse i form av radhuskroppar på innergården. Målet har varit att med huskropparnas placering och dess arkitektoniska utformning skapa ett varierat och inbjudande område som uttrycker sitt århundrade med god arkitektur. Resultatet innefattar bland annat ett underjordiskt garage, förslag till systemlösningar, egen elproduktion och brukarrelaterade lösningar för en mindre miljöpåverkan såsom bilpool, urban odling och individuell mätning av elförbrukning med mera. Förslaget uppnår betyget VERY GOOD vid vår certifiering med miljöcertifieringsverktyget BREEAM Communities. / Gävle is expected to increase its population with approximately 500 inhabitants per year in the foreseeable future, which should be reflected in the development of housing, work and services. The building plot Skeppsbyggaren, also known as Philipsontomten (the Philipson plot), dates back to an old industrial epoch and has since the mid-1990s, remained undeveloped. By approaching the water with an increasingly public business and residential district Skeppsbyggaren can lead to a densification and extension of the central parts of Gävle. The site could furthermore contribute to an already valuable cultural environment, which should be of interest for the inhabitants, the society and the owner CA Fastigheter. Our aim has been to design an eco-certified housing project proposal for Skeppsbyggaren, which contributes to a sustainable urban development and a positive exposure of Gävle. In recent years, the certification of building is something that gained ground, but during the development of entire neighborhoods is worthwhile consider sustainability issues at a larger scale, throughout the district. The problems associated with the property have been the adjacent industrial activity, the area’s strained traffic and that the nearby streets are perceived as unsafe and therefore unattractive to use. The high risk of contaminated land linked to past activities was also a central issue. We have developed a design proposal with a people-centered focus supported by Gehl’s and Jacob’s theories of planning a high functional neighborhood that attract human encounters, social activities and security. The area mainly consists of several connected buildings, which together create a noise-reducing barrier against the adjacent streets. This development is complemented by tower blocks and low buildings in the form of townhouses, located in the courtyard. Our aim regarding the positions of the buildings and its architectural designs has been to create a diverse and inviting neighborhood that expresses good architecture out of its own century. The final result includes an underground garage, selection of systems such as ventilation and heating, a local production of electricity and user-related suggestions for a smaller environmental impact such as carpools, urban gardening and individual metering of the consumption of electricity, and so on. Our proposal achieves the grade VERY GOOD in our certification using BREEAM Communities.

Texts such as Harriet Beecher Stowe’s Uncle Tom’s Cabin, Harriet Jacobs’ Incidents in the Life of a Slave Girl, and Nella Larsen’s Quicksand each present a different understanding and perspective of relationships based on their time periods and social statures. The type of relationship Stowe focuses on in her novel is that of friendship. Friends, defined as people with whom have a bond of mutual affection, and friendships, the state of mutual trust and support (Merriam-Webster), anchor the relationships that Eva and Eliza create with members on the plantation. These female protagonists turn to friendship as a way to live each day more normally – that is, to somehow alleviate the brutal cruelty of living through slavery. Despite varying odds, trials, and tribulations, seeking friendships that had preservative and supportive qualities allowed the female protagonists in Stowe’s novel to survive their own lives. The friendships Eva and Eliza formed discredit what many paternalist pro-slavery authors used as evidence to justify the institution of slavery. In the paternalist proslavery mindset, slave-owner and slave friendships revealed the benefits of slavery – that the two groups would be happier together rather than apart. Stowe discredits this mentality by relating to her 19th century reader’s emotions, representative of the sentimental genre in which she writes. However, in writing about slavery from a white woman’s perspective, Stowe isn’t fully exempt from the paternalist genre. As I will examine later, many of her statements about slavery and the friendships she narrates embody implicitly racist stereotypes and caricatures that complicate the abolitionist approach to her novel. In this way, she falls under the category of paternalist abolitionism, rather than paternalist proslavery. Stowe also highlights the fleeting nature of these friendships. Many, if not all, of the friendships Eva and Eliza form are not able to last, which is one way Stowe argues against the institution of slavery. Following Stowe, my discussion of Jacobs will introduce a slave’s perspective to female relationships in slavery. The relationships in Jacobs’ narrative are centered on family, and the power of relying on one’s own blood or close-knit community to survive slavery. Writing also within the sentimental mode, Jacobs focuses on her reader’s emotions in order to propel her anti-slavery argument. The female relationships Jacobs details are grounded in literal and metaphorical motherhood. She highlights these relationships as an emotional and familial, particularly motherly, survival method. Jacobs’ text showcases the importance of family, rather the relationships or friendships formed with strangers– thereby differentiating her argument from Stowe’s. Nella Larsen’s Quicksand draws on the emotional and social difficulties one biracial woman faced in a world affected by the legacy of slavery and World War I. As a biracial woman, Helga develops relationships with men and women she hopes will support her progressive way of thinking and sense of selfhood. Helga’s relationships are more aptly defined as partnerships – given that “partners” may involve sexual, non-sexual, and business-like dynamics between two people. Helga must find authentic, or non-hypocritical, people to assist in her journey for selfhood and kin. But similarly to the relationships in Stowe and Jacobs, the friendships Helga creates often fail her. The question of why they fail in Quicksand connects directly to the question the novel itself is asking: is the search for selfhood more important than the search for kin? The argument all three works make with these failures represents a call to action – not just for the time period in which their novels were written, but also for future American communities. The continuing consequences of racial and gender discrimination exposed by Stowe, Jacobs, and Larsen show us that real social change must come from people – from the relationships we form.

