The purpose of this study is to investigate the rhetorical strategies used by Reverend Jesse L. Jackson from the 1970's to the 1990's. Specifically, this study examines Jackson's use of narrative to empower himself, his constituency, and his political ideologies without possessing a traditional political platform. Jackson raised political and social consciousness regarding the positions he held by telling persuasive, strategically constructed narratives. By examining Jackson's narrated approach to politics, arguments can be constructed to demonstrate how Jackson rhetorically operates from an unorthodox platform in the political arena. A functionalist view of narrative, as defined by Lucaites and Condit (1985), is applied to Jackson's 1984, 1988, and 1992 Democratic National Convention addresses in order to account for "tangible" objectives being carried out by the narrative discourse form. In doing so, the study argues that Jackson's narratives initially functioned: to empower Jackson and the Rainbow Coalition; to bolster public approval ratings of Jackson from 30% to 54%; and later to promote Statehood for Washington D.C. / Graduation date: 1994

Without northern doughface Democrats, and northern states like Indiana, the South could not have held dominance in American politics during the sectional crisis. Anchoring the extreme end of the doughface North was Indiana’s slaveholding senator Jesse Bright (his holdings were in Kentucky). Yet, he was no flailing radical pushed to the margins of northern politics. Bright was the chief party boss who by the mid to late 1850s controlled the state of Indiana. He was one of the most influential leaders getting James Buchanan into the presidency. He did this, in part, because Indiana was a conservative state that disliked anti-slavery agitators. Still, most Hoosiers were not partisans in favor of slavery. Bright was able to lead Indiana politics during the 1850s because he had become a powerful political boss. American politics in the 1840s and 1850s was built around state level organizations. With elections going through constant and irregular cycles, hopeful candidates needed a strong organization capable of providing money, press literature and mobilization of voters. They needed someone with grit, savvy and energy to organize various groups, and no one was more successful at this in Indiana than Bright. Bright did this, in part, by understanding the baser motives of men, and more importantly, could satisfy these wants with graft, bribery, patronage and other inducements. If that was not enough to motivation, he used fear, bullying and good old fashioned steam rolling tactics to bludgeon his enemies into submission. Bright’s extreme doughface attitudes did not make him popular, but his organizing skills made him a powerful leader. He helped prop the slave-power in American politics through the 1850s, but his efforts also alienated a wide swath of northerners, especially in Indiana. By 1860, a northern Republican Party took control of American politics, as northerners came to reject the slave-masters and the slave-power. This dissertation argues that Bright played a pivotal role in propping the slave-power. But ultimately Bright’s political downfall was part of a larger rejection of southern politics.

This study investigated Time's reporters' portrayals of Jesse Jackson throughout his 1988 campaign. Chapter one introduced the study and provided an extensive literature review of. Ernest Bormann's Fantasy Theme Analysis and its uses. Chapter Two presented a biographical profile of Jackson and served as a prelude to the discussion of Jackson's 1988 presidential campaign. Chapter Three included the actual analysis and interpretation of the study. The following themes were discovered in the five 'time periods that emerged from the investigation: the underdog, the free from scrutiny, the preacher, the leader of black people, the poet, and the loser of the nomination themes. Chapter Four summarized this study and provided implications and suggestions for future research. / Department of Speech Communication

