This thesis examines the growth of organized opposition to abortion in the United States, and charts the fortunes of the right-to-life movement at a national level during the 1970s and 1980. Anti-abortionists emerged as a social movement in response to changes in the law, and after the Supreme Court’s Roe v. Wade decision they struggled to present themselves as a coherent lobby group. The 1970s were thus a time of fluidity and experimentation, as right-to-lifers contemplated different approaches and argued over how best to end legalized abortion. Activists engaged in legislative efforts, political lobbying, and education initiatives, all the while teasing out what exactly it meant to be opposed to abortion. The movement at this time rejected the ideas of absolutists and instead aimed to be as broadly representative of American society as possible. Rather than clearly aligning themselves with the Left or the Right side of politics, the movement pursued a politics of moderation. / This status quo was challenged, however, by the resurgence of conservatism in the late 1970s. As the social conservatives of the so-called “New Right” began to intervene in the abortion debate, right-to-lifers found themselves having to respond to a worldview that spoke only in terms of absolutes. After Ronald Reagan was elected to the Presidency in 1980, anti-abortionists needed to negotiate a political landscape in which they ostensibly had access to power and yet were repeatedly disappointed by the action (or inaction) that came from the White House. This thesis contends that in the 1980s, the relationship between right-to-lifers, the “New Right,” and the Reagan administration was often marked by disappointment and compromise. As the decade drew on, right-to-life leaders increasingly tempered the types of demands they made of the White House and of Republicans in general, and this climate eventually meant that the kinds of activists that rose to prominence within the movement were conservative and the ideas they espoused absolutist.

Appalshop, a multi-media and arts organization in Whitesburg, Kentucky emerged in 1969 at the crossroads of several different developments. It started as a War on Poverty program and its history exhibits the contradictory ideologies that fueled that effort and the political changes that forestalled it. The production company began in the midst of technological advances in media and is an early example of the democratization of technology and the potential of portable video equipment in affecting social change. Most importantly, its genesis is located within the context of a renewed interest in Appalachian history and culture and the related issues of negotiating regional cultural identity in the American national context. This one small organization in Eastern Kentucky provides a window to a wide slice of American history and culture in the midst of profound changes. Throughout the twentieth century the Appalachian region has been repeatedly characterized in mainstream American culture in an overtly negative light. Appalshop played an integral role in countering these characterizations and the stereotypes they generated and reinforced. Technology became more accessible the second half of the twentieth century. As a result, Appalshop was able to challenge these negative perceptions of the region in the national mind by placing cameras, printing capabilities, drama, and visual art in the hands of Appalachians. This allowed them to speak for themselves—first to each other and eventually to the nation. This dissertation focuses on the founding of the Community Film Workshop of Appalachia, the subsequent abandonment of the project by the federal government, the acquisition of control over its artistic output by artists and staff members, and its expansion between 1969 and 1984. It also addresses the significant role Appalshop played in the burgeoning Appalachian social movement context that emerged concurrently with its founding and its related role as a social change organization.

In his writing on the nature and purpose of the novel between 1895 and 1911, Wells endorses artistic principles for their social effects. His public lecture on “The Contemporary Novel,” written in 1911 in response to a debate with Henry James, is the most lucid articulation of his artistic principles, and his later autobiographical reflections on the debate obscure the clarity of the earlier version. Wells’s artistic principles emerge in his reviews of contemporary fiction for the Saturday Review (1895–1897), where he extends Poe’s concept of “unity of effect” to the novel and justifies his preference for social realism with a theory of cultural evolution. His views develop further in the context of sociological and philosophical debates between 1901 and 1905. Wells commenced the century with a sceptical view on the social effects of literature, but his exposure to British Pragmatism encouraged him to revive the principles developed in his reviewing. The view on Wells’s conception of the novel presented in this thesis challenges the prevailing view that he began his career with a set of purely artistic principles, adding sociological and intellectual apparatus after the turn of the century.

