The United Housing Foundation (UHF) was founded in 1972 to provide organizational, administrative, and technical advice to housing cooperatives in British Columbia. The purpose of the Foundation was to promote the success of housing cooperatives through the centralization of the substantial knowledge and skills hitherto scattered throughout many small groups in the cooperative sector. Within three and one-half years UHF grew from a grassroots organization under the auspices of the credit union movement to a government funded bureaucracy capable of producing over 1000 cooperative units annually. UHF's apparent success was marred by a bitter conflict be-UHF and its client cooperatives who charged the organization with elitism, insensitivity, and failure to represent cooperatives and by a provincial review of the Foundation and subsequent withholding of funds. These events led to the final collapse of UHF in February 1976. This thesis investigates the role of UHF and concludes that it was a divisive force in the cooperative movement in this province. It was discovered that the local cooperative movement was severely damaged by UHF's frustration of individual cooperatives' needs, provincial interference in UHF policy, and UHF's less-than-professional technical services. The problems of UHF were found to pertain to a large extent to difficulties inherent in the dual nature of cooperative housing — both economic enterprise and . social movement — and the distinct lack of Cooperation among cooperatives. The main recommendations are for self-financing and, therefore, resource groups representative of the cooperatives served, and for the establishment of several types of resource groups to meet the various needs of different housing cooperatives, a recognition that the field is too diverse to be contained within one group. i / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

Thesis (Ph.D.)--Bowling Green State University, 2008. / Document formatted into pages; contains viii, 256 p. : ill. Includes bibliographical references.

Thesis (Ed.D.)--Teachers College, Columbia University, 1943. / Typescript; issued also on microfilm. Sponsor: Herbert B. Bruner. Dissertation Committee: Josephine L. Rathbone, Ernest G. Osborne. Also in published form: Published by King's Crown Press, 1943 in New York under: LC4533.N4M5. Includes bibliographical references (leaves [117]-120).

Thesis (Ed.D.)--Teachers College, Columbia University, 1996. / Typescript; issued also on microfilm. Sponsor: Mary Boys. Dissertation Committee: Douglas M. Sloan. Includes bibliographical references (leaves 205-215).

Texte remanié de: Diss.--Department of political science--New Haven (Conn.)--Yale university. / Bibliogr. p. 261-284.

The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation's founding. But by 1840, Manhattan's geographical location and great natural harbor had made it America's preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture. This dissertation describes New York City's cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self-conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status. Although cohesive, often overlapping social groups founded and led most elite institutions, important moments of change in leadership in the twentieth century often were precipitated by the breakdown of a social order once restricted to Protestant white males. By the 1920s and 1930s, the old culture of exclusion--of Jews, of women, of ethnic minorities in general--was no longer an accepted assumption, nor was it necessarily good business. In general, institutions that embraced the notion of diversity and adapted to forces of historical change tended to thrive. Those that held fast to the paradigms of the past did not. Typically, when we consider the history and development of such major institutions, the focus often has been on the personalities and plans of the paid directors and curatorial programs. This study, however, redirects some of the attention towards those who created the institutions and hired and fired the leaders. While a common view is that membership on a board was coveted for social status, many persons who led these efforts had little abiding interest in Manhattan's social scene. Rather, they demanded more of their boards and expected their fellow-trustees to participate in more ways than financially. As the twentieth century beckoned, rising diversity in the population mirrored the emerging multiplicity in thought and culture; boards of trustees were hardly exempt from this progression. This dissertation also examines the subtle interplay of the multi-valenced definition of "public" along with the contrasting notion of "private." In the early 1800s, a public institution was not typically government funded, and more often functioned independent of the state, supported by private individuals. "Public," instead, meant for the people. Long before the income tax and charitable deductions for donations, there was a full range of voluntary organizations supported by private contributions in the United States. This dissertation argues that in a privatist spirit, New York elites seized a leadership role, both individually and collectively, to become cultural arbiters for the city and the nation.

Serving as an unfortunate benchmark for the twenty-first century, 9/11 has completely altered society’s perceptions of personal safety, security and social identity, along with provoking intense emotional reactions. One outlet for these resulting emotions has been through art and literature. Five years have since passed and contemporary authors are still struggling to accurately represent that tragic day and its consequent impression. This paper provides an analysis of how the events of 9/11 have been incorporated into adult fiction. Variations of themes related to psychology, interpersonal relationships, political and social perspectives, and heroism were found to be used most frequently among authors.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 265-279). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 265-279). Also available on the Internet.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2006. / Includes abstract. Includes bibliographical references (leaves 333-345).