The current historiography on Mexican immigration from 1850 through 1920, has neglected to seriously study the forgotten migration of American citizens, not big capitalists as those have been well documented, seeking their American Dream in Mexico. Thus, my work seeks to understand how a very unstable international border dominated by constant Indian raids and filibuster attempts, led to transnational migration. A direct consequence of transnationalism is that it created a xenophobia mentality among the masses, and in some instances, a fetishism for anything foreign, especially among elites and the new breed of young politicians under President Diaz. I focus my analysis on the wave of American citizens, mostly former Civil War veterans, who in the 1860s decided to go to Mexico because President Benito Juarez offered them generous incentives such as tax exemptions and large land grants for colonization purposes, if they decided to join his military efforts to rid his country of the French invaders. Beyond just those white American immigrants, the dissertation also looks at the experience that black colonists encountered in a country that proudly boasted that it welcomed anyone, regardless of their skin color, so long as they adhered to the law. So I argue, that after analyzing the experience of several ethnic groups, such as the Italian immigrants in Cordoba, Veracruz, or the colonies of those immigrants seeking religious freedom such as the Mormons and Mennonites in northern Mexico, that indeed, Mexico was the Land of God and Liberty. This was the popular term used by runaway slaves from Texas in the 1850s and by many African Americans from Alabama who sold everything they had in 1895 to pay for their transportation cost to Mexico in search of a better life not found in the United States.

Throughout the period following Pearl Harbor, as one crisis in Japanese-American relations followed another, the American public opinion was divided. Some newspapers and personalities feared that there would be war over the San Francisco school board crisis, while others believed that talk of war was ridiculous. Partisan politics often affected the course of affairs on the Japanese question.

Beginning in March of 1920, the Galveston coastwise longshoremen’s strike against the Morgan-Southern Pacific and Mallory steamship lines was a pivotal moment in the history of organized labor in Texas. Local and statewide business interests proved their willingness to use the state apparatus by calling on Governor William P. Hobby and the Texas National Guard to open the Port of Galveston. Despite this, the striking dockworkers maintained the moral support of many local citizens from a variety of social classes, including small merchants and officials of the Galveston municipal government. By February of 1921, however, the segregated locals representing the striking longshoremen had fallen victim to the divisive racial tactics of the shipping companies, who implemented the open-shop policy of non-discrimination in hiring on their docks. Further demonstrating the capital-state alliance, the Texas legislature passed Governor Hobby’s notorious Open Port Law in October 1920, making it virtually illegal for dockworkers and others to engage in strikes deemed harmful to commerce. This legislation and the nearly yearlong strike not only destroyed the coastwise longshore unions in Galveston, but ushered in a decade of repression from which Texas’s organized labor movement did not recover for many years.

Lili Boulanger (1893-1918) is the first female composer to win the Prix de Rome in France. She had an early death due to Crohn¡¦s Disease at the age of twenty-four. During her brief and difficult life, she completed more than thirty musical pieces, one third of which were choral works. The 1913 Prix de Rome award is a clear line of demarcation of Lili's choral compositions. The early secular choral works, composed for the preparation of the first round of Prix de Rome(1911 to 1913), are much less known; her four well-known grand sacred choral works¡Ð¡§Psaume 24¡¨, ¡§Psaume 129¡¨, ¡§Psaume 130¡¨ and ¡§Vieille prière bouddhique¡¨¡Ðwere written between 1913 and 1918. Regrettably, the early secular works have been overwhelmed by the four splendor sacred works in the past century. Nine of the early works survive, and they were: ¡§Sous bois¡¨, ¡§Renouveau¡¨, ¡§Les sirènes¡¨, ¡§Soleils de septembre¡¨, ¡§Pentant la tempête¡¨, ¡§La source¡¨, ¡§Hymne au soleil¡¨, ¡§Pour les funérailles d¡¦un soldat¡¨ and ¡§Soir sur la plaine¡¨. The lyrics are from nineteen-century French poems; the music has such extreme intensity, dramatic power, demanding vocal techniques, as well as challenging piano skills. This thesis consists of five parts: an introduction, a basic review of Lili Boulanger¡¦s life and works, the analysis of the nine secular choral works, the interpretation of the works and a conclusion. There are also three appendices attached. Appendix 1 offers the translation and a pronunciation guide of the nine works. Appendix 2 is the program of the conducting recital. Appendix 3 is the program of the lecture recital.

Beginning in March of 1920, the Galveston coastwise longshoremen’s strike against the Morgan-Southern Pacific and Mallory steamship lines was a pivotal moment in the history of organized labor in Texas. Local and statewide business interests proved their willingness to use the state apparatus by calling on Governor William P. Hobby and the Texas National Guard to open the Port of Galveston. Despite this, the striking dockworkers maintained the moral support of many local citizens from a variety of social classes, including small merchants and officials of the Galveston municipal government. By February of 1921, however, the segregated locals representing the striking longshoremen had fallen victim to the divisive racial tactics of the shipping companies, who implemented the open-shop policy of non-discrimination in hiring on their docks. Further demonstrating the capital-state alliance, the Texas legislature passed Governor Hobby’s notorious Open Port Law in October 1920, making it virtually illegal for dockworkers and others to engage in strikes deemed harmful to commerce. This legislation and the nearly yearlong strike not only destroyed the coastwise longshore unions in Galveston, but ushered in a decade of repression from which Texas’s organized labor movement did not recover for many years.

This thesis is a study of the narrative language of Elsa Beskow, Sweden's most famous children's writer of the early twentieth century. The overall aim of the thesis is to contribute to the understanding of why Beskow's stories are still among the most popular children's books in Sweden, more than a hundred years after her literary debut. My investigation is a quantitative study of word-class distribution, various syntactic features, and readability in four picture-books and four other stories. To begin with, Beskow's language is compared to that of other texts written for young readers, including children's fiction, a contemporary reading-book, and popular comic strips. The results indicate that Beskow has something in common with all of these materials, especially with children's fiction. However, she also has her own style, which is different from the children's fiction I compare with. For example, her sentences are comparatively long and often begin with a conjunction. Moreover, Beskow uses many address phrases and interjectional phrases, and the initial clause-constituent is often some other clause element than the subject. Additionally, Beskow's narrative language is compared to conversational language and to formal prose. The results show that Beskow moves along the whole scale, from conversation to formal writing, depending on what aspect of her language use is considered. In some cases, her style even falls outside of the scale. For example, placing the subject in initial position is less common in Beskow's writing than in both conversation and formal writing. Finally, the variation between Beskow's texts is examined. The analysis shows, among other things, that the oral influences on Beskow's style increased during the five decades she wrote stories.

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

x, 100 p. : music / This study looks at the lives of female musicians who lived and worked in Oregon in the early twentieth century in order to answer questions about what musical opportunities were available to them and what musical life may have been like. In this study I am looking at the lives of the composers, performers, and music teachers, Ethel Edick Burtt (1886-1974) and Mary Evelene Calbreath (1895-1972). Mary Evelene Calbreath was a prominent Portland musician and composer. Her works were performed frequently in Portland and were written about newspapers. Ethel Edick Burtt composed piano pieces and songs, and performances of them were advertised in newspapers. Her life was remarkable enough to make it into encyclopedias like the <italic>Who's Who, Cohen,</italic> and the <italic>MacMillan.</italic> For this study I use archival material, newspaper advertisements and articles, and secondary sources about Portland and Oregon history. / Committee in charge: Anne Dhu McLucas, Chair; Lori Kruckenberg, Member; Loren Kajikawa, Member

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