John Dewey was America's foremost authority on many of the critical issues in the twentieth century. Dewey dedicated his professional career as an expert on the major branches of philosophy. A neglected aspect of Dewey's philosophy is his writings on historiography, the philosophy of history, and his influence on American historians. Dewey affected several generations of historians from the Progressive historians to the practical realists of today. This study evaluates Dewey's pragmatism as a legitimate strain in American historiography. James Harvey Robinson and Charles Beard claimed Dewey as an influence. Later historians such as Richard Hofstadter and Joyce Appleby insist his methods make for more responsible-minded historians. There is enough material from American historians to assert that Dewey and Deweyan pragmatism influenced and still impacts historians into the twenty-first century.

This thesis examines the history of New England’s dugout canoes – a history that can be traced from 8500 BCE to the twenty-first century. The historical record and archaeological evidence surrounding dugout canoes suggests that the use of dugout canoes changed significantly over time, and that their form varied considerably in different regions of New England. While historians have claimed that these varied forms represent European and colonial influences, I argue that the Eurcolonial influence on dugouts was much more visible in the way the canoes were used than in the shape the vessels took. In addition to analyzing the canoes, this study analyzes the ways in which dugout canoes have been exhibited and interpreted in museums and offer suggestions as to best practices in the interpretation of mishoonash as artifacts of contested cultural attribution.

The purpose of this paper is to present in brief form, far too brief for the wealth of material available, an account of the history of the town of Elko, Nevada. There has been no attempt to include in these pages all the interesting events which are traditional in the gossip of the town. Every effort has been made to include only such material as can be readily verified either by the memories of those still living who remember the events or, in cases where this has bailed or there has been an evident conflict of stories, by resort to the written records. It is fortunate, indeed, that there are so many still living who were present in the early days, especially since the written records are not so complete as might be desired. Because of the limitations of space, the history has been limited to the years 1868-1890.

The intent of this thesis is to analyze obsidian artifacts from Chiquiuitan, Guatemala to see if the samples can be traced to known obsidian sources in the Maya region based on their unique chemical elements. Another aspect of this analysis is to determine the accuracy and validity of the Handheld XRF instrument on small and irregular obsidian samples. Furthermore, sourcing analysis allows researchers to acquire information about trade, exchange, and acquisition patterns of the material and gives researchers indications to prehistoric, social, and economic features.

The following thesis describes the life and activities of Jorge Ricardo Masetti, an Argentinian journalist who was assigned to interview Fidel Castro, leader of the Cuban Revolution against dictator Fulgencio Batista. Masetti was responsible for broadcasting interviews with Fidel Castro and Ernesto “Che” Guevara to the rest of Latin America for the first time, allowing people to understand what was happening in Cuba through the words of the Revolution’s leaders. Masetti returned to Cuba to found the first international Latin American news agency, Prensa Latina, which still exists today. However, ideological factionalism within Prensa Latina drove Masetti to resign in 1961. Afterwards, he worked closely with Che Guevara to foment a guerrilla uprising in the pair’s home country of Argentina, forming a guerrilla army known as the Ejército Guerrillero del Pueblo (EGP). Using the experiences of revolutionaries abroad in places like Cuba and Algeria, the EGP faced several setbacks in their area of operations, the province of Salta, that ultimately led to the group’s demise before their operations had truly begun. Masetti, cornered by the Argentine Gendarmerie, disappeared into the jungle in 1964, never to be seen again. His life illuminates aspects of transnational ideology, namely socialism, and its mosaic nature. His life also reveals facets of the informational and journalistic endeavors in Latin America during the Cold War.

The purpose of this work is to explore the interactions between occultism and scholarly Egyptology from 1875 to 1930. Within this timeframe, numerous esoteric groups formed that centered their ideologies on conceptions of ancient Egyptian knowledge. In order to legitimize their belief systems based on ancient Egyptian wisdom, esotericists attempted to become authoritative figures on Egypt. This process heavily impacted Western intellectualism not only because occult conceptions of Egypt became increasingly popular, but also because esotericists intruded into academia or attempted to overshadow it. In turn, esotericists and Egyptologists both utilized the influx of new information from Egyptological studies to shape their identities, consolidate their ideologies, and maintain authority on the value of ancient Egyptian knowledge. This thesis follows the Egypt-centered developments of the Freemasons, the Golden Dawn, Aleister Crowley's A∴A∴, the Theosophical Society, the Anthroposophical Society, and the Ancient Mystical Order Rosae Crucis to demonstrate that esotericism evolved simultaneously with academia as a body of knowledge. By examining these fraternal occult groups' interactions with Egyptology, it can be better understood how esotericism has affected Western intellectualism, how ideologies form in response to new information, and the effects of becoming an authority on bodies of knowledge (in particular Egyptological knowledge). In turn, embedded in this work is a challenge to those who have downplayed or overlooked the agency of esotericists in shaping the Western intellectual tradition and preserving the legacy of ancient Egypt.

