The phoenix from the ashes. Orangism in word and image 1650-1672.

The sudden death of the Prince of Orange William II in 1650 was followed by twenty-two years of government without a stadholder in the majority of the Dutch provinces. The hopes of the Orangists centred on his posthumous son William III and the expectation that one day he would succeed to the offices of his forefathers. To this end, the supporters of the House of Orange defined and defended the role of the stadholderate within the constitutional framework of the Dutch Republic. This thesis examines the nature of the stadholderate in Orangist polemic and imagery and the crucial role which the 'single head' was alleged to play within the Union of Utrecht. Rebutting the writings of John de Witt and his supporters, the Orangists were to argue that without a stadholder and captain general the Dutch Republic was doomed to fall victim to internal discord or external aggression. Orangist sentiment centred on the person of the young prince and the gratitude owed to his forefathers. Inherent in this thinking was the assumption that only William III could become stadholder in his turn. Essential to this strategy was the rebuttal of attacks on the persons and policies of the previous stadholders, particularly William I and Maurice. At critical times, the supporters of the Prince were able to exploit a strand of popular Orangism which came to fruition in the crisis year of 1672. This thesis examines the various strands of the Orangist argument. The sources used include political pamphlets, particularly those listed in the Knuttel collection. poetry, drama and visual imagery including portraits, prints and medals. The aim of the thesis is to bring together sources from the various media to create a coherent picture of the Orangist case from 1650 to William III's failure to become Duke of Gelderland in 1675

Unlocking New York: Squatters, Urban Explorers, and the Right to the City

Across New York City, gentrification and austerity price the working-class out of their homes and drive them from their neighborhoods. The city cannibalizes its people, creating what Victor Hugo once called a “paradise of the rich...made out of the hell of the poor.” Despite this, there are still spaces for everyday acts of resistance in New York. On the Lower East Side, a makeshift cadre of squatters fought a twenty-year battle to win control of their homes. On the Upper West Side, a group of Puerto Rican radicals, led foremost by women, transformed shuttered apartments into a site for communal housing, healthcare, and education. Even in the city’s forbidden zones—the interstitial world of tunnels, construction sites, and abandoned factories—urban explorers venture beyond the locked gate to find creative expression and recapture what Henri Lefebvre terms the “right to the city.” The landscapes these groups inhabit, rich with secret histories and far from the surveilling eye of the state, form the basis for a whole new urban geography. Here in the terrains vagues, squatters and urban explorers alike repurpose the waste products of capital into something beautiful. Just as capitalism creates luxury and order in one place by breeding poverty and pollution in another, so do these individuals engage in the reciprocal process, converting urban ruins into self-organized, autonomous communities. They together develop a model for the post-capitalist city, one in which planning serves human needs and desires rather than the profit motive. It is this New York, the rebellious undercity, which this dissertation seeks to uncover.Doctor of Philosoph

Writing regeneration, literary construction of urban change in postindustrial Glasgow

