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This thesis attempts to reconstruct the narrative of Anne Greene, a young female servant in 1650 England that was wrongfully found guilty of infanticide and made into a spectacle by her peers as an example of what happens when one breaks societies gender norms and is met by the influence of the gender politics of the period. Her female body was objectified and placed on display by a ritual performance of the hangman’s noose and the criminal corpse to further the process of by maintaining fear among members of the population, especially rebellious women. Thus, making Anne Greene a subversive figure, victimized by a patriarchal society, a trope that remains relevant today. By way of literary adaptation, explorations of bodily practice, and engagements with the historical archive this thesis allows Anne Greene’s disembodied figure to unfold as a narrative and visual tool in history. This study and the accompanying original play text allow Anne Greene to become an essential figure to feminist studies and continuing struggles for equality in the era of the “Me too” social narrative.

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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.

The purpose of this thesis was to study the efforts of ten Utah artists who played significant roles in formulating early Utah art history.

China has become a major contributor to world science today, with the largest number of qualified scientific publications in the world, a centralized government willing to sponsor the development of science, and pioneering scientists in all disciplines. Where did this scientific power emerge from historically and how did this history connect with the rest of the world? My dissertation suggests that comprehending the Sino-American intellectual exchange network since the early twentieth century is essential for us to grasp the development of science in modern China. It argues that a Sino-American intellectual exchange network through the China Foundation for the Promotion of Education and Culture (ie., the China Foundation) played a critical role in the development of modern scientific research and education from the 1920 to the 1940s. In the first half of the twentieth century, leading American intellectuals of the progressive era such as Teachers College’s educational scholar Paul Monroe and Columbia University’s prominent philosopher of pragmatism John Dewey frequently communicated with prominent Chinese intellectuals, many of whom were their former students in the United States. Such face-to-face interchanges across the Pacific ultimately influenced Chinese choices in shaping modern scientific education and research. The impact was generated primarily through the China Foundation. The China Foundation, financed by the second American remission of the Boxer Indemnity Funds, served as a sponsor of the development of scientific research, teaching and training in modern China. The trustees of the foundation, responsible for the custody and administration of the fund, included prominent Chinese intellectuals (most of whom had received western graduate training) such as Hu Shi (PhD, Columbia), Jiang Menglin (PhD, Teachers College), Zhang Boling (visiting fellow at Teachers College, 1917-1918), Ren Hongjun (H. C. Zen, MA, Columbia), Guo Bingwen (PhD, Teachers College), Ding Wenjiang (aka V. K. Ting, BA, University of Glasgow), Zhao Yuanren (aka Y. R. Chao, PhD, Harvard) as well as the American intellectuals and reformers Paul Monroe, John Dewey, Roger Sherman Greene and John Leighton Stuart. This dissertation researches the history of Sino-American intellectual exchanges in the China Foundation network, which were central to the establishment of science in modern China. It begins by tracing the cohort of leading Chinese intellectuals trained at American universities, who paved the way for its establishment. They invited leading American educators like John Dewey and Paul Monroe to China, and did the translation work that allowed for their reformist ideas of democracy, education and science to become popular in China. While the American intellectuals aspired to transmit a democratic education through introducing science, the Chinese intellectuals also developed their own rationales to pursue China’s scientific modernization. It also examines the political assumptions and tensions wound up in this Sino-American educational exchange network that illuminates the ways in which the intellectuals on both sides of the Pacific were mutually influenced by their intellectual exchanges. In asks the following questions: How did American intellectuals of the progressive era design and pursue a democratic vision for the Chinese scientific development, and what were their political assumptions undergirding the transmission of science? How did the Chinese intellectuals respond to the American knowledge of science, translate, and negotiate this transmission of science to China? What aspects of science did they absorb and incorporate for the Chinese national purposes? What ideas did they absorb from the United States, and what aspects did they deliberately eschew? In posing these questions, part of my goal is to shift the predominant narrative of transnational progressive era US intellectual history from “Atlantic Crossings” to a dense and constitutive set of exchanges of knowledge, ideas and practices of sciences across the Pacific.

From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.