- About
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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 641 to 650 of 657 (0.03 seconds)| 641 |
The Party of Hope: American Liberalism from the Fair Deal to the Great SocietyKim, Ilnyun January 2019 (has links)
No description available.
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| 642 |
The Life and Career of Fashion Designer, George StavropoulosBland, Kasey Dawn 02 September 2008 (has links)
No description available.
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| 643 |
Cartoon Conceptualism: Periodical Comics and Modernism in the United StatesOwen, Benedict Novotny 25 September 2017 (has links)
No description available.
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| 644 |
Institutional Innovator: Sargent Shriver's Life as an Engaged Catholic and as an Active LiberalMartin, Daniel E. 18 May 2016 (has links)
No description available.
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| 645 |
Any Other Immoral Purpose: The Mann Act, Policing Women, and the American State, 1900 – 1941Pliley, Jessica Rae 22 October 2010 (has links)
No description available.
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| 646 |
Contested Modernism: Black Artists and the Spaces of American Art, 1925-1950Sledge, David January 2024 (has links)
Historically Black colleges and universities served as primary sites of modernist artmaking. In 1920, however, no HBCU offered an art major or employed full-time fine arts faculty. This dissertation examines that swift transformation, demonstrating it not as a simple evolution, but rather as a contested site of Black thought and protest. I show this not through an institutional history or "timeline" of Black college art departments, but rather in a sustained attention towards Black colleges as nodes within a larger network of publics constituting Black modernism as sites for subjectivity. In doing so, this dissertation examines the conjuncture between two coincident forms: that of modernist art and of the same era's radical modes of racial exclusion. I ask what is at stake in art as lived experience, at a moment in which modernist aesthetics made claims as a means of producing novel ways of inhabiting being human while simultaneous modes of racial formation devalued Blackness within that conceptual category as life. Through this, I track aesthetic production as a relation and set of experiences occurring through specific sites and publics as an asymmetric arena for contestation, with an emphasis on historically Black colleges and universities.
My first chapter, "Organize, Strike, Paint: Making Modern Art at Historically Black Colleges," charts that shift in a set of breaks in art-making at HBCUs, arguing for a student-driven movement away from industrial education towards a modernist visual arts, one embedded within a larger constellation of sites. My second chapter, "Aaron Douglas and a Liberatory History of the Senses," looks closely at Fisk University through the work of painter Aaron Douglas in a set of site-specific murals he made which visualize a long narrative of Black history, art, and labor. I argue that Douglas interrogated in those paintings central questions of visual modernism, placing the radical exclusion of Black subjects in slavery and its afterlives in the Jim Crow era as central to an understanding of modern vision and subjectivity. Through such works, HBCUs stand as necessary sites for theorizing a history of vision and its relation to the "human," as a rejoinder to histories of visual modernism that do not meaningfully account for racialization.
In my final chapter, "Black Study in the White Cube: Racialized Subjectivities and the Museum of Modern Art, ca. 1935," I demonstrate the circulation and exclusions that structured Black audiences and art viewing. I do so through an examination of the Museum of Modern Art’s African Negro Art exhibition, which Black artists engaged with as visitors at MoMA, through mediated forms in print and photography, as well as in circulating satellite shows presented at HBCUs. In doing so, I attend to both the modes of viewership at the museum proper as well as the ways it interacted within a broader network of Black publics. Similarly, I examine the specific content of that MoMA exhibit in its primitivist imagination of an African past, one which might be used as a ground for "modern" white subjects. I track how Black artists confronted that continued legacy of anti-Blackness and addressed the immense dislocations inherent in it. Throughout, I provided sustained attention to artists including Hale Woodruff, Loïs Mailou Jones, Aaron Douglas, John Biggers, Romare Bearden, Norman Lewis, Amaza Lee Meredith, William H. Johnson, Augusta Savage, and Elizabeth Catlett.
