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This dissertation explores the boundaries of industrial unionism within and outside of the American Federation of Labor (AFL) in the struggle over what direction the American labor movement would take in the Progressive Era. The experiences of Iowa button worker and labor activist Pearl McGill in two nationally significant strikes between 1911 and 1912 enable us to see more clearly the nuances and ambiguities of these boundaries as industrial workers sought to build more inclusive unions. McGill’s advocacy for both the AFL-affiliated and industrially organized button workers in Iowa and the campaign of textile workers in Lawrence, Massachusetts, assisted by the Industrial Workers of the World (IWW), to organize on an industrial basis, shine a light on the conundrum faced by AFL leaders. The AFL and its craft union affiliates held fast to an anachronistic approach to organizing in an environment of rapid and technologically transformative industrialization in which the labor of women and ethnic and racial minorities was critical. The AFL’s early federal labor unions, for which Iowa button workers provide a case study, exemplify the strength of the impulse for unionization among mass production workers and show how AFL leaders fostered an institutional response to the growing demand for industrial unions while ensuring that craft unionists continued to dominate the AFL. The Women’s Trade Union League (WTUL) walked a fine, and sometimes precarious, line between its loyalty to the AFL and the demand of working women—notably in the garment and textile industries—for new, inclusive forms of organization. The strikes of women button workers and Lawrence textile workers illustrate the predicament faced by WTUL leaders. Pearl McGill’s short but prominent career as a youthful leader of the Muscatine button workers, a spokesperson for the WTUL, an advocate for women strikers, and a prominent activist with the IWW in Lawrence illuminates these tensions and the appeal of industrial unionism for young working women. This study elevates the importance of Progressive Era federal labor unions as a bridge connecting the local assemblies of the Knights of Labor of the 1880s to the industrial unions that would emerge in the 1930s. It examines the institutional history of the AFL and its bitter struggle with the Knights and establishes the link between the local assemblies of the Knights and the first generation of AFL-affiliated federal labor unions that provided a precedent for later industrial unions. The arc of industrial unionism in the United States can thus be seen as a long, interconnected movement rooted in the principles of general unionism embodied by the Knights and animated by the vital impulse for industrial unionism carried forward by industrially-organized workers of which Iowa button workers provide an important example.

Gulf-War-era-II combat veterans have made professional contributions to the civilian workforce since returning from Iraq and Afghanistan combat operations. Service members in California encounter transition issues related to employment and adjusting their self-identity in the civilian employment culture. These complexities have led to career problems. Using Peterson, Sampson, Reardon, and Lenz's theory of cognitive information processing and Mincer & Becker's theory of human capital, the purpose of this phenomenological study was designed to provide a holistic account of the lived experiences of 11 Gulf War era II veterans who have successfully integrated into civilian employment with a focus on mitigating factors and decision making processes. Purposeful sampling and semistructured interviews were completed with Los Angeles Gulf-War-era-II veterans employed as civilians for more than 1 year. Data collected were analyzed using the Stevick-Colazzi-Keen method. Five themes emerged from the data represented the transitional experiences of the participant veterans': (a) presence of self-validating values, (b) love of country and social responsibility, (c) importance of veteran networking and social support, (d) continued self-improvement, and (e) self-awareness to adapt to decision-making skills required in civilian employment. The findings identified the phenomenon that veterans evolved personally and professionally after securing meaningful civilian jobs and continued to adapt using career problem solving. This study contributes to the positive social change by aggregating resources for employment stability for veterans, increasing dialogue regarding veteran career transitions, and increasing awareness of veteran human capital values in civilian employment.

This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film music practices and paved the way for the heavily studied Golden Age of film music (1935-1950). In fact, a host of film scores preceded King Kong, scores which with rare exceptions have received no attention. Due to this inattention, scholars have mischaracterized the nature of late 1920s and early 1930s sound film, overlooked important and unusual early sound film music strategies and failed to offer any satisfactory account for the rise of the Golden Age of film music. Based on screenings of hundreds of early sound films, I demonstrate that the early sound era featured a wide array of musical approaches rather than a single-minded avoidance of nondiegetic music. Drawing upon musical techniques from opera, melodrama, musicals, phonography, radio, and silent films, the early sound era featured an eclectic mix of accompaniment practices. Though early synchronized sound films largely adhered to a silent film music model, the advent of synchronized dialogue encouraged the use of several other conflicting musical accompaniment models. The late 1920s featured a substantial reduction in musical accompaniment, but the period still contained a diverse array of film score experiments rather than a total avoidance of nondiegetic music. By the early 1930s, a more consistent musical approach emerged, in which music was tied to unfamiliar settings or heightened internal mental states. This tactic exerted a considerable influence on King Kong's score and continued to be influential on musical accompaniment practices in the classical era. The first chapter surveys a range of musical influences available to film music practitioners in the years leading up to the transition to sound. Chapter two then analyzes the film score in early synchronized films and part-talkies from 1926-1929, while chapter three examines the use of music in "100% talkies" from 1928-1931. After chapter four discusses the special case of the film score in the early musical from 1929-1932, chapter five examines the score for non-musicals from 1931 to just before the release of King Kong in April of 1933. In light of the plethora of pre-King Kong scores discussed in this study, chapter six offers a radical revision of King Kong's contribution to film music history. Finally, the Conclusion examines the early sound score's legacy in the Golden Age of film music.

