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England came to have a nation-wide administrative system for public health in the 1870s. It consisted of the local councils which were designated as sanitary authorities and the Local Government Board (LGB) as the central department. This thesis explores how public health reform was pursued under this administrative system, by tracing the career of Arthur Newsholme (1857-1943), who served as Medical Officer of Health (MOH) for Brighton, 1888-1908, and as Medical Officer to the LGB, 1908-19. The main aim of the thesis is to examine the activities in which Newsholme was involved and his views, in order to consider the development of public health activities, or state medicine, in relation to the traditional notions of government and society in England, that underlay the administrative system such as 'minimal government', , local self-government' or 'voluntarism'. The first half of the thesis deals with public health reform in Brighton during Newsholme's years of office as local MOH. Particular attention is paid to how the scope of public health administration was decided through interactions between the MOH and the local council as a representative body of the community, and to how voluntary efforts were involved in its extension. The second half deals with Newsholme's administrative ideas and activities in the process of, and after, becoming the country's leading health official. By the time of his assumption of office at the LGB, Newsholme envisaged a comprehensive state medical service as the ultimate medical ideal. The thesis examines how he tried to pursue this ideal by means of reconciling it with traditional ideas of government. Special attention is paid to Newsholme's difference from his fellow reformers such as the Webbs and George Newman, particularly in respect of their recognition of the framework of centralllocal relations that underlay the administrative system, and concerning how reforms should or could be proceeded with by means of central bureaucratic initiatives.

The Brighton suburb of Patcham is an area which was transforming rapidly into a suburban housing district in the interwar period. An urban fringe area, where the distinction between the various housing areas is largely explained by the differential ownership and sale of the former agricultural land, and the subsequent development as suburban housing under different developers. The factors bringing about the urban expansion, particularly in relation to Brighton and its growing economy are discussed, as is the declining agricultural economy. A variety of suburban housing types emerged, ranging from army huts and architect-designed detached villas in the early post-World War One period, to large corporate housing developments during the 1930s. This period was one where largely uncontrolled building was taking place outside Brighton municipal control, a situation partly resolved by the extension of borough boundaries in the late 1920s, and the social and legislative factors pertinent to urban housing issues and suburban growth are discussed. This pattern of areal difference is readily discernible in the 21st century where the palimpsest of earlier patterns still influences the later building. The economic situation and the various architectural styles of the interwar are reviewed, as is the postwar development of the district which is described to give the post-World War Two context. Suburbs are more complex than is apparent at first consideration and this study aims to unpick the fabric of suburbia through the case study of a selected area of Patcham setting it all in the wider context of local and national issues. The patterns of building that are recorded for Patcham can be seen to operate across Britain in the same period and serve as an exemplar of wider processes.

Thesis (Ph.D.)--University of Central Florida, 2008. / Adviser: Karla Saari Kitalong. Includes bibliographical references (p. 200-204).

Thesis (MEng) -- University of South Australia, 1997

Thesis (Ph.D.)--Capella University, 2007. / Includes bibliographical references (leaves 124-140).

In this paper I try to inquire into what I find to be similarities between the field of Critical War Studies and the thought of Suzuki Daisetz Taitaro. These two would seem to be near opposites, the former is an academic field of research, the latter a Zen Buddhist thinker. Yet while separated by time, location, and genealogy, they connect in the similarity of the phenomena they research. Through a hermeneutic study of Suzukis thought during the Japanese Empire and contrasting and comparing it to the thought of several social scientists of Critical War Studies, I find an increasing similarity between the Baudrillardian and Suzukian conception of war and fighting as a loss of the subject. From this I posit that even in completely different contexts, the study of the same phenomena may produce very similar theories – something that may impact the how we think of faith versus science.

Through the analysis of photographs of Christchurch men, this thesis will explore and expand the historiography around masculinity in New Zealand. It will argue that how men saw themselves was informed by concepts of power and class, alongside aspects such as physical strength and ideas of manliness. Masculinity was a fluid concept; its interpretation differed across class, race and gender lines. The urban masculine identities found in Christchurch during 1880-1930 demonstrate the complexity of gender construction. They offer another view to that of a New Zealand masculinity steeped in stereotypes of rural, isolated men. Photographs are the central documents within this thesis and the growing field of visual history provides the framework for study. Photograph collections are selected from a variety of sources, including the Canterbury Museum, the Christchurch City Council archives, the Christchurch Club, Christchurch Boys' High School and my own family collection. The selection process centres on presenting collections which offer insight into a variety of settings across Christchurch, and the photographs within this thesis were chosen due to their representation of the collection they came from. Gillian Rose's methodology, which looks at the sites of production, the image, and the audience, shapes the study of the photographs. Read as documents and then situated into the broader contextual understanding of turn of the twentieth century Christchurch, these photographs allow the viewer to read the past with new eyes. This thesis offers a complementary reading of the masculine history of New Zealand. With an analysis influenced by the theoretical underpinnings of gender history, social history and visual history, the photographs show how ideas of masculinity developed in the urban setting of Christchurch. It highlights how ideas of class shaped the power relations of men, how physical settings offered different aspects of masculinity to be portrayed. The relationships between men, as well as those between men and women, demonstrate how masculine ideas were not dictated to by stereotypes, but by a range of at times contradictory imagery.

