This dissertation examines U.S.-Cuban cultural exchange around the Cuban revolutions of 1933 and 1959. It argues that the historical period from 1930-1970 represents a critical juncture in global politics, when fascination and dismay for Cuban revolutionary struggles spawned new ideas about art, aesthetics, governance, and jurisprudence as part of new state functions and cosmopolitan publics. Drawing from U.S. and Cuban sources, this project documents the ways in which cultural producers from across the political spectrum used the language of revolution to craft claims about race, class, gender, empire, and nationhood. It explains the fractured relationship following the 1959 revolution by beginning in the 1930s, when narratives of U.S.-led Pan-Americanism splintered and frayed within the broader project of neocolonialism. Cultural expressions--from folksongs and poems to presidential speeches and tourist literature--demonstrate multiple ideological positions and aesthetic forms that reveal a tension between Pan-American camaraderie on the one hand and neocolonial violence on the other. I use poetry, journalism, plays, federal policy, music, and radical literature to illustrate ideas about Cuba that spanned the ideological gamut--from socialist utopia to the tragedy of dictatorship--and their location in the generational transition from the Good Neighbor policy to Cold War containment. In the United States, these two political moments were anchored between the New Deal coalition and rise of the Old Left on the one hand, and the dawning of Kennedy/Johnson liberal internationalism and the New Left on the other. At the same time in Cuba the revolutionary culture industries restructured nationalist narratives and political ambitions based on anti-Yankee opposition, which ultimately ushered in a new Cuban state that self-fashioned itself as a leader of the Third World. I present a case study that reveals how political and cultural vectors operate in multiple directions, creating the overarching conditions that enable "minor" states to exert gravitational pull on superpowers in the production of new local tastes and sensibilities from Harlem to Havana. / text

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The terrorist attacks of September 11, 2001 transformed the way in which Americans and their leaders viewed the world. The tragic events of that day helped give rise to a foreign policy strategy commonly referred to as the “Bush Doctrine.” At the heart of this doctrine lay a series of propositions about the need to foster liberal democracy as the antidote to terrorism. President George W. Bush proclaimed in a variety of addresses that democracy now represented the “single surviving model” of political life to which all people aspired. In the course of making this argument, President Bush seemed to relate his policies to an overarching “teleology” of progress. This discourse implied that the United States might use force to hasten the emergence of liberal norms and institutions in selected states. With a sense of irony, some commentators soon referred to the Bush administration’s position as “Leninist” because of its determination to bring about the so-called “end of history” today. Yet, surprisingly, these critics had little more to add. This thesis is an attempt to assess in greater depth the Bush administration’s claim to comprehend historical eschatology. Developing a concept termed “democratic vanguardism,” this study investigates the idea of liberal modernity, the role of the United States as a force for democracy, and the implications of using military intervention in the service of idealistic ends. It examines disputes among political theorists, public intellectuals and elected statesmen which help to enrich our understanding of the United States’ efforts under President Bush at bending history to its will.

"The purpose of this paper is three-fold: to give a brief sketch of the life of James Daugherty and the development of his art; to summarize the contemporary criticism of his work as to his ability as an author-illustrator for children; and to assemble a bibliography of his contributions to art and literature. The portion concerned with critical analysis has been limited to those books both written and illustrated by Mr. Daugherty"--Introduction. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 49-52).

This thesis shows that because the Poor People’s Campaign was created by and operated within the formal structure of the Southern Christian Leadership Conference (SCLC) - a nonprofit organization - it was unable to achieve success by almost any measure. SCLC’s organizational structure made it extremely difficult to create a national campaign from the ground up, and its leadership strategy guaranteed that it would be virtually impossible to sustain that kind of national campaign.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis shows that because the Poor People’s Campaign was created by and operated within the formal structure of the Southern Christian Leadership Conference (SCLC) - a nonprofit organization - it was unable to achieve success by almost any measure. SCLC’s organizational structure made it extremely difficult to create a national campaign from the ground up, and its leadership strategy guaranteed that it would be virtually impossible to sustain that kind of national campaign.