in English The aim of this MA thesis is to bring new perspectives on the genre of the African-American slave narrative. Therefore, its wider historical, socio-political and gender contexts are considered and the circumstances surrounding its development and current criticism are briefly outlined. The point of departure is a discussion of definitions that vary among the scholars who select different criteria for the subject of definition. The existing diversity of the texts and voices is discussed in connection to Moses Grandy's Narrative of the Life of Moses Grandy, Late a Slave in the United States of America. Grandy's narrative, an account of the maritime slave life, is analyzed. Its traditional, uniform narrative structures are juxtaposed with passages where some aspects of his masculine identity, problematized by the institution of slavery, can be traced. Ultimately, the thesis attempts to show that while the conventionalized framework pre-defining the narrative outline and themes is delineated by James Olney, any generally recognized definition of the genre does not exist. As a result of that conclusion, the genre is defined in the scope of this thesis. After the major characteristics of the genre are discussed and the definition of the African- American slave narrative is put forward, more...

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Stories about the civility through which diverse peoples have come to live peaceably in cities such as Vancouver are being used to launch Canada into the global urban future. The freedom promised by respect for privacy, mobilizing action for change, constructing our environments ethically, and improving our lots tends to be presumed as good. No need for politics, just planning. Mainstream, progressive, activist, and entrepreneurial focus on planning civil cities tends, however, to make the places where we live, places like Bridgeview BC – a neighbourhood on the fringes of Vancouver – invisible. In a sense, this dissertation is an extended set of reading notes to a case study based on archival research and fieldwork that is presented in an Appendix entitled Invisible Bridgeview. It shows what of the case study is highlighted when we take what I call the “civil city myth” seriously. Each chapter: (1) explicates an influential iteration of that myth (as articulated by Jane Jacobs, James C. Scott, and Le Corbusier) and shows how it positions Bridgeview (as backwards, on the margins of society, as a local site of global struggles, and as economically dependent); (2) illustrates a civil city myth at work (dumping on, mobilizing, ‘educating,’ and exploiting Bridgeview); and (3) taking our urban romanticism seriously, undoes a key distinction shoring up the civil/barbaric one, thereby rendering a civil city myth as an urban myth (that highlights Bridgeviewers’ capacity to negotiate conflict and self-govern, practical knowledge and commitments, kinship-based cultural movements, and ruralesque urban way of living). Thus the thrust of this analysis is from planning civil cities to engaging in urban politics – including struggles over basic infrastructure, community development, activism, and entrepreneurialism. Generous as it might seem to recognize Bridgeview (among all other places) as urban, it dismisses residents’ own sense of the place as “a small town in the big city.” So while taking the urban mythology as a point of reference, this dissertation concludes by crafting a mythology of intimate sub-urban politics – of gangs, affects, unintentional interventions, and squatting together. Seeking justice here, we are responsible in and to our relations, after all. / Graduate / 0615 / 0999

