The purpose of this capstone project is to tell a place-based story about an often forgotten part of campus: the Wash. Beginning as a likely Tongvan campsite, the Wash, after donation to Pomona College as “Blanchard Park” underwent a series of land-use changes. Originally, a designated green space, its present-day composition includes athletic fields, the organic farm and the historic remnant oak grove. Throughout time the value of the Wash changed with its differing caretakers and inhabitants. To bring attention to this evolving landscape and to inform more sustainable and equitable land use in the future, our project aims to acknowledge past narratives about this place, take stock of its present ecological significance and recommend best practices going forward. We accomplished this by putting together a history of the Wash using indigenous knowledge, archival information, biological surveys and GIS.

Este projeto pretende analisar a produção humorística de Millôr Fernandes na revista Veja entre os anos de 1968 e 1982. A partir da interpretação desse material, apontar novos subsídios para futuras pesquisas sobre humor e história cultural durante a última ditadura brasileira. / This project aims to analyze the humorous production of Millôr Fernandes in Veja magazine between 1968 and 1982. The proposal is from the interpretation of this material to point new subsidies for future research on humor and cultural history during the last Brazilian dictatorship.

The fin de siècle was a time of change in nationalism, culture, art, science and religion. Nations and groups grew into defining themselves through movements such as Arts and Crafts and Art Nouveau. Some groups sought to define themselves through reviving aspects of their old cultures as inspiration. For instance, Finland found inspiration in the Kalavala and William Morris inspired Arts and Crafts through England’s Middle Ages. Scotland had many pasts to choose from for inspiration. Patrick Geddes found inspiration in its Celtic past. Geddes is best known for his work as a town planner and sociologist, but has been under-valued for his work as the leader of the 1890s cultural movement in Edinburgh, the Celtic Renascence. In an effort to revive the flagging Old Town, Geddes created a community in Ramsay Garden on the Castle Esplanade. Ramsay Garden became home to Summer Meetings, University Hall functions, and the Old Edinburgh School of Art, and out of all this emerged The Evergreen: A Northern Seasonal. The Evergreen served as a mouthpiece for the Celtic Renascence, a way for them to communicate the life of Ramsay Garden to those outside it. It was a journal which included art, literature and science, brought to the reader on a seasonal basis. Geddes’s view of Celticism was inclusive, he sought to include all peoples of Celtic nations (a view not all agreed with). But his Celtic Renascence was more than just a small art movement, it was part of his larger work to improve city life, to get people to broaden their perspectives and to generalise rather than specialise. Geddes used the Celtic Renascence, like any of his other projects, as a tool for positive and lasting change.

After the Civil War individuals throughout the country erected monuments dedicated to the soldiers and events of the conflict. In East Tennessee these memorials allowed some citizens to promote their ideas by invoking both Union and Confederate Civil War sympathies. Initially, East Tennesseans endorsed the creation of a Unionist image to advertise the region's potential for industrialization. By 1910 this depiction waned as local and northern whites joined to promote reconciliation and Confederate sympathizers met less opposition to their ideas than in the past. After 1919 white East Tennesseans, enmeshed in the boom and bust cycles of the national economy, reasserted "traditional" values. Local women of the United Daughters of the Confederacy mythologized Confederate soldiers, antebellum white women, and humble slaves of the past to calm the tensions of the present. By 1931 they ensured that the region's history was unequivocally tied to a Confederate image despite its Unionist heritage.

Pearl Harbor and 9/11 have been compared together since the 9/11 attacks. This thesis analyzes the two from the viewpoints of the politicians, the media, and finally the effects on culture. Sources were gathered from newspapers, books, journal articles, government resources, and internet web sites. Pearl Harbor and 9/11 are similar on the surface, but upon looking into further circumstances, dissimilarities are found between the two events. With sixty years between the two events the outcome and delayed reactions are different, but the initial response is similar.