While most research in King studies focuses on Stephen King’s contribution to the horror genre, this thesis approaches King as a participant in American popular culture, specifically exploring the role the author-protagonist plays in his writing about writing. I have chosen Bourdieu’s theoretical construct of habitus through which to focus my analysis into not only King’s narratives, but also into his non-fiction and paratextual material: forewords, introductions, afterwords, interviews, reviews, articles, editorials and unpublished archival documents. This has facilitated my investigation into the literary field that King participates within, and represents in his fiction, in order to provide insight into his perception of the high/low cultural divide, the autonomous and heteronomous principles of production and the ways in which position-taking within that field might be effected. This approach has resulted in a study that combines the methods of literary analysis and book history; it investigates both the literary construct and the tangible page. King’s part autobiography, part how-to guide, On Writing (2000), illustrates the rewards such an approach yields, by indicating four main ways in which his perception of, and participation in, the literary field manifests: the art/money dialectic, the dangers inherent in producing genre fiction, the representation of art produced according to the heteronomous principle and the relationship between popular culture and the Academy. The texts which form the focus of the case studies in this thesis, The Shining, Misery, The Dark Half, Bag of Bones and Lisey’s Story demonstrate that there exists a dramatisation of King’s habitus at the level of the narrative which is centred on the figure of the author-protagonist. I argue that the actions of the characters Jack Torrance, Paul Sheldon, Thad Beaumont, Mike Noonan and Scott Landon, and the situations they find themselves in, offer an expression of King’s perception of the literary field, an expression which benefits from being situated within the context of his paratextually articulated pronouncements of authorship, publication and cultural production.

the decades after World War II the United States became the most prosperous nation in the world. Yet, that prosperity and growth had a negative impact on the environmental quality of the nation. By the mid 1960s there was a rise in concern over environmental issues in the American public. Consequently, President Richard M. Nixon in his determination to give the American people what they sought decided to enact policies to bring the environmental crisis to an end. Among the environmental policies of the Nixon Administration was the Clean Air Act of 1970, a highly controversial piece of legislation that placed tough regulations on the automobile industry. Due to the significant role of the auto industry in the American economy, and Nixon's concerns over reelection, there were two major shifts in business/government relations during this era. The first one was characterized by determination to protect the environment with little attention to complaints from the industry. The second one was about protecting the profitability of the industry while giving little attention to environmental problems. / by Erwin Mauricio Escobar. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

The lyrics of Sammy Cahn played a dominant role in shaping the Golden Age of American light music. He remains the most successful lyricist in cinema history, in terms of Academy Awards and Nominations, yet he has received little acclaim for his achievements. This thesis explores the diverse constituents of his creative genius, focusing on his ability to “romance the vernacular”, and write “bespoke” material on request. The argument follows a chronological path, tracing the major influences on Cahn’s life: vaudeville and musical theatre, the growth of the film industry, and the collaborators and performers who helped him achieve a level of mastery that he sustained for nearly fifty years. Particular emphasis is placed on his relationship with Frank Sinatra, on both a personal and professional level. Cahn had an acute awareness of the human condition and his ability to convey a range of emotions to match mood and moment displayed consummate craft and intellect, with a self-confidence that bordered on bravado. His contemporaries in the Golden Age of popular song have received due recognition, yet little has been written about Cahn, whose appreciation of the interaction between spontaneity and creativity remains unsurpassed by fellow lyricists. He had an intuitive understanding of the vernacular and an instinctive ability to write to order. The imagistic texture of the lyrics coupled with the prosodic intonation demonstrate an intimate correlation between personality and composition which is supported by biographical content. The argument, augmented by an audio-documentary, develops systematically through a study of the lyrics, focusing on the cultural and musicological significance of Cahn’s oeuvre. The material for both the written text and the two accompanying CDs are from personal archives and the Margaret Herrick Library in Los Angeles, which is the repository for the Sammy Cahn Collection, bequeathed to that institution after the death of Cahn in 1993. / English Studies / D. Litt. et Phil. (English)

In their shared goal of communicating left-wing principles to children through music, Marc Blitzstein's Worker's Kids of the World (1935), Aaron Copland's The Second Hurricane (1937), and Alex North's The Hither and Thither of Danny Dither (1941) exhibit a fundamental unity of purpose that binds them both to each other and to the extensive leftist pedagogical efforts of their time. By observing the parallel relationship among these three children's works and contemporary youth organizations, summer camps, and children's literature, their cultural objectives and stylistic idiosyncrasies emerge as expressions of a continuously evolving educational tradition. Whereas Worker's Kids comes out of the revolutionary Communist aesthetics of the Composers' Collective and the militant activism of The Young Pioneers, The Second Hurricane and Danny Dither reflect the increasingly accommodating educational efforts of the American Popular Front.