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Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient. / This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.

The main focus of this diploma thesis is Jiří Kotalík, his relationship with the United States of America and projects in which he participated as the director of the National Gallery in Prague. To understand projects, it was necessary to clarify the broader circumstances, especially the relationship of the Czechoslovak Socialist Republic to the United States of America and the cultural policy of both states. Therefore, the time frame was extended, both in the historical introduction and the first exhibition of American art in Czechoslovakia in 1947. It was also necessary to put into context the purpose for which large traveling exhibitions and other US cultural projects were organized and what reception they caused in the Czechoslovak Socialist Republic. The six largest exhibitions of American art, which took place in the Czechoslovak Socialist Republic in the years 1967-1990, were selected as a sample. In the end, other forms of cooperation of the National Gallery, respectively Jiří Kotalík with American institutions were indicated but also other forms of promotion of Czechoslovak art in the United States of America were indicated. Key words: Jiří Kotalík, National Gallery in Prague, Czechoslovak Socialist Republic, USA, Thomas Messer, Solomon R. Guggenheim Museum, propaganda, cultural policy,...

For over two hundred years, historians have debated the historical importance of early Tennessee migrants in shaping the state’s history. These discussions center around North Carolina's impact compared to Virginia's. By shifting discourse to the retention of migrant mentalities, the overwhelming influence of Virginia emerges through the continuity of privilege and commodification schemata. This study employs an interdisciplinary methodological approach combining schema theory, memory studies, and material culture analysis to outline the retention of mentalities from Tidewater, Virginia, to East Tennessee during the early settlement period. By utilizing the case study of John Carter of Watauga (1728-1781), the research illustrates how Virginian origins shaped settlers’ perceptions of privilege through inheritance, ordered society, and models of success, as well as commodification through ownership, resource extraction, and speculation. Findings reveal that Virginian mental frameworks were foundational paradigms, guiding settlers’ actions and perpetuating hierarchical structures within Tennessee society. Despite the opportunity for deviation that migration and community establishment provided, elite settlers chose to assimilate and reestablish the dominant position of Virginian schemata within their new environment. The persistence of Virginian schemata in Tennessee informs broader questions of identity formation, migrant nostalgia, and the enduring legacy of colonial mentalities in shaping American history.

Il presente lavoro intende esaminare il processo di decision making relativo alla politica sociale statunitense sviluppatosi a partire dalla fine degli anni Sessanta, fornendo un’analisi di carattere «istituzionalista» che ponga in rilievo gli snodi cruciali del dibattito relativo al welfare system federale svoltosi sia all’interno del Congresso, sia presso i think tank, i centri universitari, le organizzazioni culturali e religiose, le lobby e le altre realtà associative emerse dalla società civile. In particolare, la ricerca si concentra sull’intreccio tra ideologia politica, mentalità tradizionale, opinione pubblica e interessi specifici, e sull’influsso esercitato dalla dimensione culturale e istituzionale sul processo legislativo. Sono stati individuati quattro principali indirizzi socio-politici, ciascuno dei quali ha avuto un particolare influsso su altrettante ‘fasi’ del processo di riforma del welfare system statunitense svoltosi tra il 1968 e il 2006. L’analisi del dibattito culturale e politico è stata suddivisa pertanto in quattro diversi capitoli (capp. 2-5) che consentono di delineare percorsi distinti per le diverse ipotesi socio-culturali individuate, ai quali viene anteposta una premessa storica relativa alle origini del sistema assistenziale e previdenziale statunitense e alle politiche riformiste degli anni Sessanta (cap. 1). / The dissertation examines the process of decision making that determined the development of U.S. social policy from the end of the Sixties. It analyzes the institutional character of the debate that took place inside the Congress and inside the think tanks, the academic centers, the cultural and religious foundations and other associations. In particular, the research is focused on the tangle between political ideologies, traditional culture, public opinion and legislative process. The dissertation identifies four different socio-political streams: each of them influenced a particular “phase” of the reform of the U.S. welfare system from 1968 up to 2006. The analysis of the cultural and political debate has been divided in four chapters (chapters 2-5) that allow to delineate different developments for the four streams, after an historical premise (chapter 1) that presents the origins of American welfare system, from the colonial times to the Sixties.

At the start of the George H.W. Bush administration, American involvement in El Salvador‘s civil war, one of the last Cold War battlegrounds, had disappeared from the foreign policy agenda. However, two events in November 1989 shattered the bipartisan consensus on US policy toward El Salvador: the failure of the FMLN‘s largest military offensive of the war and the murder of six Jesuit priests, their housekeeper, and her daughter by the Salvadoran military, the FAES. Despite more than one billion dollars in US military assistance, the war had stalemated, promoting both sides to seek a negotiated political settlement mediated by the United Nations. The Jesuit murders demonstrated the failure of the policy of promoting respect for democracy and human rights and revived the debate in Congress over US aid to El Salvador. This thesis argues that the Bush administration sought to remove the burden of El Salvador from its foreign policy agenda by actively pushing for the investigation and prosecution of the Jesuit case and fully supporting the UN-mediated peace process. Using recently declassified government documents from the George Bush Presidential Library, this thesis will examine how the Bush administration fundamentally changed US policy toward El Salvador. Administration officials carried out an unprecedented campaign to pressure the FAES to investigate the Jesuit murders and bring the killers to justice while simultaneously attempting to prevent Congress from cutting American military assistance. The Bush administration changed the objective of its El Salvador policy from military victory over the guerrillas to a negotiated political settlement. The US facilitated the peace process by pressuring the Salvadoran government and the FMLN to negotiate in good faith and accept compromises. When both sides signed a comprehensive peace agreement on January 16, 1992, the burden of El Salvador was lifted.

