The allotments scheme was a complex and diverse social, political, and economic movement that provided the labouring classes with small plots of land, usually no larger than one-eighth of an acre, on which to grow vegetables. From the late nineteenth century to the end of the First World War in 1918, the East End of London experienced an overwhelming increase in allotment cultivation and provision. Working-class men in the boroughs of Hackney, Poplar, East Ham, and West Ham participated in the allotments scheme for a variety of reasons. Allotments were places in which a working man could grow his own food with his familys help to supplement low, casual or seasonal wages, and his gardening kept him out of the pub and on the land. During the war period, food prices increased to intolerable levels in the East End so that the allotment was one of the few ways to reasonably feed the family, especially for the casual dockers. East Enders maintained personal and collective connections to the land that they had lost both through the Enclosure Acts of the eighteenth and nineteenth centuries and the urban sprawl of the early twentieth century. Finally, allotment gardening provided the healthy leisure activities of exercise, horticultural education, and civic participation. </p><p>The allotment was embedded in a social ethic that espoused industriousness, sobriety, respectability, and independence and in this way was a middle class solution to a working class problem. Yet, working men adopted the scheme as their own with enthusiasm and dedication and created natural spaces in the degraded landscape of the East End. By 1916, with the passage of the Cultivation of Lands Order, the East End boasted thousands of allotments growing vegetables on Londons vacant lots largely due to the persistent demands of residents on their local borough councils. The allotment association provided East End men with an unparalleled opportunity for grassroots political participation and gave way to a marked increase in working-class political awareness during the period. East Enders gained a foothold in local, regional, metropolitan, and later national politics for the first time in decades. The allotment in the East End also significantly changed the environment in which it was situated. The green space improved the esthetic of the area, adding to the general well-being of all of the boroughs citizens. East End allotments brought life to an area that many believed was lifeless. Not only did working men prove they could bring their sooty surroundings to life, but that they could also bring back to life the long-latent self-sufficiency of their ancestors. They were attracted to the scheme at a higher rate than many of the other 28 London boroughs because of their poverty, their maintained connection to green space, their cultural and political interest in land, and their profound sense of the loss of the land and the independence it brought.

Texte remanié de: Mémoire de DEA--Histoire--Paris--Institut d'études politiques, 2004. / En appendice, choix de documents. Bibliogr. p. 245-252.

Title from first page of PDF document. Includes bibliographical references (p. 43-45).

Thesis (Ph. D.)--University of Chicago, Department of English Language and Literature, 2001. / Includes bibliographical references. Also available on the Internet.

This dissertation examines Jack London’s The Call of the Wild (1903) from a business organization perspective. The novel has long been read as a Naturalistic work with primitiveness and virility at its core. However, this study focuses on London’s presentation of the environment of dog-sledding in the Klondike, into which the dog Buck, his main character, is thrown, as not only primitive but also distinguished by complex organizational characteristics. The novel traces Buck's experiences with several groups of masters, each exhibiting a different leadership style. Buck begins as a mere “hand” in his organization, but he fights for leadership and eventually proves his excellence by rising to the leader position among the team. Although Jack London was never an organization man, his experience as a literary businessman and his previous experience as a manual laborer helped him capture the zeitgeist of a time when Americans experienced the peak of industrialization and, as a result, the ever increasing influence of business and business organizations in American society. London is one of the originators of a genre that might be referred to as business fiction. Two theories of Organizational Behavior, which is a field in the academic discipline of Management, were used for this study: David C. McClelland’s Achievement Motivation Theory and Robert J. House’s Path-Goal Leader Effectiveness Theory. Using McClelland’s theory, this study found that Buck has a high need for Achievement, and his high achievement motivation is contrasted with that of the other characters—both human and canine. Buck’s character in the novel is close to that of an entrepreneur as defined by McClelland, and thus the novel can be read as a story of a businessman who rises to become CEO owing to exceptional abilities as a business leader. In addition, this study applies House’s theory in evaluating the impact of the various leadership styles of human masters on the behavior and performance of subordinate members of their dog teams. The results of this case study of The Call of the Wild suggest the possibility of applying Organizational Behavior theories to interpreting other late nineteenth- and early twentieth-century fictions. / text

