In this essay, I examine how the nineteenth-century cultural phenomenon of phrenology is made apparent in the abolitionist arguments of Rebecca Harding Davis’s “Blind Tom” (1862), a nonfiction character sketch of the popular blind slave and idiot savant-musician. The first portion of my argument constructs a probable reality that allows for the influence of Davis’s exposure to phrenology first as a student, then later as a writer. I then perform a critical assessment of “Blind Tom,” revealing how Davis relies upon phrenological terminology, such as that employed by famous phrenologist Orson Squire Fowler, in her descriptions of the musician’s physical appearance in order to call for his freedom, from not only slavery on the Georgian planation he called home, but also, from being paraded as an sideshow and a spectacle before audiences across America.

Thesis (M.A.)--Brigham Young University. Dept. of History.

These documents supplement the previously deposited Murray and Tillett working paper: “Cataloging Theory in Search of Graph Theory and Other Ivory Towers. Object: Cultural Heritage Resource Description Networks.” http://hdl.handle.net/10150/136270. A different version of Fig 8, “FRBR Paper Tool Diagram Elements And Graphs” is included. Documents not referenced in the paper include: “Modeling The Superwork Issue,” which models the concept of a Work composed of other Works two ways; “Progressive Disaggregation,” which demonstrates the recursive process by which simple resource and descriptions composed of other descriptions are resolved to elementary graph structures; and “Serial Publication,” which highlights the pedagogical and IT system guidance role that FRBR resource description diagrams can play with respect to complex publishing phenomena. A “Find & Navigate” diagram element has been introduced in the serial publication diagram as a theoretical necessity with practical implications. The elements provide a consistent means for depicting the linking functions provided by identifiers, name and subject authority records, and prescribed and arbitrary relationships. The tables and legends found on the right side of the diagram suggest how diagram components may be expressed as “triple” style statements for implementation-minded readers.

Verdades e mentiras (Verités et mensonges / F for fake, 1973), de Orson Welles, parte da história de Elmyr de Hory, um grande falsificador de obras de arte, para propor uma reflexão sobre o mercado de arte e sobre o trabalho do artista no contexto da Indústria Cultural. O filme organiza-se como uma argumentação, que disserta sobre seu contexto sócio-histórico e capta a estrutura de sentimento do período em que é produzido, podendo ser considerado um precursor do filme ensaio. Entretanto, os argumentos nem sempre confirmam as teses propostas inicialmente. Há constantes contradições entre os diferentes elementos que compõem uma mesma cena, ou entre diferentes cenas e sequências do filme, tornando necessário ao espectador realizar uma leitura a contrapelo da obra. Orson Welles incorpora aspectos da tradição cinematográfica e de sua obra e combina-os com a experimentação, que é característica de seu trabalho artístico, para investigar as relações de produção no contexto da indústria cultural e de que forma o trabalho se constitui enquanto horizonte para superação das determinantes históricas da sociedade. Ao mesmo tempo em que faz isso, o filme evidencia a si mesmo como representação, constituída a partir de um ponto de vista determinado, e assim permite que analisemos e interpretemos a verdade desse trabalho artístico, para a compreensão dos temas e aspectos da realidade que ele configura. / F for fake (Verités et mensonges, 1973), by Orson Welles, introduces the story of Elmyr de Hory, a great Art forger, in order to discuss the determinations associated to the Art Market and the work of the artist submitted to the Cultural Industry. The movie is structured as an argumentative essay, which discusses its background and captures the structure of feeling of the period. Because of the way it is organized, F for fake is sometimes referred as a predecessor of what is called nowadays essay film. However, the arguments included do not necessarily confirm the initial thesis of the film. There are numerous contradictions between different elements of a scene, and also between different scenes and sequences. It keeps the audience alert and suggests the need to interpret the story against the grain, as Walter Benjamin advocates. Orson Welles incorporates some aspects of film tradition and of his oeuvre, and associates them with the experimentation of new aesthetics, as it is characteristic of his artistic work, in order to examine the relations of production in the context of the Cultural Industry. He also analyses how labor can represent some perspective of overcoming the social and historical determinations of the society. Whilst structuring these debates, the film exposes itself as a representation of a certain point of view, and allows the audience to analyse and interpret the truth of this work of art, as well as to try to understand the association of themes and aspects of reality that it constitutes.