This thesis deals with the elaboration of The Permanent Magnet Synchronous Motor and the calculation of its parameters. In the first part, the construction and used permanent magnets of this motor are listed here. The next part of the thesis contains a short overview of the stator windings, the calculation of the winding factors and calculation of the basic parameters of the stator winding. The calculation of the magnetic induction in the air gap is also illustrated here. The result is recalculated by using the Carter factor and then the value of the first harmonics of air-gap flux density is determined. The result is compared with the analysis in the program FEMM. The next part of the thesis is creating a comprehensive overview of the machine using a replacement circuit diagram and phasor diagrams. Finally, the thesis contains model created in RMxprt and ANSYS Maxwell. The results of the model analysis are compared with the analytical calculation

Jazz music is transmitted by aural and oral means. As recording and broadcast mediums became increasingly ubiquitous, starting in the mid twentieth-century, an ever greater proportion of jazz’s aural transmission would be mediated by these developing technologies. Many commentators address sound’s mediation from one state to another by identifying the resulting recording as an object. This object transcends temporal and spacial proximity, possessing inherent authority with implications for authorship, related work-concepts, and even issues of cultural assimilation. From a perspective informed by writings in musicology, philosophy, and sound studies, I examine recorded jazz music from the twentieth-century. I begin by positioning the history of jazz music in relation to the emergence of recording technologies to establish recordings as authoritative texts. I then translate (by transcription) primarily non-literate jazz recordings into the primarily literate discourse of musicology. In the course of examining music by James Moody, Eddie Jefferson, Bud Powell, Chick Corea, and others, I conclude that they all exemplify musical intertextuality. In some cases, technological mediation connects the texts. I then turn to an examination of recordings specifically. I begin by questioning musical notation as an adequate description of sound and move to developing a broader analytical framework. This thesis culminates with a comparison of Bud Powell’s 1949 recording of Bouncin’ With Bud and Chick Corea’s 1997 recording. Using the framework mentioned, disparate potentialities afforded by each recording’s mediation are connected to musical characteristics. / Graduate

<i> History Will Be My Judge: A Cultural Examination of America's Racial Tensions Presented Through the Symbolization of Booker T. Washington</i> is an interdisciplinary study about the emergence of Booker T. Washington as a black cultural hero. By the turn of the twentieth century, Washington had become the most prominent African American educator, economic reformer, entrepreneur, and race leader in the United States. He is most recognized as the founder of Tuskegee Institute (now University) and his highly acclaimed autobiography, <i>Up From Slavery</i>, which recounts his life growing up enslaved to becoming an international icon. Since his death in 1915, several monuments, memorials, landmarks, and commemorative tributes have been established in his honor. During the 1940s, Washington became the first African American pictured on the United States postage stamp and minted silver half-dollar. Additionally, he was spotlighted in a series of media campaigns called "Famous American Firsts," and was the first African American inducted into the Hall of Fame for Great Americans. Moreover, amidst the presidential transition between Barack Obama and Donald Trump, black popular media has alluded to Washington's economic philosophy through music videos, documentaries, and television programs. I argue that each of these posthumous commemorations belong to larger social justice movements, namely, the Civil Rights movement and Black Lives Matter movement. Throughout these eras, Washington's legacy has served to counter white supremacy and symbolize the rise of integration, the black middle class, economic justice, black self-made, black education, and the legacy of slavery.<div> The purpose of this study is to examine how during periods of racial unrest, African Americans leverage Booker T. Washington's image to counter racist stereotypes and reaffirm black citizenship. The primary framework applied in this study is William L. Van Deburg's theory of the <i>black cultural hero. </i>Two emergent theories from this research are my developing frameworks called <i>Black Hustle Theory</i> and <i>nostalgic tension</i>. Using literary and visual analysis, I assess historical archives from popular press, black literature, American memorabilia, and black popular culture to examine Washington's commemorative legacy through a black radical lens. Specifically, I explore how the following four people have connected Washington's legacy to the Civil Rights movement and Black Lives Matter movement: Major Richard Robert Wright, Sr., founder of Savannah State University; Langston Hughes, famed Harlem Renaissance poet and author; Stanley Nelson, award-winning producer; and, Beyonce Knowles-Carter, singer and pop mogul. I put Washington's legacy in conversation with each of these cultural producers to simulate a call-and-response between his lifework and the generations after him.<br><div><br></div></div>

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