In Renaissance culture there was an iconographic and literary language of trees, related to the motif of the tree of life, an ancient symbol of immortality associated with paradise. The properties of trees were used to express a range of ideas, including the death and resurrection of Christ, the fall and regeneration of political regimes, and virtue and vice within the individual soul. The juxtaposition of the tree of knowledge with the tree of life, as motifs of sterility and fertility, expressed aspects of the human condition and constructions of spiritual history and destiny. This thesis explores the language of trees in visual art and a range of English Renaissance texts from the late-sixteenth to the mid-seventeenth century: two plays by Shakespeare, two country-house poems, and a prose treatise on growing fruit-trees. Each of the writers drew on arboreal metaphors and motifs in unique and innovative ways. However there are numerous parallels and connections between the texts, and with contemporary and antecedent visual art, to justify considering these works together. In Shakespeare’s tragedy Titus Andronicus (1594) Lavinia, when she has her hands cut off, is metaphorically described as a tree with lopped branches and linked with the stricken political entity of Rome. Shakespeare evokes the tree of virtue, the classical myth of Daphne, and the arboreal language of virtue and vice. In the late tragicomedy Cymbeline (1610), the king is symbolized in a dream vision as a tree, with its cut branches representing the princes who are initially stolen but then reunited with the king. The tree represents the family tree as well as the political state, two interlinked concepts in the play and in contemporary iconography and ideology. Since Cymbeline’s reign heralded the Nativity, the prophecy of the lopped and regenerated tree invokes the idea of Christ as the tree of life and the fruit of the tree of Jesse. In both plays, Shakespeare’s tree imagery comments on the exercise of political power and the resultant health of the state. Shakespeare’s contemporary Aemilia Lanyer wrote “The Description of Cooke-ham” (1611), part of a published volume of poetry entitled Salve Deus Rex Judaeorum. In the poem she imagines a prominent tree on the estate as the tree of life. An abstract metaphor is envisaged as part of the physical landscape. The motif transforms the estate to sacred terrain, enabling her to claim access to a space she is otherwise excluded from by class and gender. Lanyer links the sap from the tree of life with her writing, seeking to legitimize her claim as a female poet. Such strategies are part of her bid for patronage from the Countess of Cumberland, her primary dedicatee. In another country-house poem, Andrew Marvell’s “Upon Appleton House, to my Lord Fairfax” (1651), the poet creates a forest of the mind in which he explores different aspects of the language of trees. The speaker imagines himself encircled by vines and crucified by thorns, in imitation of Christ as the tree of life, while a fallen oak tree suggests the regicide. He takes on various roles including that of the enigmatic Green Man. I place Marvell’s imagery in the context of the Civil War and the relationship with his employer Lord Fairfax. Marvell’s exploration of arboreal motifs also subjects Christian tree of life imagery to the challenge of its pagan antecedents and reflects anxieties over the natural processes that threaten metaphors of regeneration. Lastly, in Ralph Austen’s A Treatise of Fruit-trees and Spiritual Use of an Orchard (1653), the author blends advice on horticultural practices in growing fruit-trees with religious metaphors. For Austen, gardening is both a physical and a metaphysical pursuit. His readers are expected to plant fruit-trees in orchards that evoke the idea of Christ as the tree of life and related ideas. His use of the motif is part of his advocacy of agricultural and social reform, motivations that were part of those in the circle surrounding Samuel Hartlib. Austen’s text is situated at the end of the English Renaissance and at the beginnings of the Scientific Revolution, when emblematic and symbolic frameworks for interpreting the natural world were subject to new pressures derived from empirical and rationalistic outlooks. What becomes apparent from these works is that tree metaphors were literalized, just as they had been in visual art, and given a new naturalism as they were projected onto landscapes. Symbolic trees merged with botanical trees in imagined landscapes, creating hybrid terrains that were both descriptive and mythical. Recognition of the language of trees in Renaissance culture opens up new readings of both canonical and lesser-known texts and highlights the porous disciplinary border between literature and art. Our historical readings are richer for understanding the potent language of trees. Overall the thesis highlights the importance and cultural preoccupation with trees in European visual and literary traditions.

Thesis (M.A.)--Brigham Young University. Dept. of Art. / Includes bibliographical references (leaves 88-91).

Thesis (M.A.)--Brigham Young University. Dept. of Art. / Electronic thesis. Includes bibliographical references (leaves 88-91). Also available in print ed.

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Through the use of mixed media, I explore imagery that reveals the trauma of returning combat veterans, of which I am one, as we try to reintegrate into a society that does not understand the war that still lingers within us. In my work, I depict emotional disturbances that are related to my personal encounters with war. My working process starts by referencing mainstream media imagery, which I juxtapose against harsh images inspired by veterans' drug and alcohol use, trauma and death. My black-and-white pixelated paintings feature the fragmented memories of a hostile combat environment, and although "Out of My Mind" depicts the chaotic emotions associated with PTSD, my whimsical style of illustration suggests a detachment from reality. Whether we call it shell shock, battle fatigue or PTSD, the war-related disorder is real. I want society to be aware of the hidden scars that our veterans carry with them. I do not anticipate my subject matter changing any time soon.

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Denna kandidatuppsats består av en egen översättning från engelska till svenska av första kapitlet från författaren Jesse Lee Petersons verk From Rage to Responsibility: Black Conservative Jesse Lee Peterson and America Today. Uppsatsen består dessutom av en källtextanalys samt översättningskommentarer som exemplifierar och diskuterar översättarens tillvägagångssätt i att åstadkomma en översättning som uppnår dess syfte. Syftet har primärt varit att överföra källtextinnehållet till måltexten och den djupare förståelse som förmedlas relaterat till ilska, självinsikt, förlåtelse och ansvar, på ett sätt som samtidigt bevarar författarstilen i möjligaste mån. Detta inkluderar en överföring av författarens lättsamma stil och användning av verbala och talspråkliga drag, idiom och kulturreferenser, samt en anpassning av syntax. För att åstadkomma detta har framförallt översättningsteorier och begrepp från Benjamin Walter och Theo Hermans tillämpats under översättningsprocessen och i översättningskommentarerna. / This essay is based on my own translation of the first chapter of author Jesse Lee Peterson’s work From Rage to Responsibility: Black Conservative Jesse Lee Peterson and America Today, in the language pair English to Swedish. The essay also includes a source text analysis, as well as a commentary on my own translation, where the translator’s approach in achieving a target text that accomplishes its aim is discussed and exemplified. The aim has primarily been to transfer the source text’s ideational core to the target text and the deeper understanding that is being conveyed, regarding rage, insight, forgiveness and responsibility, in an equivalent manner which stays faithful to the style of the author, to the extent that is considered possible. This includes the transference of the author’s cultural references, easy going and simple stylistic approach, along with the informal and colloquial language use, as well as a syntactic target language adaptation. To achieve this, the ideas and terms from the translation theorists Benjamin Walter and Theo Hermans have been applied during the translation process and in the commentary.