Stories about the civility through which diverse peoples have come to live peaceably in cities such as Vancouver are being used to launch Canada into the global urban future. The freedom promised by respect for privacy, mobilizing action for change, constructing our environments ethically, and improving our lots tends to be presumed as good. No need for politics, just planning. Mainstream, progressive, activist, and entrepreneurial focus on planning civil cities tends, however, to make the places where we live, places like Bridgeview BC – a neighbourhood on the fringes of Vancouver – invisible. In a sense, this dissertation is an extended set of reading notes to a case study based on archival research and fieldwork that is presented in an Appendix entitled Invisible Bridgeview. It shows what of the case study is highlighted when we take what I call the “civil city myth” seriously. Each chapter: (1) explicates an influential iteration of that myth (as articulated by Jane Jacobs, James C. Scott, and Le Corbusier) and shows how it positions Bridgeview (as backwards, on the margins of society, as a local site of global struggles, and as economically dependent); (2) illustrates a civil city myth at work (dumping on, mobilizing, ‘educating,’ and exploiting Bridgeview); and (3) taking our urban romanticism seriously, undoes a key distinction shoring up the civil/barbaric one, thereby rendering a civil city myth as an urban myth (that highlights Bridgeviewers’ capacity to negotiate conflict and self-govern, practical knowledge and commitments, kinship-based cultural movements, and ruralesque urban way of living). Thus the thrust of this analysis is from planning civil cities to engaging in urban politics – including struggles over basic infrastructure, community development, activism, and entrepreneurialism. Generous as it might seem to recognize Bridgeview (among all other places) as urban, it dismisses residents’ own sense of the place as “a small town in the big city.” So while taking the urban mythology as a point of reference, this dissertation concludes by crafting a mythology of intimate sub-urban politics – of gangs, affects, unintentional interventions, and squatting together. Seeking justice here, we are responsible in and to our relations, after all. / Graduate / 2015-04-23 / 0615 / 0999

Thesis (Ph.D.)--University of Tulsa, 1995. / Includes bibliographical references (leaves 186-197).

Thesis (Ph.D.)--Syracuse University, 2008. / "Publication number: AAT 3323081."