In the middle of the nineteenth century, an architectural phenomenon swept through the United States: the octagon house. Orson S. Fowler, best known for his work as a phrenologist, began this trend with the publication of A Home for All in 1848. Though this house form may seem unusual and even inexplicable today, the octagon house must be regarded in relation to the culture of this period. In this context, an understanding of the significance and embrace of this unique residential architecture can be gained. Although octagon houses were built throughout the United States, the intersection of several unique cultural and historical factors existed in the Midwest in this period, creating a region particularly receptive to this novel house form. The octagon house, though only briefly popular, made a lasting impact on the built environment that represents a tangible link to the culture of the middle of the nineteenth century. / Department of Architecture

A análise comparativa entre o romance de Franz Kafka, O processo, e o filme homônimo de Orson Welles pretende compreender de que maneira a obra cinematográfica transcria o universo kafkiano, levando à tela cinematográfica o tempo, o espaço e o protagonista, a partir do hipotexto literário. As estratégias narrativas empregadas na produção da película problematizam a posição do narrador, onisciente no romance, mas que, no filme, salvo as evidentes diferenças narratológicas inerentes aos códigos, é produzido através de um “jogo de vozes”, partindo da parábola “Diante da Lei”, utilizada no incipit fílmico. O tempo e o espaço são configurados mantendo os traços “expressionistas” de Kafka, produzindo zonas de indeterminação temporais e topológicas que corroboram a inação do protagonista. O conceito de “estado de exceção”, esboçado por Giorgio Agamben, permite pensar que a origem do processo movido contra Josef K., de desconhecidas motivações, reside num poder de domínio e controle que antecede a própria lei. A aproximação do protagonista de Kafka e de Welles à figura do homo sacer é possível tanto pelo estatuto da ação que ele exerce em função da necessidade de defesa (o que caracteriza a sua inação, uma vez que não há “progressão”, a despeito das suas tentativas de produzir uma primeira petição de defesa), quanto das “deformidades” que o caracterizam, incorporando-o ao bando das personagens “monstruosamente” híbridas de Kafka. Porém, a “deformidade” que marca K. e o exclui da comunidade regida pelo ordenamento legal não está aparente, mas age biologicamente, estabelecendo um secreto mecanismo de controle cujo poder de decisão age sobre a orgânica morte, a extirpação de uma vida simplesmente “matável e insacrificável”. / The comparative analysis between the novel of Franz Kafka, The Trial, and the homonym movie of Orson Welles intends to understand how the cinematographic workmanship used to transcribe the kafkian universe, taking to the cinematographic screen the time, the space and the protagonist from literary hipotext. The narrative strategies used in the production of the film problematize the position of the narrator, omniscient in the romance, but that, in the film (except for the evident narratological differences inherent to the codes), it is produced through a “game of voices”, coming from the parabola “Before the Law”, used in the filmic incipit. The time and the space are configured keeping “the expressionists” traces of Kafka, producing secular and topological zones of indetermination that corroborate the inaction of the protagonist. The concept of “exception state”, sketched for Giorgio Agamben, allows us to think that the origin of the process moved against Josef K, of unknown motivations, inhabits in a power of domain and control that precedes the proper law. The approach of the protagonist of Kafka and Welles to the figure of homo sacer is possible as much for the statute of the action that it exerts in function of the defense necessity (which characterizes its inaction, a time that does not have “progression”, in the spite of its attempts to produce a first petition of defense), how much of the “deformities” that characterize it, incorporating it to the flock of the “monstrously” hybrid personages “of Kafka. However, the “deformity” that marks K. and excludes it from the community conducted for the legal order is not apparent, but it acts biologically, establishing a private mechanism of control which power of decision falls again on the organic death, the extirpation of a simply “killable and unsacrifiable” life.

