After 30 plus years of research, clergy burnout is an ongoing concern; as such, it is important to identify the causes of this phenomenon. Researchers have already demonstrated that internal factors such as personality types, personal mastery, or conflict management and external factors such as role conflict, excessive activities, or unrealistic expectations, can lead to burnout. The problem that led to this study was that more exploration is needed about clergy's perceptions on leadership and burnout within the church. The purpose of this qualitative phenomenological study was to explore clergy within the Wesleyan Church in the Midwest to discover their perceptions about leadership and burnout within the church. The conceptual framework was shaped by the great man theory of leadership and Maslach's burnout theory. The central research question for this study focused on clergy's perceptions about leadership and burnout within the church. Data were collected using face-to-face semistructured interviews with 23 pastors who are currently leading and experiencing burnout. Data collected included transcribed interviews, field notes, and observations. Data were hand-coded to find key concepts and themes. Two themes that emerged from the data were leadership is understood as hierarchical and leadership is understood as the work of solo actors, which were consistent with the great man theory of leadership. The results of this study may contribute to a better understanding of the factors that lead to clergy burnout. The results of this study will address a gap in literature and may result in positive social change for both the clergy and church congregants because the results can be used to come up with solutions for burnout. This study may also lead to new theories about clergy burnout.

Despite the inherently multivalent nature of images of Napoleon Bonaparte created during the middle of the nineteenth century, scholars often employ only one lens to interpret them: the political context of the age in which they were created. In doing so, they effectively separate these images from the wider art historical narrative. A second—and equally fraught—effect of this tendency is the perpetuation of dominant assumptions that the popularity of his image was due to his status as a “Great Man.” This dissertation examines a subset of mid-century Napoleonic imagery that demonstrates the flawed nature of neglecting other approaches to interpreting these works: depictions of the Emperor’s resurrection. These images frequently portray the Emperor as an inherently democratic, republican, or Populist force that derives its power not from Napoleon’s identity, but from the creativity, commemorative work, or critical thinking of the audience and the French people. This dissertation closely examines these images in their artistic and cultural contexts, applying cultural art historical methodology and close iconographical analysis to works that are either absent from or marginalized in the art historical narrative. In doing so, it reveals Napoleonic resurrection imagery’s potential for commenting on changing social mores that privileged the cultural agency of the French people at mid-century. The underlying argument of this study is that Napoleon was a popular artistic subject not because of his status as a “Great Man,” but because of his endlessly mutable identity. This mutability facilitated the creation of new forms of art and knowledge while allowing the French people to reflect upon their place in the changing cultural and artistic milieu. By demonstrating that this admittedly narrow subset of Napoleonic representation is open to cultural analysis, this dissertation opens up new avenues of inquiry for scholars of the Napoleonic Revival. The first chapter of this study is a largely theoretical examination of Napoleonic “ghosts” and their connection to the strained relationship between fine art and popular culture as well as the masses and “Great Men.” Chapter two analyzes several images in which academically trained artists use Christ-like Napoleonic imagery to engage with the rising cultural and creative agency of the lower classes. The third chapter examines the political implications of the Napoleonic Revival. However, unlike earlier studies, it does so through the lens of the ongoing conflict between cultural narratives passed down from a centralized authority and popular culture that challenges these narratives. In particular, it contrasts the July Monarchy regime’s marginalization of the “real” Napoleon with public enthusiasm for the image of his corpse. Finally, the dissertation considers Paul Delaroche’s Napoleonic series in the context of the shifting locus of artistic production during the period.

This thesis is a study of the origins and rationale of two categories of house museum - here named "Great Man" and "Social History" - in the United States and Australia. An examination of cultural, social and historical change provides the context for the genres' evolution. The Great Man genre was born in mid nineteenth-century America when two houses associated with George Washington - Hasbrouck House and Mount Vernon - were preserved and translated to museum status. Mount Vernon quickly became the exemplar for house museums. Civil religion, a secular nationalism that adopted the forms and rituals of church religion, focusing on hero worship, pilgrimage and contemplation of transcendent collective purpose, provided the ideology that sustained the new museum type. Great Man house museums became the shrines at which such rituals could be practiced. In the early twentieth-century the specialization of heritage organizations encouraged a new breed of heritage professional. Largely fabric focused, these "new museum men" influenced philosophy, management and conservation practice at house museums throughout the century. Social history made its impact upon house museums in the latter decades of the twentieth century. The paradigm encouraged the creation of a new category of house museum. Existing Great Man house museums adopted some of its characteristics though never lost their hero worship foundations. In fact, I posit that the idea of hero worship was transferred to the new genre. The birth and evolution of the two categories of house museum is demonstrated through four biographical studies: Vaucluse House in Sydney; Monticello in Charlottesville VA; the Lower East Side Tenement Museum in New York City; and Susannah Place Museum in Sydney. I believe the findings demonstrate an argument that applies at hundreds of house museums in the United States and Australia.

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