Cette thèse analyse la relation entre la préservation des jardins historiques et l’identité nationale. Pour les français, leurs jardins historiques sont une source de fierté. Cette thèse va analyser comment cette place d’importance dans la narrative nationale peut influencer la préservation des jardins historiques. Les trois sites de Vaux le Vicomte, le Potager du Roi à Versailles, et Champ de Bataille servent de mieux comprendre le rôle de l’histoire dans les efforts de préservation. Vaux le Vicomte illustre l’importance de la préservation sur comment nous percevons les sites historiques. Cette site était en tres mauvais état mais avec beaucoup d’efforts de restauration, il est devenu un des sites les plus visités en France. Le Potager du Roi, sert de démontrer quelles histoires sont préservées. Le Potager du Roi a une histoire très riche et variée. Depuis son origine et jusqu'à aujourd’hui, il y a presque trois-cent ans de changements sur ce paysage. Aujourd’hui, il ne reste plus d’évidence du rôle du potager pendant la révolution, ni de l’héritage d’une famille qui a possédé le site pendant trois générations. Champ de Bataille, est la fantaisie de Jacques Garcia- un designer, architecte, et paysagiste. Sur ce site, il a crée un jardin tout a fait nouveau, mais dans un style « historique. » Pour ses efforts de restauration, son site attire des milliers de visiteurs par an. Ces trois sites sont très différents, et ils illustrent trois façons de préservation et le rôle du nationalisme dans le patrimoine français.

In 2011, following several years of in-country research, I published a book on Lithuanian folk pottery. I enrolled in the Folk Studies master’s program at Western Kentucky University (WKU) in 2014, well after my research and book had been completed. In the present study, I use my newly acquired knowledge of folklore In my previous work to revisit Lithuanian folk pottery. In my previous work, I had sought to create a picture of “authentic” Lithuanian folk pottery that was confined to the narrow temporal borders of 1861-1918. Here I deconstruct conventional ideas about authenticity, as well as culture and heritage, in order to expand my study to three additional periods: the interwar period of independence (1918-1940), the Soviet period (1940-1990), and the post-Soviet period (1990-present). Examining additional epochs of folk pottery production, I search for the commonalities and continuities binding together both objects and makers through seemingly disparate eras marked by dramatic political, social, and economic ruptures. To do this I examine the interconnected roles of political ideology, revised historical narratives, cultural policy, socio-economics, and concepts of cultural identity. Sifting through these various facets of national identity, I ultimately find that it is in the consistent nature of the adaptations that folk potters and artists make to the dramatically changing circumstances where consistent patterns are found. It is in these circumstances that people must survive, as individuals, a culture, and a nation. This study relies upon three central components: My previous research, texts related to folklore and cultural theory, and a wealth of new interviews conducted in Lithuania between September and November of 2015. Utilizing these tools, I move beyond my previous aim of reconstructing a period of history to engaging with art and culture as living, dynamic phenomena that are ever-changing and present but which possess roots in history and tradition.

This dissertation examines a series of nine paintings depicting the battles of Alexander Farnese in Flanders created by the Cuzco School of Painters in eighteenth-century Peru. This research asks why and how paintings depicting sixteenth-century European battles were meaningful in the eighteenth century. Due to an absence of archival documentation on the authorship, production and patronage of the series, the research method is contextual. Starting with a formal and iconographic analysis of the paintings centered on a comparison between the paintings and the engravings upon which they are based, differences in the use of space and the conspicuousness of individual elements representing opposing forces are studied. These issues are then regarded contextually by way of an examination of the visual characteristics of the Cuzco School, the history behind the creation of the original engravings and the political and social circumstances extant at the time of the creation of the paintings. Building on previous scholarship, this research shows that attribution to the Cuzco School of painters is likely correct given the formal qualities of the paintings. It is possible that the stylistic characteristics of the Cuzco School, which became very popular, served as a marker of place within the Empire in colonial America. One of the main contributions of the dissertation is the identification of a seventeenth-century biography of Alexander Farnese, De Bello Bélgico as the book in which the engravings that served as the sources for the paintings were published. These engravings served as the basis for all of the depictions of Alexander in colonial Latin America. Finally, the paintings were created during the reign of the first Bourbon king of Spain and served to foster a sense of continuity at a time of transition. The series would have been meaningful in eighteenth- century Chile due to its militarization, which continued throughout the colonial period. The use of space and the clarity with which opposing forces are depicted in the paintings left no moral, military or political ambiguities regarding the mission of the greater Spanish Empire.

This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.