Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnés of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue.

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Dissertation submitted in fulfilment of the requirements for the Degree of Master of Arts at the University of the Witwatersrand. March 1994. / This research examines the way in which the ideology of difference is reflected in visual images of black people in Britain in the nineteenth century, Concepts of tlie 'other' ar~iocated within specific contemporary socie-celnnal and political contexts. Historically, this was an important period in which theories of human difference proliferated, and which in turn informed diverse and often contradictory social practices. The white English behavioUl' towards, and perspective of, black people in England had a direct bearing not only on life in Britain, but in the colonies as well. The images produced in England were critical to the colonial enterprise. They infomlt:al Briti~h attitudes to Africa and the Empire more generally. Implicit in the analysis of the images is an evaluation of the emergflllce of hegemonic ideas, and the manipulation of power by the ruling class. The beliefs and trends of a society are reflected in its visual arts. The methodology employed aims to bring together analyses of the production of visual representations within a broad chronological and thematic framework, so as to assess the social production of meaning in the images. To do this it is necessary to verify the presence of black people as residents in England. Chapter one addresses this issue as well as determines to what extent the notion of blackness was integral to an early formation of a black !~~creotype. Some of the implications of British participation in the slave trade are also censldered, Images of slaves which are the main focus of chapter two, demonstrate seclo-eultural attitudes of early nlneteanth-centurv English people. Chapter three examines the rise of science and systematic knowlaJge which fed to both technical and popular theorising about racial difference. The congruence between scientific and popular understandings led to the emergence of notions of 'types' and hierarchies of people, which were to dominate ideas and attitudes for decades. Concurrent with the rise of science was the growth of a popular image of a stereotyped blar.k 'other', Chapter four evaluates the. processes through which these images were disseminated in a fast growing popular culture. The inequalities ()f power relations within English society, as manifest in the images, are analyzed. Chapter five considers the ways in which the white male producers of images perceived black women. The contradictions and ambiguities of the visual systems in this chapter point to the complexities of cultural practice, and of artists and producers' particular views on blackness and femaleness. The conclusion summarises the lIIIay in which the coneept of an 'other' has been used in this dissertation. / MT2017

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This thesis investigates the shifting representation of trash and trifles in the literature and art of sixteenth and early seventeenth century England. It connects previously disparate critical fields – religion, politics, national identity, travel, literary criticism – in order to offer new perspectives on the period. The investigation of the terms ‘trash' and ‘trifles' at the centre of this project reinstates a crucial literary perspective to the historical study of early modern England's crises in spiritual and material value, whilst retaining a keen awareness of the importance of interconnected historical contexts ranging from the mercantile to the spiritual and the cultural. I have traced the connected development of the terms trash and trifles across the period 1519-1614, and closely examined their use in response to various crises in value, whether spiritual or mercantile. How writers of polemic and drama develop a language in which to articulate such crises, and the ways in which that language necessarily combines elements of both the spiritual and the mercantile, is a central theme. Key elements of this development are marked by Queen Katherine Parr's invective about the mercantile corruption of spiritual treasure with material papal ‘tryfles'; Sir Thomas Smith's assertion of the spiritual immorality of material ‘trifles'; Thomas Harriot and John White's presentation of the mercantile and spiritual benefit of exporting trash and trifles to the New World; and in the staging of trash and trifles in a series of late sixteenth and early seventeenth century plays which, I argue, were in part designed to mount a defense against anti-theatrical allegations regarding the effeminate valuelessness of playing. This thesis illustrates how the deployment of the terms trash and trifles in early modern England can be productively used to trace the shaping of the Protestant English commonwealth as a destinct, secure and valuable entity in an unstable and increasingly global post-Reformation world.

The early 1920s are generally described as a period of transition for American society. Many forces of change collided to create an unsettled atmosphere that appeared to threaten traditional American ideas and values. After World War I, the United States fostered a climate of anti-Catholicism and nativism out of fear that foreign ideas spelled the demise of traditional American values. These ideas were certainly not new to American culture as anti-Catholic sentiments figured prominently throughout the founding of the nation. During the early 1920s, however, a resurrected Ku Klux Klan promoted itself as the protector of American institutions. It won recruits with an identity as a secret society for white, Anglo-Saxon, Protestant citizens. The organization also exploited the political issues of the day to ingratiate itself within communities across the nation.

Based on archival work in England, Scotland, the United States, Canada and Australia, my dissertation expands the traditional purview of diplomatic history into the international dimensions of the social and cultural realms. My study treats doomed attempts to reconstruct previously-held notions of hierarchy and deference as encapsulated in the Empire Settlement Act (ESA) in the wake of the dramatic changes to the world order resulting from World War I. To counter the emergence of Japan as a world power, under the auspices of the ESA, British Columbia and Western Australia, the two most distant outposts of the “white” British Empire in the Pacific, imported poor Celtic farmers and militiamen from northern Scotland in an attempt to retain their “British” identity, which they felt was threatened by Japan on the one hand, the Japanese in their midst on another, and local “nationalisms” on a third. This dissertation argues that such schemes were undermined by the conflicting priorities of Britain and the Dominions, the tensions between laissez-faire and excessive centralized control, the disconnect between government, capital and labor, the valuations of self-help within highly circumscribed situations, the conflict between the themes of rejuvenation and permanent regression, the fight between an idiosyncratic rural ideal and the reality of the urbanized and industrialized world of the twentieth century, and the inconsistent application of supposedly inviolable Social Darwinist ideals. The birth and death of plans to recruit Hebridean crofters to British Columbia and Western Australia in the 1920s reveals a great deal about the fluidity surrounding concepts of identity and security in a very unstable time. The debates surrounding the status of the Hebridean Scots, especially vis-à-vis their British compatriots and the Japanese, are an extreme window through which the much wider dialogues taking place regarding the status of the British Empire both internally and on the global stage, on the changing role of race as the final determinant of one’s identity and status, and the clashes between the Victorian and the modern ways of defining and conceiving of Empire, can be viewed and debated. / text