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In this thesis, the author draws upon data collected through in-depth interviews with twelve social justice activists and organizers in London, UK and Austin, TX to look at contemporary practices of feminist antiracist social justice work. Informed by the Civil Rights, feminist and antiracist social movements of 1960s and 70s, activists and organizers in the United States continue to build upon theoretical understandings of intersecting systems of oppression to build new practices of community and racial justice. / text

By employing the theory of Imagology, this work examines four literature workswritten in overseas study movements in modern Chinese history: Wang Tao's shortstories in Songyin Manlu, Lao She's The Two Mas, Bai Xianyong's A Death in Chicagoand Zhou Li's Manhattan's Chinese Lady. While tracing how Chinese intellectuals workthrough the dichotomy of China/West and Tradition /Modernity, this study alsoendeavors to reveal theoretical issues arising from inter-cultural communication andrepresentation. It argues that the literary projection of the west manifests a complex senseof the Chinese self primarily due to the portrayals of western cities and westerners as anembodiment of Chinese understandings of western modernity at different periods. In theLate Qing, the depiction of London in Songyin Manlu only focuses on gunboats, cannons,museums, and factories, because western modernity for the Chinese at the time wassignified by the mighty weaponry of British navy and advanced technology. In the 1920s,however, the portrayal of London in The Two Mas shifts to reveal how Londoners'lifestyle and culture make Britain the most powerful nation in the world, as the Chineseintellectuals advocated the westernization of Chinese culture in order to strengthen China.In the 1960s, the Chinese protagonist Wu Hanhun in A Death of Chicago feels estrangedand sexually seduced in Chicago, subsequently loses his sense of purpose in life andeventually commits suicide, the depiction of which is consistent with similar themes inwestern modernist literature. This is due to the fact that the modernist movement thrivedin Taiwan in the 1960s, and as such, had a large impact on Taiwanese writers. The 1990seraManhattan's Chinese Lady displays spectacles of America's wealth on the FifthAvenue in Manhattan, as common Chinese strive for becoming rich in contemporaryChina owing to the Chinese government's promotion of market reform after 40 years ofpoverty in socialist China. The study concludes that regardless of whether or not theimages of the west presented in Chinese discourse are idealizations, demonizations, orother related cultural determinations, they all manifest a type of anxiety in regard to theChinese Self.

Planning has evolved from being viewed as a discipline that can be quite technical toone of humanistic and social reproach. Collaborative planning within this same reference claims to be all-inclusive with collaborative planning theorists believing that community forms of planning offer a progressive way forward since they incorporate public participation in the planning issues they face. Public participation is defined by the World Bank as an active process by which beneficiary groups influence the direction and execution of a development project, with a view to enhance their well-being in terms of income, personal growth, self reliance and other values they cherish. Duncan Village is one of the largest and most dense shack settlements' in the Eastern Cape. An Urban Renewal Programme that later became known as the Duncan Village Redevelopment Initiative (DVRI), was designated for the area with the aim of upgrading and were necessary redeveloping section of the township that were hazardous to human settlement. The Flood Line Pilot Project is a sub-section to the overall DVRI with the aim of moving resident living along the Umzonyana River banks within the 1:100 year flood line and experiencing major flood and fire disasters and relocating them while at the same time redeveloping the area as open, green and environmentally friendly space. Public participation models and approaches are being assessed within the flood line pilot to illustrate whether within the planning phase, were one would initially argue for public participation, residents became participants and owners ofthe projects or merely passive receivers of information concerning their areas. / Thesis (M.A.)-University of KwaZulu-Natal, 2007.

This Thesis is concerned with how history is narrated in two selected works by the British artists, Tacita Dean and Jeremy Deller. Chapter one considers Deller's The Battle of Orgreave (2001), a reenactment of a violent miners' strike against Margaret Thatcher's government in 1984-1985. The reenactment brought together reenactment hobbyist and ex-miners to perform the events at Orgreave and created a discourse around the imagined historical role of the working classes. Chapter two examines Dean's book Teignmouth Electron (1999), which recounts the failed voyage of Donald Crowhurst, one of the contestants of the 1967 Golden Globe Race who committed suicide after developing 'time-madness' at sea. She offers the history of this individual as a point of entry into middle-class aspirations in England in the 1960s. Produced at the turn of the 21st century when Britain's New Labour government was instigating an image of a New Britain to match its bygone glory, both works look back to moments in the past that epitomize the decline of the country's old order. Unearthing instances of failure and defeat, each artist offers an alternative glance at Britain's past and present condition than the one promoted by New Labour.