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Mongols in Northern China fear the end of a distinct cultural identity. Until the late 19th century, cultural differences between Mongols and Han could be seen through differences in each group's traditional way of life. Mongols were nomadic pastoralists. Han were sedentary farmers. Recent economic development, rapid urbanization, and assimilation policies have threatened Mongolian cultural identity. In response to this cultural identity anxiety, Mongols in Inner Mongolia have looked for ways to express their distinct cultural identity. This dissertation analyzes three case studies derived from material cultural productions that represent Mongolian cultural identity. These include pastoralism, the use of Genghis Khan, and the Mongolian language. The analyses of different material cultural artifacts and the application of cultural and political theory come together in this dissertation to demonstrate how Mongolian cultural identity is reimagined through representation. In this dissertation, I also demonstrate how these reimagined identities construct and maintain ethnic boundaries which prevent the total absorption of a distinct Mongolian identity. / Ph. D.

In this thesis, I argue that at least some animals have the sort of intentionality philosophers traditionally have only ascribed to humans. I argue for this through the examination of tool-use among New Caledonian crows and Bottlenose dolphins. New Caledonian crows demonstrate advanced tool-manufacture and standardization, while Bottlenose dolphins use social learning to a much greater degree than other animals. These two case studies fit nicely with many of the non-linguistic accounts of intentionality employed by philosophers. This thesis is aimed at showing that our basic philosophical concept of intentionality leaves room for intentional behavior on the part of non-human animals. Descriptions of human behavior are often contrasted with that of "lower" animals. Many have taken rationality as the characteristic that separates us from animals, and our notions about the superiority of humans have been passed down through theology and philosophy. From Plato onward, philosophers have created divisions that put humanity in a special position relative to all other creatures. Neglecting a careful analysis of animal behavior in making these divisions does a disservice not only to the animals themselves, but also to humans. This thesis is an attempt to start pulling a thread of the discussion about the specialness of humans out for examination. Specifically, I examine the case of intentionality in the framework of the tool-related behaviors of crows and dolphins. / Master of Arts

Master of Arts / This thesis suggests how studying material culture can yield important insight into the lives of 18th-century craftswomen in scholarship and at public history sites, where they have historically been minimally interpreted. Objects and their physical features reveal important insights that go beyond existing written records, especially for populations that have been excluded from or misrepresented in historical records. This research utilizes The Virginia Gazette, a newspaper produced by Clementina Rind before the Revolutionary War, to show her involvement in early American discussions and events. It also addresses how material culture can be used to teach visitors about the 18th-century women who labored in other non-domestic trades, including blacksmiths, bookbinders, silversmiths, and carpenters. Applying these methods can help scholars and public history audiences think more critically about diverse perspectives within and contributions to early American history.

Halloween arrived in the United States in the mid-nineteenth century with the surge in immigration from the British Isles — especially Ireland. However, the folk holiday did not gain widespread attention until the late 1870s and 1880s when descriptive pieces containing both accounts of Halloween's long history increasingly appeared in some newspapers and periodicals. Over the next couple decades, these descriptive pieces became more prescriptive, instructing women how to throw a "proper" Halloween party; what food to serve, games to play, and atmosphere to evoke. By the turn of the twentieth century and up through the 1920s, the middle-to-upper class — specifically women — adopted the holiday all across the country and characterized it with parties, decorative displays, and the propagation of literature, imagery, and ephemera. Since Halloween had existed as an ethnic folk tradition in America for several decades, why and how did this particular group of Americans adopt — and adapt — Halloween to meet their needs? Which Halloween traditions did they retain and how did they shape the holiday for their own purposes? Finally, how did this particular celebration of Halloween reflect the interplay of certain values among these celebrants through literature, imagery, and ephemera? This study of Halloween asks what the celebration of holidays and rituals can tell us about the culture in which they are celebrated. By employing a method which gives equal weight to historical context, audience, and imagery, we gain valuable insight about the stratum of American society which made Halloween an American tradition. / Master of Arts / Until the late nineteenth century, Halloween in the United States amounted to barely anything more than a couple informational inches of column space in October newspapers. By the 1920s, however, full-page advice pieces for Halloween parties and advertisements for themed costumes, decorations, and food were not only in newspapers, but magazines and catalogs as well. Overwhelmingly thanks to white, middle-to-upper-class women, Halloween had transformed from a foreign, ethnic folk holiday of Ireland and the British Isles to an annual, widespread American tradition. These people embraced Halloween as an occasion to both celebrate the imagined simplicity of a shared ancestral past and take advantage of the modern industrial and commercial boom that would fuel the mass production of Halloween-themed goods and novelties. This thesis examines newspapers, magazines, postcards, and a line of holiday catalogs to show how the text and imagery of Halloween products successfully integrated conflicting values and secured the holiday a place in the American seasonal canon.