A análise comparativa entre o romance de Franz Kafka, O processo, e o filme homônimo de Orson Welles pretende compreender de que maneira a obra cinematográfica transcria o universo kafkiano, levando à tela cinematográfica o tempo, o espaço e o protagonista, a partir do hipotexto literário. As estratégias narrativas empregadas na produção da película problematizam a posição do narrador, onisciente no romance, mas que, no filme, salvo as evidentes diferenças narratológicas inerentes aos códigos, é produzido através de um “jogo de vozes”, partindo da parábola “Diante da Lei”, utilizada no incipit fílmico. O tempo e o espaço são configurados mantendo os traços “expressionistas” de Kafka, produzindo zonas de indeterminação temporais e topológicas que corroboram a inação do protagonista. O conceito de “estado de exceção”, esboçado por Giorgio Agamben, permite pensar que a origem do processo movido contra Josef K., de desconhecidas motivações, reside num poder de domínio e controle que antecede a própria lei. A aproximação do protagonista de Kafka e de Welles à figura do homo sacer é possível tanto pelo estatuto da ação que ele exerce em função da necessidade de defesa (o que caracteriza a sua inação, uma vez que não há “progressão”, a despeito das suas tentativas de produzir uma primeira petição de defesa), quanto das “deformidades” que o caracterizam, incorporando-o ao bando das personagens “monstruosamente” híbridas de Kafka. Porém, a “deformidade” que marca K. e o exclui da comunidade regida pelo ordenamento legal não está aparente, mas age biologicamente, estabelecendo um secreto mecanismo de controle cujo poder de decisão age sobre a orgânica morte, a extirpação de uma vida simplesmente “matável e insacrificável”. / The comparative analysis between the novel of Franz Kafka, The Trial, and the homonym movie of Orson Welles intends to understand how the cinematographic workmanship used to transcribe the kafkian universe, taking to the cinematographic screen the time, the space and the protagonist from literary hipotext. The narrative strategies used in the production of the film problematize the position of the narrator, omniscient in the romance, but that, in the film (except for the evident narratological differences inherent to the codes), it is produced through a “game of voices”, coming from the parabola “Before the Law”, used in the filmic incipit. The time and the space are configured keeping “the expressionists” traces of Kafka, producing secular and topological zones of indetermination that corroborate the inaction of the protagonist. The concept of “exception state”, sketched for Giorgio Agamben, allows us to think that the origin of the process moved against Josef K, of unknown motivations, inhabits in a power of domain and control that precedes the proper law. The approach of the protagonist of Kafka and Welles to the figure of homo sacer is possible as much for the statute of the action that it exerts in function of the defense necessity (which characterizes its inaction, a time that does not have “progression”, in the spite of its attempts to produce a first petition of defense), how much of the “deformities” that characterize it, incorporating it to the flock of the “monstrously” hybrid personages “of Kafka. However, the “deformity” that marks K. and excludes it from the community conducted for the legal order is not apparent, but it acts biologically, establishing a private mechanism of control which power of decision falls again on the organic death, the extirpation of a simply “killable and unsacrifiable” life.

A análise comparativa entre o romance de Franz Kafka, O processo, e o filme homônimo de Orson Welles pretende compreender de que maneira a obra cinematográfica transcria o universo kafkiano, levando à tela cinematográfica o tempo, o espaço e o protagonista, a partir do hipotexto literário. As estratégias narrativas empregadas na produção da película problematizam a posição do narrador, onisciente no romance, mas que, no filme, salvo as evidentes diferenças narratológicas inerentes aos códigos, é produzido através de um “jogo de vozes”, partindo da parábola “Diante da Lei”, utilizada no incipit fílmico. O tempo e o espaço são configurados mantendo os traços “expressionistas” de Kafka, produzindo zonas de indeterminação temporais e topológicas que corroboram a inação do protagonista. O conceito de “estado de exceção”, esboçado por Giorgio Agamben, permite pensar que a origem do processo movido contra Josef K., de desconhecidas motivações, reside num poder de domínio e controle que antecede a própria lei. A aproximação do protagonista de Kafka e de Welles à figura do homo sacer é possível tanto pelo estatuto da ação que ele exerce em função da necessidade de defesa (o que caracteriza a sua inação, uma vez que não há “progressão”, a despeito das suas tentativas de produzir uma primeira petição de defesa), quanto das “deformidades” que o caracterizam, incorporando-o ao bando das personagens “monstruosamente” híbridas de Kafka. Porém, a “deformidade” que marca K. e o exclui da comunidade regida pelo ordenamento legal não está aparente, mas age biologicamente, estabelecendo um secreto mecanismo de controle cujo poder de decisão age sobre a orgânica morte, a extirpação de uma vida simplesmente “matável e insacrificável”. / The comparative analysis between the novel of Franz Kafka, The Trial, and the homonym movie of Orson Welles intends to understand how the cinematographic workmanship used to transcribe the kafkian universe, taking to the cinematographic screen the time, the space and the protagonist from literary hipotext. The narrative strategies used in the production of the film problematize the position of the narrator, omniscient in the romance, but that, in the film (except for the evident narratological differences inherent to the codes), it is produced through a “game of voices”, coming from the parabola “Before the Law”, used in the filmic incipit. The time and the space are configured keeping “the expressionists” traces of Kafka, producing secular and topological zones of indetermination that corroborate the inaction of the protagonist. The concept of “exception state”, sketched for Giorgio Agamben, allows us to think that the origin of the process moved against Josef K, of unknown motivations, inhabits in a power of domain and control that precedes the proper law. The approach of the protagonist of Kafka and Welles to the figure of homo sacer is possible as much for the statute of the action that it exerts in function of the defense necessity (which characterizes its inaction, a time that does not have “progression”, in the spite of its attempts to produce a first petition of defense), how much of the “deformities” that characterize it, incorporating it to the flock of the “monstrously” hybrid personages “of Kafka. However, the “deformity” that marks K. and excludes it from the community conducted for the legal order is not apparent, but it acts biologically, establishing a private mechanism of control which power of decision falls again on the organic death, the extirpation of a simply “killable and unsacrifiable” life.