Few people know that the first sessions of the General Assembly of the UN in 1946 were held in a place of worship - Westminster Central Hall. It was part of an ambitious construction programme, initiated by the Wesleyan Methodists, which resulted in Central Halls in most British cities. They were, and in some cases still are, flexible, multi-functional spaces used on a daily basis for a wide range of purposes. They are widely perceived as public space but they are also sacred - camouflaged churches, created as sites for missionary activity and social outreach by a faith which from its origins has challenged the dichotomy between sacred and secular space. They have never been systematically studied – even their number and locations were unknown. This thesis tells their story by presenting them as an undocumented building type of social and cultural significance. It explores the concept of building type and the dimensions of social and cultural analysis that may be explored with the method. The typological approach is then demonstrated with a specific monographic focus on Methodist Central Halls from the 1880s to the present. Using a combination of visual methods, archival research and personal testimony, the analysis offers insights into the many aspects of Methodism through the long twentieth century – the church’s spatial distribution, its modes of mission and worship, its cultural identity and its business model. These centrally located assembly halls with their landmark architecture are for many towns still the top venues for meeting and entertainment. The typology of such public sacred spaces is not only a chapter in the history of British cities but provides findings of wide interest for religion and society.

<p dir="ltr">This dissertation argues that shifting secular conversion therapy practices and theories in North America between 1910 and 1980 consistently relied on both queer affective experience and anti-queer and anti-trans animus to justify often brutalizing medical interventions. Canadian and American conversion therapists’ pathologizing views of queer sexual behavior and gender identity were shaped by complex interplays between cultural, legal, social, and medical perspectives, but predominately worked to uphold heteronormative social structures leading to discrimination, hate, and harm towards queer people in both countries. Focusing on affect thereby encourages scholars to recognize how conversion therapies in all their variable historical permutations are both medical <i>and </i>cultural practices that have attempted to use queer patients’ affective needs for acceptance, love, safety, and validation in ways advancing anti-gay and anti-trans social narratives in purportedly therapeutic settings since the early twentieth century.</p><p dir="ltr">This research uses a transnational approach that is at once sensitive to national differences between the American and Canadian queer experience while looking to draw connections between conversion therapy’s development and individual experiences of this practice in two national contexts over time. It additionally pays careful attention to the ways social power hierarchies based on race and class informed individuals’ affective experiences of conversion therapy between 1910 and 1980.</p>

Orientadores: Maria Lucia Senna Machado Pascoal, Mauricy Matos Martin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T13:37:16Z (GMT). No. of bitstreams: 1 Moreira_AdrianaLopesdaCunha_D.pdf: 12909119 bytes, checksum: c1054275001f99a287c35ac9a21a5138 (MD5) Previous issue date: 2008 / Resumo: Este trabalho propõe uma associação de técnicas de análise musical desenvolvidas durante os séculos XX e XXI aos conceitos teóricos proferidos por Olivier Messiaen no livro Technique de mon langage musical (Messiaen 1944a e 1944b) e nos três primeiros volumes do Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b e 1994c). Para tanto, nos dois Capítulos que o compõem, inter-relaciona tais conceitos teóricos a técnicas de análise apresentadas por autores como Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) e Felix Salzer (1982); e demonstra a eficiência do procedimento, através da apresentação de cinco análises de peças para piano compostas por Olivier Messiaen, contextualizadas tanto por dados biográficos do compositor, como por artigos anteriormente escritos por pesquisadores teoricamente relevantes. O trabalho justifica-se por contribuir para a bibliografia sobre análise musical em língua portuguesa, bem como por constituir um trabalho de análise musical que amplia a vertente teórica do compositor. Nos cinco Anexos que completam o exemplar, destaca declarações inéditas na literatura mundial, proferidas pelo compositor Almeida Prado, a respeito de planos não concretizados para a composição de um segundo Catalogue d'oiseaux. Na Conclusão, foram traçadas vertentes, tanto em relação às técnicas de análise utilizadas, como à obra para piano de Olivier Messiaen como um todo. / Abstract: This work proposes an association between musical analysis techniques developed during the twentieth and the twenty-first centuries and the musical theory concepts presented by Olivier Messiaen in his Technique de mon langage musical (Messiaen 1944a and 1944b) and Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b and 1994c), first, second and third volumes. For this purpose, it relates Messiaen's theory concepts to analysis techniques presented by authors like Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) and Felix Salzer (1982). Trough the analysis of five piano pieces by Olivier Messiaen the efficiency of this process is demonstrated. The analyses are supported by the composer's biography, as well as by articles previously written by prestigious researchers. It adds to the musical analysis bibliography in Portuguese language and it contributes to broaden the theory concepts presented by the composer. The five Annexes that complement this work bring new revelations by Brazilian composer Almeida Prado, about an Olivier Messiaen's project, never made concrete, to compose a second Catalogue d'oiseaux. In the Conclusion we trace lines of conduct concerning the musical analysis techniques as well as Olivier Messiaen's piano work as a whole. / Doutorado / Doutor em Música