Charles Watson-Wentworth, second Marquis of Rockingham, is, perhaps, the most overlooked Prime Minister of the eighteenth century. The aim of this thesis is to re-examine the current assessments of the marquis, that he was immature, inept and unfit for high office, and to revise them as necessary. It also aims to indicate the areas where he may have been misjudged. The marquis primarily is placed in his local context of Yorkshire. His upbringing is studied to give same insight into his background and then his roles of landowner and local magnate are examined. His duties of Lord Lieutenant are dealt with by looking at four specific episodes in which he was involved. His political career is investigated at local level both as leader of the Rockingham party and particularly in his ability to influence Yorkshire politics between 1753 and 1782. The udder interests and concerns of Rockingham in Ireland and America are also studied. Rockingham showed great promise as a child although he suffered from a debilitating illness which recurred throughout his life and probably caused his sudden and early death. Far from being incompetent and immature, he was an active estate developer and improver and was a key figure in the social, economic and political life of the neighbourhood of Wentworth Woodhouse. He virtually controlled Yorkshire politics for twenty years and led the largest and best-organized opposition party in parliament during that time. His views on the problems of Ireland and America have been under-valued and his personal qualities both for attracting loyalty and friendship and for his active leadership of his party have not been given sufficient recognition. In spite of his faults Rockingham was far more capable and a far more complex person than has been realised.

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No abstract was provided. / Thesis / Bachelor of Arts (BA)

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In 1800, Gilbert Stuart began three paintings of his friend, republican writer, Sarah Wentworth Apthorp Morton--the Worcester, Winterthur, and Boston portraits. While Morton has been remembered more for a tragic personal family scandal than for her literary endeavors, Stuart's provocative images acknowledged her as both a poet and an intellect. His portraits presented a progressive and potentially controversial interpretation of his sitter--the lovely and learned Morton--by prioritizing the writer's life of the mind rather than her socially prescribed life in the world. This study reconstructs the circumstances by which Stuart composed the group of Morton paintings that culminate in his unorthodox Worcester rendering through which he ultimately depicted Morton as the first woman of ideas in American art. Supported by close readings of her work, this dissertation illuminates both the course and depth of the exceptional personal and professional relationship between Morton and Stuart. The paths of the two republican figures crossed at several historic junctures and is highlighted by the interconnectivity of their work. Most significantly, the Stuart portraits represent an ideal lens through which to view Morton's life and work as well as to follow the Boston native's transformation into one of America's earliest women of ideas. / text

In light of pressing challenges including climate change and energy security, urban planners are increasingly being required to make decisions that can be attributed to reductions in energy use and greenhouse gas emissions. Energy mapping is an emerging approach used to make improved energy-related decisions and predict energy performance, although at the time of writing, has not been applied within a Manitoban context. Informed by promising practice utilized in other Canadian locales, this research creates an energy mapping process for use in the City of Winnipeg’s residential sector. The Ebby-Wentworth neighbourhood is analyzed to develop and test the mapping process. The process begins with determining baseline energy use for the neighbourhood, and is then compared to three development scenarios, which include the use of retrofits, and new construction on an adjacent development site. The results of applying the energy mapping approach in Winnipeg demonstrates this to be a key decision-making tool for planners looking to make informed decisions related to energy-using equipment, building and site design, and land use and infrastructure. Recommendations include: increased use of the energy mapping approach as a decision-making tool through enhanced collaboration between federal and provincial authorities, municipalities, and utilities; incorporating energy considerations into the planning and development process through revised and updated energy legislation, policy and programming; and, further refining and testing of the energy mapping process designed for this research to develop a best-practice approach for mapping energy use within the Province of Manitoba.

Dissertation submitted in partial fulfilment of the requirements for M.Tech.: Graphic Design, Durban University of Technology, 2011. / Social issues are a very real problem in South Africa. Violent protests in poorer communities around South Africa indicate a need to better understand negative social realities impacting on communities. This research examined the sociocultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, as shown on the map on page x. The focus of this study was the social and community realities; and the significance of photography in the context of examining these. The aim was to use photography as a research tool as well as to document the data collected. From the data a 118-page book, as shown on page viii, was conceptualised, which captures this community’s social context. Further, the study questioned the use of design practice to support social change. Because of the distinctly “Coloured” nature of Wentworth, literature was sought for the definition, history, current dynamics and complexities of Coloured identity. The literature review highlighted ethics and the strategies that should be adhered to when considering the social nature of photography. For this inquiry a qualitative analysis was conducted using the Grounded Theory method. A collaborative, or participatory research approach, was used for data collection, by working closely with families and health, church and non-governmental groups in Wentworth. Qualitative data collection methods used to gather primary data were photographic documentation and interviews. This research produced a number of key findings regarding socio-cultural problems plaguing the community. Findings deemed photography a rich tool for researching the social and for accurately recording everyday life. The main conclusions drawn from this research were that in-depth studies be conducted on individual problems, utilising greater manpower and funding. In addition, that further research and documentation be undertaken in the community.

This paper focuses on the Secret Six who consisted of Theodore Parker, Thomas Wentworth Higginson, Franklin Benjamin Sanborn, Samuel Gridley Howe, George Luther Stearns, and Gerrit Smith, and the concepts that these men believed in regarding the type of society they wanted established in the United States. The dominant theme in the minds of this Secret Six was the romantic belief in the free individual. The belief in the free individual living in a free, progressive society held out the promise that America could become a perfect community of autonomous individuals and an example for all the world. But the Secret Six realized that for America to be this perfect community of autonomous individuals, America had to be freed of any determinism in its institutions. These six crusaders had such faith in their theories of individualism, that they abandoned moral persuasion and accepted violence as the principal means of establishing their society. These men believed that only the type of an individual who was willing to use violence if necessary and to die for the dictates of his conscience, could reform America into a community that exemplified to the world a belief in the free individual.

This dissertation constructs a cultural history of women's performances in Boston from 1762-1823, using materialist feminism and ethnohistory. I look at how "woman" was historically understood at that time, and how women used those discourses to their advantage when constructing performances that allowed them to intervene in political culture. I examine a broad range of performance activities from white, black, and Native American women of all classes. Chapter two discusses three of Boston's elite female intellectuals: Mercy Otis Warren, Judith Sargent Murray, and Sarah Wentworth Apthorp Morton. Though each woman's writings have been examined individually, I examine them as a community. With the connections and public recognition they built, they helped found the Federal Street Theatre where they could have a ventrioloquized embodied performance for their ideas on women's rights, abolition, and political parties. Chapter three looks at the construction of three solo performances: Phillis Wheatley performing her poetry in 1772; the 1802 theatre tour of Deborah Sampson Gannett, who fought as a man in the revolution; and the monologues and wax effigy creations of Patience Lovell Wright circa 1772. These women depended on their performances for sustenance, and in Wheatley's case, to secure her freedom from bondage. I look at the way these women created a mythology about themselves and crafted a marketable image, both on and off the stage. In particular, I examine the ways each grappled with a charged discourse surrounding their bodies. In chapter four I look at fashion as performance. I explore homespun dresses as political propaganda, Native American and black women's use of clothing to express cultural pride that white Anglo society had attempted to erase, and the way that women used mourning costumes to perform and create nationalism at the mock funerals held for Washington after he died in 1799. In my conclusion I contrast the 2008 miniseries John Adams with a solo performance of Phillis Wheatley. I briefly trace the trajectory of the history of women during this time. I argue that focusing on performance identifies and legitimizes other sources of evidence and locates examples of women's agency in shaping popular culture. / text