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Throughout the 1920s, America was marked by a series of fundamental political, social and economic shifts that defined the decade. The rise of the Second Ku Klux Klan was just one of the many results of the underlying tensions produced by the radical changes of the period. This fervently patriotic and nativist organization has captivated onlookers and academics because of its peculiar customs and its mysterious resurgence following the First World War. Historians have thoroughly analysed this group’s ideology, and have presented detailed case studies of the growth and decline of individual chapters of this vast organization. The 1920s Klan has been studied from practically every possible angle. However, researchers have neglected to study the order’s fraternal traditions and their relationship with other fraternities. This thesis hopes to address this oversight by offering a critical evaluation of the Ku Klux Klan’s role as a fraternity. This thesis will analyse how this order functioned as a fraternity, and how these traditions helped recruit followers to the movement. This study will also discuss how the Klan interacted with other fraternities, particularly the Freemasons. These two fraternities shared a complex relationship with elements of both cooperation and conflict, and their interactions will help us comprehend how the Ku Klux Klan managed to become the foremost fraternal movement of the 1920s. This thesis will analyse a number of different aspects about the Ku Klux Klan, from their ideology and rituals to their sales methods and public relations campaign. This study hopes to re-evaluate a number of key assumptions about this group by critically assessing the Klan from a different perspective. By investigating the response of fraternities like the Freemasons to an intrusive and aggressive order like the Klan, we can gain a better understanding of how the nation as a whole perceived and reacted to this peculiar organization.

The aim of this thesis is to analyse how and to what extent Ku Klux Klan constructed a pan-Protestant interpretation of Christianity based on its “myth of America” (Americanism) during the years 1915–30. Using hermeneutic content analysis and a theoretical approach based on Gramscian “cultural hegemony” and historian of religions Bruce Lincoln’s theory of myth, I examine the construction through three analytical themes: the Klan and the myth of America, the Klan’s pan-Protestantism, the Klan and religious patriotism. The Ku Klux Klan of the 1920s advocated a theological position where race and religious confession are intimately entwined, and its members hence believed that the white race is God’s chosen people and Unites States a God-ordained nation. Opposing the idea of multiculturalism, Klan members stressed the notion of America as a nation imagined to be threatened by Jews, Catholics, and blacks. Therefore, every white Protestant American had to unite in order to combat these alleged national and racial menaces. This worldview was permeated by aspects of love. It was mostly because of love to God, race and nation – not primarily due to hate – the Klan constructed its interpretation of Protestant Christianity. The Ku Klux Klan of the 1920s truly imagined themselves as guard-ians, or Knights, of an endangered culture.

The purpose of this study was to describe how the doctrine of in loco parentis was operationalized at the University of Tennessee during the early 1920s and 1930s, through analysis of the minutes of the University of Tennessee Administrative Council, the administrative body charged with the major decisions concerning student life for the University. The phenomenon under examination in this single, descriptive, holistic case study design was the operationalization of the concept of in loco parentis, and the case was the University of Tennessee during the early 1920s and 1930s. The study identified the various issues with which the Administrative Council dealt in the early 1920s and 1930s, as well as outcomes of the various issues before the Council. The findings revealed that the University practiced standing in the place of students’ parents in various ways, including: a comprehensive class attendance policy and monitoring of class attendance; substantial monitoring and oversight of academic progress; mandated attendance at a religious chapel program; restrictions on travel outside Knoxville while classes were in session; regulation of social dancing; visitation and curfew restrictions in residential facilities for women; lecturing and verbal reprimanding of students who appeared before the Council; serving as a permission-granting or permission-denying body for various and sundry requests; disciplining of students for vague, non-specific matters of non-academic student misconduct; and extensive use of student probation and the associated restrictions which accompanied probation. As the first study to document the way in which the doctrine of in loco parentis was operationalized from an administrative perspective, the findings add significantly to the existing literature and to our understanding of the relationship between the student and the institution in the early part of the twentieth century.

