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Indiana University-Purdue University Indianapolis (IUPUI) / This dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industrial capitalist society. Through his short fiction, Melville exposed self-serving conduct and rationalizations when they masqueraded as civic-minded responses to the needs of the community. Melville was joining a public conversation about philanthropy and civic leadership in an American society that, in its pursuit of private wealth, he believed was losing touch with the democratic and civic ideals on which the nation had been founded. Melville’s objection was not with charitable giving; rather, he objected to its use as a diversion from honest reflection on one’s responsibilities to others.

This thesis argues that, from 1880 to 1935, Syrian immigrants, who comprised an enclave on the Lower West Side of Manhattan in New York City, sought to control the pace and extent of their assimilation into mainstream American society, by distancing themselves from their ethnicity, or by using their ethnicity to their advantage, or by combining both approaches to varying degrees, as they determined individually, rather than monolithically. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Women authors in mid to late nineteenth century American society were unafraid to shed the old domestic ideology and set new examples for women outside of racial and gender spheres. This essay focuses on the ways in which Elizabeth Stoddard's The Morgesons, Louisa May Alcott's Behind a Mask, and Elizabeth Keckley's Behind the Scenes, or, Thirty Years a Slave, and Four Years in the White House represent the function of fashion and attire in literature. Each author encourages readers to examine dress in a way that defies the typical domestic ideology of nineteenth century America. I want my readers to understand the role of fashion in literature as I progress through each work and ultimately show how each female author and protagonist set a new example for womanhood through their fashion choices.

Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).

Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.

This study considers the question of whether immigrant women in the nineteenth and twentieth centuries had similarities in their experiences as immigrants to the United States. Two time periods were examined : the years between 1815 and the Civil War and the years since 1965 . As often as was possible, first- person accounts of immigrant women were used. For the nineteenth century women, these consisted of published letters and diaries and an occasional autobiography. For the contemporary women, published accounts and interviews were used. Twenty- six women from sixteen different countries were interviewed by the author. The interviewees were from a broad spectrum of educational, socioeconomic, and religious backgrounds. The first chapter discusses reasons for emigration, the difficulties of leaving one's home, and the problems of the journey. The second chapter considers some of the problems of adjusting to a new environment, such as adapting to new kinds of food and housing, feelings of isolation, separation from family and friends, language problems, and prejudice. The third chapter deals with family issues. It examines how living in a culture with new freedoms and opportunities affected relationships with husbands and children. Many immigrant women, either by choice or necessity, worked outside the home for the first time after immigrating, which changed a woman's role within the family. This chapter also looks at the difficulty of watching one's children grow up in a culture with different expectations and standards of behavior. The conclusion drawn from this study is that many women who have immigrated to the United States, even those from very different times and situations, have had a surprising number of experiences and emotions in common as part of their immigrant experience

Indiana University-Purdue University Indianapolis (IUPUI) / This study explores the intersection of the developments in the growing advertising, railroad, and automotive sectors of the U.S. economy. It examines the latter two sectors’ advertising to the elite by focusing on how industries that targeted the luxury market used fine art to emphasize and underscore the exceptionalism of that high-end market compared with the mass market. It does so by looking at the transition from using art as a decorative component unrelated to the product to using art specifically designed to advertise a product or experience. In the literature, advertising history has been delineated rather narrowly as the history of advertising to the mass consumer or as the history of advertising a specific type of product. This work broadens the focus in advertising history to show that luxury advertisers, as a sub-category of advertisers, developed particular advertising strategies, which recognized and exploited the relationship between their respective service or product, and a consciously selected audience for their respective advertisements. It shows that high art became a differentiating characteristic of advertising strategies aimed at the social elite market. This work also proposes the need for adding a specific timeline for the development of luxury advertising to the broad, more generally known outline of advertising history.

Indiana University-Purdue University Indianapolis (IUPUI) / As white settlers and pioneers moved westward in the late eighteenth and early nineteenth centuries, some of the first to settle the Indiana territory, near the Ohio border, were members of the Religious Society of Friends (the Quakers). Many of these Quakers focused on social reforms, especially the anti-slavery movement, as they fled the slave-holding states like the Carolinas. Less discussed in Indiana’s history is the impact Quakerism also had in the movement for women’s rights. This case study of two of the founding members of the Indiana Woman’s Rights Association (later to be renamed the Indiana Woman’s Suffrage Association), illuminates the influences of Quakerism on women’s rights. Amanda M. Way (1828-1914) and Mary Frame (Myers) Thomas, M.D. (1816-1888) practiced skills and gained opportunities for organizing a grassroots movement through the Religious Society of Friends. They attained a strong sense of moral grounding, skills for conducting business meetings, and most importantly, developed a confidence in public speaking uncommon for women in the nineteenth century. Quakerism propelled Way and Thomas into action as they assumed early leadership roles in the women’s rights movement. As advocates for greater equality and freedom for women, Way and Thomas leveraged the skills learned from Quakerism into political opportunities, resource mobilization, and the ability to frame their arguments within other ideological contexts (such as temperance, anti-slavery, and education).