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| 647 |
Blurred (County) Lines: A Comprehensive Analysis of Voting Patterns in Florida at the County and Regional Levels from 1950 to 2012Yeargain, Tyler Q. 01 January 2015 (has links) (PDF)
Over the last sixty years, voting patterns in the United States have changed dramatically, and this is especially true in the state of Florida. Though there is some literature in the field of political science that outlines the voting and election history of Florida and identifies some trends, this literature is extremely limited and is not comprehensive of the data that is available up to the present day. This study seeks to find Florida’s voting patterns and to explain how they can be understood by both the casual observer and the political scientist. To do so, unique methodology was applied that used the "relative margin" of both a county and a region in a particular election to give the Democratic nominee’s performance context both in the election in question and in history, by comparing the actual margin of victory or defeat of the Democratic nominee to the statewide margin of victory or defeat. This was an illuminating process that ultimately revealed some truths about the election history of Florida: the counties and regions most likely to vote for Democratic nominees in the 1950s and early 1960 are now among the least likely to do so, and the counties and regions most likely to vote for Republican nominees in the 1950s and early 1960s are now considered to be "swing" or "tossup" areas that are regularly and alternatively won by Democratic and Republican nominees. Additionally, the pattern of each region in how it voted in presidential elections was compared to forty seven other states in the country to provide further context as to how the election patterns can be understood in context.
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| 648 |
“The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963)Adam, Karen 24 April 2012 (has links)
This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and portrayed Powell both during and after his lifetime, this thesis links Powell’s obscurity to a deliberate, public rejection of his Anglo-Saxon supremacist definition of the United States.
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| 649 |
William Cave (1637-1713) and the fortunes of Historia Literaria in EnglandWright, Alexander Robert January 2018 (has links)
This thesis is the first full-length study of the English clergyman and historian William Cave (1637-1713). As one of a number of Restoration divines invested in exploring the lives and writings of the early Christians, Cave has nonetheless won only meagre interest from early-modernists in the past decade. Among his contemporaries and well into the nineteenth century Cave’s vernacular biographies of the Apostles and Church Fathers were widely read, but it was with the two volumes of his Scriptorum Ecclesiasticorum Historia Literaria (1688 and 1698), his life’s work, that he made his most important and lasting contribution to scholarship. The first aim of the thesis is therefore to build on a recent quickening of research into the innovative early-modern genre of historia literaria by exploring how, why, and with what help, in the context of late seventeenth-century European intellectual culture, Cave decided to write a work of literary history. To do so it makes extensive use of the handwritten drafts, annotations, notebooks, and letters that he left behind, giving a comprehensive account of his reading and scholarly practices from his student-days in 1650s Cambridge and then as a young clergyman in the 1660s to his final, unsuccessful attempts to publish a revised edition of his book at the end of his life. Cave’s motives, it finds, were multiple, complex, and sometimes conflicting: they developed in response to the immediate practical concerns of the post-Restoration Church of England even as they reflected some of the deeper-lying tensions of late humanist scholarship. The second reason for writing a thesis about Cave is that it makes it possible to reconsider an influential historiographical narrative about the origins of the ‘modern’ disciplinary category of literature. Since the 1970s the consensus among scholars has been that the nineteenth-century definition of literature as imaginative fictions in verse and prose – in other words literature as it is now taught in schools and universities – more or less completely replaced the early-modern notion of literature, literae, as learned books of all kinds. This view is challenged in the final section of this thesis, which traces the influence of Cave’s work on some of the canonical authors of the English literary tradition, including Johnson and Coleridge. Coleridge’s example, in particular, helps us to see why Cave and scholars like him were excluded lastingly from genealogies of English studies in the twentieth century, despite having given the discipline many of its characteristic concerns and aversions.
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Being successfully nasty: the United States, Cuba and state-sponsored terrorism, 1959-1976Douglas, Robert 11 August 2008 (has links)
Despite being the global leader in the “war on terror,” the United States has been accused of sponsoring terrorism against Cuba. The following study assesses these charges. After establishing a definition of terrorism, it examines U.S.-Cuban relations from 1808 to 1958, arguing that the United States has historically employed violence in its efforts to control Cuba. U.S. leaders maintained this approach even after the Cuban Revolution: months after Fidel Castro’s guerrilla army took power, Washington began organizing Cuban exiles to carry out terrorist attacks against the island, and continued to support and tolerate such activities until the 1970s, culminating in what was the hemisphere’s most lethal act of airline terrorism before 9/11. Since then, the United States has maintained contact with well-known anti-Castro terrorists, in many cases employing and harbouring them, despite its claims to be fighting an international campaign against terrorism.
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