Thesis (M. A.), Memorial University of Newfoundland, 1998. / Bibliography: leaves 206-218.

Originally presented as the author's Thesis (Ph. D.)--Zürich. / Includes bibliographical references (p. [121]-123).

Thesis (Ph. D.)--Brown University, 1980. / Vita. "Chronological list of writings, speeches and unpublished papers by Cret": leaves 219-223. "Writings about Paul Philippe Cret and his architecture": leaves 224-230. Bibliography: leaves 237-250.

Thesis (M.A.)--Miami University, Dept. of History, 2005. / Title from first page of PDF document. Document formatted into pages; contains [2], 40 p. Includes bibliographical references (p. 38-40).

Thesis (doctoral)--Universität, Klagenfurt, 2004. / Includes bibliographical references (p. 308-332).

Thesis (Ph.D.)--Ohio University, August, 2006. / Title from PDF t.p. Includes bibliographical references (p. 193-203)

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This dissertation examines the cleared spaces after disaster and the way the rhetoric of utopian projects is taken up by corporate and privatizing ventures to mask projects that seek to shut down participation in the public sphere. Chapter one argues that there are mechanisms within societies that can push against these forces by promoting a cosmopolitan sensibility that protects the commons and respects the alterity of the Other. Such mechanisms have theoretical roots in the thinking of Robert Nozick and Fredric Jameson but have been rethought more recently by Bruce Robbins, Jean-Luc Nancy, and Seyla Benhabib. I read literature alongside documentaries and memorials to discover the way cultural texts model these methods of pushing back against neoliberal projects in the wake of 9/11 and Katrina by bringing ethics, as Emmanuel Levinas does, into "real world" situations. Projects that co-opt the commons after disaster convey a imitative cosmopolitanism that can be counteracted through giving agency to those who do not have it, constructing communities of access for the future, supporting a form of public mourning that promotes critique, and protecting post-disaster spaces from becoming only tourist destinations. Chapter two looks to the way the 9/11 fiction of Moshin Hamid, Claire Messud, Alissa Torres, Paul Auster, and Jonathan Safran Foer models a cosmopolitanism that repairs the self's relationship to the Other by allowing the Other an agency previously unavailable before 9/11. Chapter three examines how When the Levees Broke, Trouble the Water, Kamp Katrina, Katrina Ballads, A.D.: New Orleans after the Deluge, and Zeitoun foreground the vulnerability of Gulf Coast residents by linking their vulnerability to the nation's now damaged ecological relationship to the coast. Chapter four explores the cultural memory at a range of 9/11 and Katrina memorials in New York, Washington D. C., and along the Gulf Coast in order to find memorials that reinvigorate the commons by melding public mourning with critique. The epilogue examines the larger implications of my dissertation for the field of American studies in examining the culture of disaster that has arisen in the past decade.

Doctor of Philosophy / Department of History / Mark P. Parillo / War occupies an important place in the collective memory of the United States, with many of its defining moments centered on times of intense trauma. American memory of World War I, however, pales in comparison to the Civil War and World War II, which has led to the conflict’s categorization as a “forgotten” war—terminology that ignores the widespread commemorative efforts undertaken by Americans in the war’s aftermath. In fact, the interwar period witnessed a multitude of memorialization projects, ranging from architectural memorials to literature. It is this dichotomy between contemporary understanding and the reality of the conflict’s aftermath that is at the heart of this study, which seeks to illuminate the prominent position held by the First World War in early twentieth century American society. The dissertation examines three war memorials: the Liberty Memorial in Kansas City, Missouri; the District of Columbia World War Memorial in West Potomac Park, Washington, D.C.; and Kansas State University’s Memorial Stadium in Manhattan, Kansas. The work also analyzes seven volumes of soldier poetry, published between 1916 and 1921: Poems, by Alan Seeger; With the Armies of France, by William Cary Sanger, Jr.; Echoes of France: Verses from my Journal and Letters, March 14, 1918 to July 14, 1919 and Afterwards, by Amy Robbins Ware; The Tempering, by Howard Swazey Buck; Wampum and Old Gold, by Hervey Allen; The Log of the Devil Dog and Other Verses, by Byron H. Comstock; and Rhymes of a Lost Battalion Doughboy, by Lee Charles McCollum. Despite the presence of some thematic similarities between the two modes of remembrance, each mode had different objectives and audiences, contributing to the creation of distinct and competing forms of collective memory regarding American involvement in the Great War. Taken together, the two modes provide a more complete picture of American memorialization to World War I than if studied independently. This interdisciplinary approach to understanding commemorative efforts during the interwar period is vital to understanding the war and its legacy, and thus beneficial to both historical scholarship and the public.