Recently, researchers have shown enormous interest in the informal sector due to extensive poverty and rising unemployment trend in the South African economy. These problems have worsened in the Port Elizabeth economy, as most entrepreneurs have scaled down their operations or liquidated their businesses due to a structural decline in the manufacturing sector and periodic recessions in the national economy. Undoubtedly, the informal sector has become a reasonable economic alternative as far as income accumulation and employment generation. The present study shows that the informal sector is characterised mainly by self-employment and also the income from this sector has also improved the standard of living of most sampled households in New Brighton and KwaMagxaki. The aim of this thesis, then, is to evaluate the nature, extent, meaning and influence of the informal sector in the Port Elizabeth Black economy. However, this can only be achieved once the informal sector is placed within the appropriate theoretical framework. This is done by comparing and contrasting the different conceptualisations of the informal sector in the literature. In conclusion, the thesis combines the different conceptualisations of the informal sector in the literature with the empirical evidence from the Port Elizabeth townships' informal sector. The important findings of the study are: The informal sector is mainly characterised by distributive activities than productive activities. Women comprised 62% of the informal sector. Economically-active members of the economy are in the informal sector. Education levels in this sector are relatively low. The informal sector is characterised by one-man businesses with few employees who are also family members. There was no trace of migrants in the informal sector. The informal sector is characterised by linkages. Informal income alleviates conditions of poverty. Policies have to implemented for the development of the informal sector. Twenty-three percent of the households in New Brighton were in the informal sector and only 6% in KwaMagxaki. Although, this study focuses in Port Elizabeth, it is the intention that the results presented will provide a broad overview of what the informal sector is.

Cette thèse s’inscrit dans la lignée des récents travaux de réévaluation de l’histoire des études cinématographiques. Son objectif est de réviser la conception actuelle de l’historiographie du cinéma en France de 1896 jusqu’au début des années 1950 en remettant en question la vision homogène du courant historique de l’histoire traditionnelle du cinéma telle que l’ont présentée les tenants de la nouvelle histoire du cinéma. Cette thèse se divise en trois parties. J’expose dans la première mon cadre et mon principal outil d’analyse. Je présente l’opération historiographique telle que définie par Michel de Certeau, soit comme le croisement d’un lieu social marqué par des cadres intellectuels dominants, d’un ensemble de procédures dont l’historien se sert pour sélectionner ses sources et construire les faits, et enfin, d’une écriture qui implique l’élaboration d’un système de relations entre les différents faits construits. Je décris ensuite les courants historiques en France des années 1870 jusqu’au début des années 1950. Ce panorama me permet de mieux identifier les échanges, les emprunts et les enrichissements qui se sont opérés entre l’histoire et l’histoire du cinéma durant cette période. Dans la deuxième partie, je « construis » depuis l’intérieur d’un vaste ensemble de discours d’historiens du cinéma, d’historiens de la culture et de théoriciens du cinéma ce qui deviendra la conception dominante de l’historiographie du cinéma. Je montre qu’elle est élaborée par ceux que plusieurs commentateurs nomment les nouveaux historiens du cinéma et qu’elle se réduit à la succession de deux grands courants historiques : l’histoire traditionnelle et la nouvelle histoire du cinéma. J’expose ensuite comment cet acte de périodisation est instrumentalisé par ceux qui l’effectuent. L’objectif des nouveaux historiens n’est pas d’exhumer la pluralité des écritures de l’histoire du cinéma, mais plutôt de mettre en évidence la rupture qu’ils opèrent au sein de l’historiographie du cinéma. L’examen de la place accordée au dispositif cinématographique Hale’s Tours dans les histoires générales parues avant et après le Congrès de Brighton me permet finalement d’atténuer la rupture entre ces deux courants historiques. Dans la troisième partie, j’engage l’examen de plusieurs manières d’approcher l’histoire du cinéma. J’identifie différentes ruptures dans l’historiographie française du cinéma concernant l’objet historique que les historiens se donnent, les outils conceptuels qu’ils convoquent et leurs relations aux sources qu’ils utilisent. Ces études de cas me permettent au final de témoigner de la richesse de l’historiographie française du cinéma avant le début des années 1950. / This thesis is one of several recent works to re-evaluate the history of film studies. Its goal is to revise the present-day conception of film historiography in France from 1896 to the early 1950s by calling into question the view of traditional film history as homogeneous portrayed by the new film historians. This thesis is divided into three sections. In the first, I describe my tools and analytical framework. I discuss the historiographical operation as it defined by Michel de Certeau, as the three-way encounter of a social space marked by dominant intellectual frameworks, a range of procedures used by historians to select their sources and construct events, and, finally, the writing of history, which involves creating a system of relations between the various events so constructed. I then describe historical currents in France from the 1870s to the early 1950s. This survey enables me to better identify the exchanges, borrowings and enrichments that occurred during this period between history and film history. In the second part, I “construct” from within a vast range of discourses – those of film historians, cultural historians and film theorists – the dominant conception of film historiography. I show that it is created by product of those who are known by many commentators as the new film historians and that it is reduced as the succession of two great historical currents: traditional film history and new film history. I then discuss how this periodisation has been instrumentalised by those who created it. The goal of the new historians is not to bring to light the plurality of writings on film history, but rather to show the break that they have brought about in film historiography. Finally, a discussion of the role accorded to the mode of film exhibition known as Hale’s Tours in general film histories published before and after the Brighton Congress enables me to soften the break between these two historical currents. In the third part, I examine several ways of approaching film history. I identify various breaks in film historiography in France with respect to the historical topic historians adopt, the conceptual tools they call upon and the relations between these historians and the sources they employ. These case studies, finally, enable me to document the wealth of film historiography in France before the early 1950s. / Thèse de doctorat effectuée en cotutelle au Département d’histoire de l’art et d’études cinématographiques de la Faculté des arts et des sciences de l'Université de Montréal et à la Section d’histoire et esthétique du cinéma de la Faculté des lettres de l'Université de Lausanne.