Verdades e mentiras (Verités et mensonges / F for fake, 1973), de Orson Welles, parte da história de Elmyr de Hory, um grande falsificador de obras de arte, para propor uma reflexão sobre o mercado de arte e sobre o trabalho do artista no contexto da Indústria Cultural. O filme organiza-se como uma argumentação, que disserta sobre seu contexto sócio-histórico e capta a estrutura de sentimento do período em que é produzido, podendo ser considerado um precursor do filme ensaio. Entretanto, os argumentos nem sempre confirmam as teses propostas inicialmente. Há constantes contradições entre os diferentes elementos que compõem uma mesma cena, ou entre diferentes cenas e sequências do filme, tornando necessário ao espectador realizar uma leitura a contrapelo da obra. Orson Welles incorpora aspectos da tradição cinematográfica e de sua obra e combina-os com a experimentação, que é característica de seu trabalho artístico, para investigar as relações de produção no contexto da indústria cultural e de que forma o trabalho se constitui enquanto horizonte para superação das determinantes históricas da sociedade. Ao mesmo tempo em que faz isso, o filme evidencia a si mesmo como representação, constituída a partir de um ponto de vista determinado, e assim permite que analisemos e interpretemos a verdade desse trabalho artístico, para a compreensão dos temas e aspectos da realidade que ele configura. / F for fake (Verités et mensonges, 1973), by Orson Welles, introduces the story of Elmyr de Hory, a great Art forger, in order to discuss the determinations associated to the Art Market and the work of the artist submitted to the Cultural Industry. The movie is structured as an argumentative essay, which discusses its background and captures the structure of feeling of the period. Because of the way it is organized, F for fake is sometimes referred as a predecessor of what is called nowadays essay film. However, the arguments included do not necessarily confirm the initial thesis of the film. There are numerous contradictions between different elements of a scene, and also between different scenes and sequences. It keeps the audience alert and suggests the need to interpret the story against the grain, as Walter Benjamin advocates. Orson Welles incorporates some aspects of film tradition and of his oeuvre, and associates them with the experimentation of new aesthetics, as it is characteristic of his artistic work, in order to examine the relations of production in the context of the Cultural Industry. He also analyses how labor can represent some perspective of overcoming the social and historical determinations of the society. Whilst structuring these debates, the film exposes itself as a representation of a certain point of view, and allows the audience to analyse and interpret the truth of this work of art, as well as to try to understand the association of themes and aspects of reality that it constitutes.

Radio drama developed as a genre as new media proliferated and challenged the cultural primacy of print. The methods of production and distribution and the literary genres that developed during the age of print provided models for radio playwrights to follow but also cultural forces for them to challenge. This dissertation considers these dual influences of print on the radio drama of four playwrights: Orson Welles, Dylan Thomas, Samuel Beckett, and Tom Stoppard. Each playwright “remediates” the printed page in radio plays by adapting or evoking the form of various literary texts, including novels (Welles), travel writing (Thomas), diaries and transcribed speech (Beckett), and historical writing (Stoppard). By representing written texts in an electronic, primarily oral medium, these authors examined the status of literary expression in an age of ascendant electronic media. Welles’s The War of the Worlds and Huckleberry Finn, Thomas’s Under Milk Wood and other broadcasts, Beckett’s Rough for Radio II and Embers, and Stoppard’s In the Native State highlight defining features of the print tradition and reveal how practices of writing and “reading” changed in the radio environment. These plays suggest that radio prompted writers to reconsider the literary author’s creative role, the text’s stability, and the audience’s interaction with the work. “Radio Texts” ultimately argues, therefore, that radio drama’s significance transcends its place in media history and dramatic criticism; the works I examine also point to radio plays’ important role in authors’ re-evaluation of literary expression in a changing twentieth-century media ecology. / text