<p>The concept of the photographic truth has had a special status for almost 200 years. Yet with the emerge of digital technology and especially digital photography there has been a loss of the particular connection photography has had in reference to reality. The aim of this study is to see in what ways digitalization has affected the credibility of photography from the perspective of professionals in the field of photography. The digital technology that has enabled the large-scale manipulation of photographies is not, however, the main reason for the decreased credibility of photography. The ongoing discussion about the available possibilities concerning digital imagery and manipulation has had a far more powerful effect on the concept of the photographic truth. Along with these possibilities a post-photographic photograph has seen the light of day. We discuss further some credibility problems caused by this new phenomenon; i.e. the post-photographic photographies can’t be considered to have the same status as the traditional photographies when it comes to presenting reality truthfully. We approached the subject through theory studies and methodically through personal interviews.</p><p>Key words: credibility, digitalization, manipulation, remediation, reality, noeme, and the post-photographic era.</p>

Thesis (MSS(Sociology))-University of Pretoria, 2006. / Abstract in English and Afrikaans. Includes bibliographical references.

The concept of the photographic truth has had a special status for almost 200 years. Yet with the emerge of digital technology and especially digital photography there has been a loss of the particular connection photography has had in reference to reality. The aim of this study is to see in what ways digitalization has affected the credibility of photography from the perspective of professionals in the field of photography. The digital technology that has enabled the large-scale manipulation of photographies is not, however, the main reason for the decreased credibility of photography. The ongoing discussion about the available possibilities concerning digital imagery and manipulation has had a far more powerful effect on the concept of the photographic truth. Along with these possibilities a post-photographic photograph has seen the light of day. We discuss further some credibility problems caused by this new phenomenon; i.e. the post-photographic photographies can’t be considered to have the same status as the traditional photographies when it comes to presenting reality truthfully. We approached the subject through theory studies and methodically through personal interviews. Key words: credibility, digitalization, manipulation, remediation, reality, noeme, and the post-photographic era.

<p>Although transformation processes are making progress in addressing racial inequality in post-apartheid South Africa, white South Africans are, in many repects, still privileged, economically, in terms of access to services, land, education and particularly in the case of English-speaking whites, language. This study is an exploration of everyday situations of inequality as they have been experienced from a position of advantage. As a qualitative, phenomenological study, the aim was to derive the psychological essence of the experience of being privileged as white English-speaking young adult within the context of post-apartheid South African everyday life.</p>

My dissertation involves a critique of the concept of life or seimei as it emerged in modern use during the Meiji era (1868-1912). Specifically, I have outlined the conditions of possibility for thinking seimei at particular moments in the development of the modern, market-centered Japanese nation-state in historical and literary terms such that I can begin to use these conditions to think its impossibilities. In short, I argue that a central condition of possibility for thinking life in its modern, historical form is a process of individuation that takes hold of and shapes bodies at an ontological level. By critiquing life and its ontology of individuation, I unearth the traces of an impossible “apriori collectivism” - that is, a collectivism not merely reducible to a congregation of individuals, but originally collective – buried under the calls for individual freedom, self-help, and industrialization that were at the heart of the Meiji era’s modernization project. I track this apriori collectivism in a lineage relating (through non-relation) the mutual aid societies or mujin-kô of the Edo period to the life insurance industry of the Meiji 10s and 20s. I then use this material history of life as backdrop to my study of the literary trends in the latter decades of the Meiji era, and end with a consideration of the political and aesthetic implications seimei has for thought by taking up a study of Iwano Hômei’s Shinpiteki hanjûshugi (Mystical Demi-animalism).

ABSTRACT Dr. Alice Hamilton (1869-1970), the leading American figure in industrial medicine during the early to mid-1900s, left behind a body of rhetoric that is important in the history of American feminist discourse and American public address. Her discourse is the exemplary of feminist-pragmatist rhetoric, a genre of cross-gender communication developed by New Women associated with Hull House and the University of Chicago between 1892 and 1918. Hamilton’s rhetoric illuminates a key event in the history of the American rhetorical tradition—the emergence of the modern woman from her late-Victorian beginnings through her Progressive self-transformation. This study is approached as a rhetorical biography. It tracks Hamilton’s evolution from “reticent scientist” to outspoken feminist-pragmatist by examining family, educational, peer and social influences on her development; and through critical analysis of her speeches, technical writing, books, and popular and specialty magazine articles over a 36-year period, from 1907 to 1943.