Thesis (MA)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: Over the past three decades in South Africa, the documentation of slave history at the Cape Colony by historians has burgeoned. Congruently, interest in the history of slavery has increased in South African letters and culture. Here, literature is often employed in order to imaginatively represent the subjective view-point and experiences of slaves, as official records contained in historiography and the archive often exclude such interiority. This thesis is a study of the representations of slave subjectivity in two novels: Rayda Jacobs’s The Slave Book (1998) and Unconfessed (2007) by Yvette Christiansë. Its task is to investigate and traverse the multitude of readings made possible in these literary representations, and then to challenge such readings by juxtaposing the representational strategies of the two novels. Both primary texts are works of historical fiction that, in different ways, draw on the archive and historiography in order to grant historical plausibility to their narratives. Engaging with the distinct methods with which they approach and interpret such historical information, I adopt the terms “glimpsing” and “reading sideways”. Throughout this study, I engage each of these methods in order to demonstrate the value, and limits, of each technique in its engagement with the complexities of representing slave subjectivity in the wake of its (predominant) occlusion from historical and official data. Chapter One presents a brief overview of the emergence of the slave past in historiography and public spaces. Following Pumla Gqola’s statement that “slave memory [has] increase[d] in visibility in post-apartheid South Africa”, I move to a discussion of the theoretical perspectives on (re)memory as employed by writers of fiction that exemplify “a higher, more fraught level of activity to the past than simply identifying and recording it ” (“Slaves” 8) . In turn, I identify the imperative archival silence places on authors to write about slaves, and the relevance of genre in this undertaking. Specifically, I consider the romantic and tragic historical fiction genres as they are utilised by Jacobs and Christiansë in approaching representations of slave subjectivity, and how this influences emplotment. Chapter One concludes with a brief exposition of the literary representations offered by Unconfessed and The Slave Book. Chapter Two presents a detailed study of Rayda Jacobs’s The Slave Book as a novel of historical fiction. Jacobs takes up a methodology of “glimpsing” at the slave past through the representations available in historiography. I trace the moments at which the text seeks to convey slave subjectivity, within and without historical discourses, through such “glimpses”, and show how they are employed to establish a focus on interiority and to humanise slave characters. Chapter Three focuses on Yvette Christiansë’s Unconfessed and explores its explicit engagement with silences surrounding the protagonist Sila van den Kaap’s historical presence in the Cape Town Archives. I read Christiansë’s representation of these silences as “acts of looking sideways” at the discursive practices inherent in the historical documentation of slave voices that enact her resistance to “filling” these silences with detailed narrative. I argue that the various forms of silence in the narrative allow for a deeper understanding of the injustices and oppression suffered by Sila van den Kaap, and that it is these silences, ironically, which grant her voice. Chapter Four presents a comparison of the novels and their respective representational techniques of “glimpsing” versus “looking sideways”. While the distinct efficacy and implication of each approach is critically evaluated, both are ultimately found to make an invaluable addition to the literary exploration of slave subjectivity as attention is drawn to the interiority of each text’s characters. / AFRIKAANSE OPSOMMING: Oor die afgelope drie dekades, het die dokumentasie wat opgelewer is deur historici in Suid- Afrika met betrekking tot die slawe in die Kaapkolonie floreer. Ooreenstemmend, het belangstelling in die geskiedenis van die slawe in die gebied van kultuur en letterkunde toegeneem. In hierdie konteks, word literatuur dikwels in diens geneem om op ‘n verbeeldingsryke manier die subjektiewe standpunt en die bestaan van die slawe te verteenwoording, wat vroeër in amptelike rekords dikwels sodanige innerlikheid uitsluit. Hierdie tesis is 'n studie van die voorstellings van slaaf subjektiwiteit in twee romans: Rayda Jacobs se The Slave Book (1998) en Unconfessed (2007) deur Yvette Christiansë. Dit beoog verder om ondersoek in te stel na die menigte lesings in literêre voorstellings en sodanige lesings uit te daag deur die vergelyking van die twee betrokke tekste. Ek neem die "skramse” en "sywaartse" sienings as metodiek vir die eien en interpretasie van argief-materiaal in die twee tekste. Deurgaans in hierdie studie gebruik ek hierdie metodieke op hulle beurt ten einde die waarde van elke tegniek te demonstreer, in terme van die voorstellingshandeling wat elk gebruik om slaaf subjektiwiteit te verteenwoordig. In Hoofstuk Een, word teoretiese perspektiewe oor ‘herinnering’ soos dit bestaan as gevolg van, en ten spyte van, die argief, beskryf en ontleed. In my oorsig van die rol en doel van die argief sowel as die onthou van 'n slaaf verlede in die hedendaagse Suid-Afrika, word benaderings wat in verskeie velde onderneem is om slawerny en sy slagoffers uit te beeld, ook in ag geneem. Ek identifiseer die noodsaaklikheid wat “stiltes” in die argief op skrywers plaas om oor slawe te skryf, asook die relevansie van die genre in hierdie onderneming. Ek kyk spesifiek na die romantiese en historiese fiksie genres soos hulle deur Jacobs en Christiansë gebruik word in hul voorstellings van slaaf subjektiwiteit, en hoe dit voorstellingshandeling beïnvloed. Hoofstuk Een word afgesluit met 'n kort uiteensetting van die literêre voorstellings, soos uitgebeeld in The Slave Book en Unconfessed. Hoofstuk Twee is 'n ondersoek na die funksie van Rayda Jacobs se The Slave Book as 'n historiese fiksie-roman. Jacobs se roman bepeins die geskiedenis van slawerny deur die voorstellingshandeling van ‘n "skramse kyk”. Ek ondersoek die waarde van die romanse wat in die roman opgeneem word, sowel as Jacobs se gebruik van historiografie om haar verhaal te ondersteun. Hoofstuk Drie fokus op Yvette Christiansë se Unconfessed en die wyse waarop die slaaf karakter as protagonis die stiltes as gemarginaliseerde aan die leser kommunikeer, en daaropvolgend, die wyse waarop die historiese figuur, ten spyte van die stiltes in die argief, kommunikeer. Hierdie metodiek bestempel ek as die "sywaartse kyk". Ek argumenteer dat die stiltes in die roman ‘n leemte laat vir 'n dieper begrip van die onreg en onderdrukking wat deur die protagonis gely word, en dat, ironies genoeg, dit hierdie stiltes is wat aan haar ‘n “stem” gee. Hoofstuk Vier is 'n vergelyking tussen die romans en hul doeltreffendheid. Altwee tekste, van ewe belang nagaande die bevordering van subjektiwiteit van slawe tydens die Kaapkolonie, beslaan elk 'n ander benadering tot die argief en geskiedenis self. Dit is met hierdie perspektiewe waarmee hierdie studie omgaan. Beide tekste vorm ‘n waardevolle toevoeging tot die literêre verkenning van slaaf subjektiwiteit deurdat aandag op die innerlikheid van elke teks se protagoniste gevestig word. Verder, deurdat die tekste met historiografie en die argief omgaan, spreek hulle diskursiewe kwessies rakende slaaf subjektiwiteit en die voorstellings daarvan aan.