Female solo aerialists of the 1920s and early 1930s were internationally popular performers in the largest live mass entertainment of the period in the UK and USA. Yet these aerialists and this period in circus history have been largely forgotten by scholars. I address this omission by arguing these stars should be remembered for how they contributed to strength being incorporated into some stereotypes of femininity. Analysing in detail Lillian Leitzel, Luisita Leers and, to a lesser extent the Flying Codonas, I employ a cross-disciplinary methodology unique to aerial scholarship that uses embodied understanding to reinvigorate archival resources. This approach allows me to build on the wider scholarly histories of Peta Tait, drawing important conclusions about the form including how weightlessness is constructed and risk is performed. In the introduction I re-evaluate the nostalgic histories of circus to establish circus’ and aerialists’ popularity in this period, before exploring how engagements shaped careers. Chapter 1 considers the difference in experiencing aerialists in the USA and UK by bringing together previously unrelated data on circus, variety and vaudeville venues. Aerialists made good celebrities because their acts, located above audience members’ heads, challenged the conventional relationship between ticket prices and sightlines. Chapter 2 explores how the kinaesthetic fantasy evoked by experiencing aerial action created glamour and how glamour had the power to reframe femininity in the 1920s. Glamour and celebrity have often been confused and Chapter 3 distinguishes the two before considering what characterises aerial celebrity. Reconfiguring Joseph Roach’s public intimacy as skilful vulnerability allows me to analyse how risk was gendered and performed in relationship to skill. The gendering of risk leads me to consider what in society contributed to aerial stardom by drawing upon Richard Dyer’s argument that celebrities embody a cultural ambiguity. Female aerialists reframed their femininity in a similar way to women who aspired to the modern girl stereotype in wider society. In the final chapter I expand on the activity of the modern girl, comparing strategies used by young exercising women to female aerialists. This enables me to draw conclusions about how witnessing these stars tapped into national ideas of citizenship, and to designate aerialists as the first to use the power of glamour to make muscular femininity acceptable.

Nous reprenons dans une nouvelle optique la réflexion de Malraux sur l’Orient et l’Occident dans les années 1920. Comment pense-t-il l’Occident face à l’autre culturel? Qu’elle est l’originalité de son discours sur l’Orient et l’Occident? Nous tentons de la mettre en évidence en intégrant ce discours dans le débat sur ce dualisme culturel paru dans trois revues : La Revue Universelle, Europe et La Nouvelle Revue Française. À l’époque où deux intellectuels, Henri Massis et René Guénon, réfléchissent à la reconstruction de l’Occident par le catholicisme, et se demandent si elle doit se faire en s’ouvrant à l’influence de la pensée orientale ou sur son exclusion, Malraux, favorable à l’influence orientale, mais très nietszchéen, ne songe pas à recourir à la religion pour l’Occident dont il souligne l’état de crise. Il lui paraît que l’Occident s’est construit la notion de l’individu et le respect du pouvoir et de l’action. Cette figure de l’Occident surgit face au miroir de l’Orient – principalement la Chine où l’individu n’existait pas. Malraux également dénonce l’impasse de l’individualisme et l’échec du monde moderne guidé par la raison et le progrès. A la crise sociale et culturelle, il ne propose de remède décisive Il chante l’absurde, sur un ton pathétique, soulignant le Moi incertain de l’homme qui ne sait pas échapper à la mort. Son Occident, sous-tendu par cette conscience nihiliste, est une vision tragique où l’absurde est pensé comme une fatalité. / I aim to provide a new analysis of André Malraux’s essay which compares and contrasts the Orient and Occident in the 1920’s. How does he consider the Occident in the face of the cultural other? Wherein lies the originality of his essay? My work strives to uncover this originality by inserting Malraux into a debate regarding cultural duality occurring in three journals: La Revue Universelle, Europe and La Nouvelle Revue Française. During this period, two intellectuals, Henri Massis and René Guénon, reflected upon the extent to which both Catholicism and Eastern thought should play a role in the reconstruction of a post-World War I society. While Malraux was sympathetic to Oriental culture and thought, he remained very Nietzschen and thus refused to turn to Western religion. According his vision, the Occident was responsible for the construction of the notions of the individual and respect for power and action. This image of the Occide! nt comes to light in the mirror of the Orient – especially in the case of China where the individual didn’t exist. Malraux also denounces the cul-de-sac of individualism and the failure of a modern world where reason and progress are valued above all. Malraux provides no remedy for this cultural and social crisis. He sings the absurd with a pathetic tone, a tone that expresses an uncertain ‘self’ of a human unable to escape death. His Occident, based on this nihilistic consciousness, is a tragic vision in which the absurd is an inevitable fate