Strathclyde theses - ask staff. Thesis no. : T15216This thesis examines literary engagement with - and resistance to - changing modes of urban regeneration in Glasgow, from its year as the 1990 European City of Culture to the 2014 Commonwealth Games. It not only considers how deindustrialisation and urban regeneration are represented in local writing, but interrogates the impact of urban transformation on the social production of literature, and argues that literary activity has, in turn, influenced the social and material processes of regeneration. It identifies a growing tendency for writers to become involved in participatory work exploring, and potentially mediating, the social impact of regeneration, and contends that this emergent mode of literary labour carries hazards for authors and communities.Drawing on perspectives from cultural policy studies, urban sociology, and new working-class studies to illuminate intersections between regeneration and literary work, it uses a variety of texts, archival sources and interviews to develop a case study approach. Each chapter focuses on a distinct type of urban space and period of urban transformation. Chapter One, concerned with cultural spaces, considers literary protest against Glasgow's 'Culture Year'. It demonstrates that while many writers contributed to events in 1990, such as the Glasgow's Glasgow exhibition and Writing Together festival, its literary legacy remains one of radical resistance. Chapter Two turns to domestic spaces, considering collaborative literary work in the context of housing regeneration - particularly Alison Irvine's This Road is Red (2011) which memorialises the Red Road Flats' social history. Chapter Three focuses on contests over public space, attending to the relationship between literary practice, community development and public health. Its principle case studies include Benjamin Obler's novel portraying the Pollok Free State protest camp, Javascotia (2009), and Alison Irvine's Nothing is Lost (2015) which reflects on the use and ownership of public spacein Glasgow's East End during the Commonwealth Games.This thesis examines literary engagement with - and resistance to - changing modes of urban regeneration in Glasgow, from its year as the 1990 European City of Culture to the 2014 Commonwealth Games. It not only considers how deindustrialisation and urban regeneration are represented in local writing, but interrogates the impact of urban transformation on the social production of literature, and argues that literary activity has, in turn, influenced the social and material processes of regeneration. It identifies a growing tendency for writers to become involved in participatory work exploring, and potentially mediating, the social impact of regeneration, and contends that this emergent mode of literary labour carries hazards for authors and communities.Drawing on perspectives from cultural policy studies, urban sociology, and new working-class studies to illuminate intersections between regeneration and literary work, it uses a variety of texts, archival sources and interviews to develop a case study approach. Each chapter focuses on a distinct type of urban space and period of urban transformation. Chapter One, concerned with cultural spaces, considers literary protest against Glasgow's 'Culture Year'. It demonstrates that while many writers contributed to events in 1990, such as the Glasgow's Glasgow exhibition and Writing Together festival, its literary legacy remains one of radical resistance. Chapter Two turns to domestic spaces, considering collaborative literary work in the context of housing regeneration - particularly Alison Irvine's This Road is Red (2011) which memorialises the Red Road Flats' social history. Chapter Three focuses on contests over public space, attending to the relationship between literary practice, community development and public health. Its principle case studies include Benjamin Obler's novel portraying the Pollok Free State protest camp, Javascotia (2009), and Alison Irvine's Nothing is Lost (2015) which reflects on the use and ownership of public spacein Glasgow's East End during the Commonwealth Games

Ophelia

Ophelia (1851-2) is the title of a Pre-Raphaelite painting by John Everett Millais narrating the final moments of Shakespeare’s heroine in Hamlet (1599-1601): the former is considered the best-known picture in all Victorian art and the latter, the greatest work in English literature. Nonetheless, Ophelia owes its significance and enduring popularity to these monumental artworks, as well as the fantasies of “Woman” she embodies in successive discourses, and the material, semantic, and social networks she progressively integrates. The eight-hundred years span of such networks, their size and complexity across media and cultures, seem proof enough to consider Ophelia a “hyperobject.” Although Timothy Morton introduced it as a philosophical and ecological concept to deal with “things that are massively distributed in time and space relative to humans,” Ophelia shows the same characteristic properties (viscosity, nonlocality, temporal undularity, phasing, interobjectivity) and ontological structure, a mesh constituted by a dynamic mixture of strands in which component objects interact, and gaps in which they withdraw remaining unknowable. The reconceptualization constructs Ophelia as a new object of transdisciplinary research, overcoming limitations of previous studies that focused on character analysis, historical period, or discipline. Further, the hyperobject provides an ideal medium in which Ophelia arises, develops, and is resolved or abandoned as problem, and of which the answers to that problem are also part. The chapters that follow will address three questions about Millais’ Ophelia: What is Millais’ answer to Ophelia? Where does Ophelia fit in art history and modernity? What did Millais want from Ophelia and what does Ophelia want from the public

Annual Report of the Board of Regents of the Smithsonian Institution, showing the operations, expenditures, and condition of the Institution for the year ending June 30, 1891

Annual Report of the Smithsonian Institution. [3002] Research concerned with the American Indian

Annual Report of the Board of Regents of the Smithsonian Institution, showing the operations, expenditures, and condition of the Institution for the year ending June 30, 1891

Annual Report of the Smithsonian Institution. [3002] Research concerned with the American Indian

1921 Twenty - Eighth Conference Report New York City, N.Y.

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