Ce travail s’intéresse à l’esthétique des objets et des choses dans l’oeuvre poétique de Derek Mahon. On constate en effet une véritable prolifération des objets dans ses poèmes, dont l’importance est telle qu’ils monopolisent la parole poétique au point de voler la parole au poète lui-même, et de devenir les sujets lyriques du poème, comme dans « The Apotheosis of Tins » ou « The Drawing Board ». Les objets deviennent la synecdoque du Je poétique, et reflètent les ambiguïtés de leur créateur, notamment vis-à-vis de l’Histoire et du conflit nord-irlandais, conflit qui selon les termes de Mahon lui-même, a eu pour conséquence de provoquer, dans son oeuvre, ce qu’il nomme une « aphasie coloniale ».Les objets seraient-ils alors pour le poète un moyen détourné d’exprimer une parole poétique qu’il se refuse à assumer ? Le recours à la parole des objets aurait alors une vertu thérapeutique, et permettrait au poète de surmonter le traumatisme du conflit nord-irlandais qu’incarnent les Troubles, ainsi que de se libérer de l’emprise de son milieu protestant nord-irlandais, afin d’élaborer une poétique des objets qui lui serait propre. En nous appuyant sur des ouvrages des material culture studies, nous verrons comment Mahon tente de s’extraire d’objets qui lui semblent trop « étiquettés ». Nous étudierons notamment le rapport de Mahon aux déchets ou disjecta, qui représentent la pierre angulaire de sa nouvelle classification poétique des objets. Il faut également distinguer chez Mahon les objets des choses, auxquelles il attribue une valeur différente. Nous tentons d’établir, à travers une perspective à la fois philosophique, esthétique et économique, comment Mahon choisit de ne pas faire coïncider la valeur économique et la valeur esthétique d’un objet, par un double procédé de réévaluation puis de recyclage poétique de l’objet en chose.C’est le statut problématique de l’objet et de la nouvelle dimension que Mahon lui attribue dans son oeuvre poétique que nous nous proposons d’étudier. / This thesis explores the aesthetics of objects and things in the poetic works of Derek Mahon. We cannot but be struck by the impressive array of objects in his poems, where they seem to literally monopolize the poetic voice, and almost steal the poet’s firmly established position. Objects in Mahon’s poetry become the true lyrical “I” of the poem, as in “The Apotheosis of Tins” or “The Drawing Board”. Objects are considered as the mouthpiece for the poet’s own preoccupations and ambiguities, especially apropos his attitude towards History and the Troubles in Northern Ireland (this conflict has even provoked on Mahon’s part what he calls a “colonial aphasia” syndrome).We might then assume that objects represent a disguised opportunity for the poet to express his own thoughts about the conflict, but also about other issues as well, economic as well as environmental. Speaking through objects might then enable the poet to overcome his trauma due to the conflict, as well as liberate himself from his own Protestant Northern Irish milieu, in order to conceive his own aesthetics of objects, and even an Aesthetics of Trash, as Hugh Haughton has called it. Thanks to some recent writings in the field of material culture studies, we will endeavour to study how Mahon is actually trying to escape in his poetry from “(Northern) Irish objects”, and how he finds in beckettian disjecta or rubbish the possibility of freedom, as well as the possibility of a new, post-human world. We will also seek to distinguish between objects and things, which Mahon values differently. We shall try to demonstrate, by using a philosophical, but also an economic and aesthetical perspective, how Mahon chooses to differentiate between the economic and the aesthetical value of an object, by reevaluating it before recycling it, opening the possibility of the transformation of the object into the thing.It is the problematical status of the object and the new dimension that Mahon allows it to take that we intend to study in this thesis.

This is a study of the material culture of Surry County, Virginia for the years 1690 to 1715, based on an analysis of 221 probate inventories. The inventories were divided by decades and then ranked by total appraised value. The bottom 30%, lower middle 30, upper middle 30% and the top 10% are described and changes over time examined. The picture of Surry that emerges is that of a poor county which was, nevertheless, a place of opportunity for the poorer sections of society. The bottom 60% of Surry's residents profited from the brief boom in the tobacco market (1696- 1702) and were, as a group, wealthier by the middle of the second decade of the eighteenth century than they had been in the 1690s. The top 40%, on the other hand lost ground economically.

Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2009. / Includes bibliographical references.