The diploma thesis deals with factors that affected the real estate market in the 1920s in the United States. The aim of the thesis was to determine whether monetary policy had any effect on the prices of new residential houses and whether its easing led to the creation of price bubble and subsequent fall in prices. At first the thesis focuses on explaining economic development and monetary policy in the 1920s and subsequently on the analysis of foreign studies concerning different factors and their effects. The statistical method of regression model was used to test hypothesis. The results of my analysis proved that the monetary policy of the Federal Reserve System was one of the factors affecting the prices of new buildings. This occurred through changes in interest rates, which encouraged an increase in real estate prices during the boom.

The beginning of the 20th century was an epoch when new industries were established, migration to the cities were increasing, the service sector was growing, and with an increased middle class. Many of the new developments were endeavors, which we today would call projects. The purpose of this thesis is to extend our knowledge about projects during the 1920s, particularly how they were managed and how different persons took on roles and responsibilities to accomplish something they believed in. One such project was Stockholm Concert Hall (1923–1926). The project was managed by the architect Ivar Tengbom, who was the project manager. There have not been any previous studies of the concert hall as a project. Previous research of projects in the past are few and then mostly from the 1940s and 50s. The thesis covers the management of the project and the different roles and associated responsibilities. The main theories are Bourdieu’s Theory of Fields and current project management theories. One of the findings is that just four men with economic, social, and cultural capital dominated the total project process. The project is considered a success; the concert hall is still appreciated.

The thesis is aimed on film advertising in the period of the Czechoslovak First Republic, which is often a neglected, but extremely interesting chapter in the study of advertising history. The origin of film advertising is examined from the point of view of the advertiser, creators, but also the technical possibilities and available technical background, which was often a limiting factor for the development of film as such. The possible reach of the film advertising at the time is then illustrated by the development of the number of cinemas in Czechoslovakia, their total attendance, as well as the number of these films and the average attendance per show.

Subaltern studies has overwhelmingly privileged subaltern resistance as a means for the subaltern to attain autonomy. While the group's project has made breakthroughs in rewriting Indian subaltern history, their emphasis on resistance to oppression has also essentialized what it means to create autonomy. A 1999 novel, Lydia Minatoya's The Strangeness of Beauty, challenges this essentialist view by portraying alternative behaviors that indicate autonomy. The novel is set in 1920s Japan when transnational excitement and anxiety provided opportunities for one subaltern group, Japanese women, to gain autonomy. While some feminist movements in Japan substantiate the notion that autonomy must be gained through rebellion, The Strangeness of Beauty suggests that this is merely one possible method for gaining autonomy—and an undesirable method at that. The relationships among three women—a mother, daughter, and granddaughter—emphasize that both the elite and subaltern can do more than just oppress or rebel to express autonomy. Rather than responding to the other antagonistically, the characters in The Strangeness of Beauty indicate that autonomy can best be reached through beneficent acts toward the other. I hope to demonstrate that these beneficent acts also foster autonomy. Because resistance and beneficence widen the spectrum of behaviors that foster autonomy, subaltern studies must identify new spheres of autonomy and enact a non-essentializing beneficence in their methodology.