The oppression of nonhuman animals in Western culture observed in societal institutions and practices such as the factory farm, hunting, and vivisection, exhibits alarming linkages and parallels to some episodes of the oppression of human animals. This work traces the foundations of anthropocentrism in Western philosophy and connects them to the oppressions of racism, sexism, and ethnocentrism. In outlining a uniform theory of oppression detailed through the marginalization, isolation, and exploitation of human and nonhuman animals alike, parallels among the groups emerge as the fused oppression of each exhibits a commonality among them. The analysis conducted within this work highlights the development and sustainment of oppression in the West and illuminates the socio-historical tendencies apparent in the oppression of human and nonhuman animals alike.

Folk music is one of the most popular forms of music today; artists such as Mumford and Sons and the Carolina Chocolate Drops are giving new life to an age-old music. It was not until the 1950s that new popular interest in folk music began. Earlier, folk music was used by leftist organizations as a means to reach the masses. It assumed because of this history that many folk artists are sympathetic to the Left. By looking at the years from 1905-1975 with the end of the Vietnam War, this study hopes to present the notion that even though these artists produced music that promoted leftist ideals, they were not always supportive of the Communist Party and other leftist organizations. Specific artists will be examined, paying close attention to artists who not only produced revolutionary music, but who were also employed by leftist organizations to perform at rallies and meetings.

This book offers a major contribution for understanding the spread and appeal of the humanist movement in Renaissance Florence. Investigating the connections between the individuals who were part of the humanist movement, Brian Jeffrey Maxson reconstructs the networks that bound them together. Overturning the problematic categorization of humanists as either professional or amateurs, a distinction based on economics and the production of original works in Latin, he offers a new way of understanding how the humanist movement could incorporate so many who were illiterate in Latin, but who nonetheless were responsible for an important intellectual and cultural paradigm shift. The book demonstrates the massive appeal of the humanist movement across socio-economic and political groups and argues that the movement became so successful and so widespread because by the 1420s¬-30s the demands of common rituals began requiring humanist speeches. Over time, deep humanist learning became more valuable in the marketplace of social capital, which raised the status of the most learned humanists and helped disseminate humanist ideas beyond Florence. / https://dc.etsu.edu/etsu_books/1042/thumbnail.jpg

The purpose of this writing is to present a biography of Newel Kimball Whitney with emphasis on his personal life and his contributions to the Church of Jesus Chirst of Latter-day Saints.

This project is an environmental and cultural history of the sandhills region of North Carolina as it was transformed after the Civil War. It brings together agricultural science and the creation of a leisure industry in the sandhills to argue that they were interdependent in the transformation of the region. Chapter One narrates the gradual emergence and transformation of agricultural science in North Carolina from a venture of learned planters to a state-run institution, located in universities and government buildings, but still heavily influenced by the heirs of planters. Chapter Two examines the trajectory of resort creation in the sandhills after the region had been tapped out and cutover by naval stores producers and loggers. Its remained an agricultural problem area, while its acres of sandy land were available to be remade by developers. Importantly these new investors, like Pinehurst’s James and Leonard Tufts, reconstructed the sandhills to reflect a fantasy of yeoman agriculture—while deploying scientific findings and commercial fertilizers as advocated by state agricultural experts. Chapter Three analyzes a community that developed in the vicinity of Pinehurst after 1910, when a generation of idealistic Northern progressives turned to the sandhills, both to uplift the region and to escape the nervous problems they had experienced in the industrial North. Just as Pinehurst used agricultural science to create a leisure landscape, this group of Ivy Leaguers was inspired by visions of using agricultural technologies to turn the “sand barrens” into a state-of-the-art farmscape. Chapter Four turns to a literary account of the sandhills in the work of Charles Chesnutt, taking Chesnutt’s motif of gift-giving as a lens for understanding the author’s short stories set in the sandhills. This chapter focuses especially on Chesnutt’s conception of usufruct and an economy based in local social connections as an alternative to the version of commodity agriculture that had animated so many other projects in the sandhills. This dissertation reveals how the conceptual and material tools of an industrializing culture reconfigured this region, long seen as barren, from a cutover turpentine district into a tourist paradise.