A GENRE OF DEFENSE: HYBRIDITY IN NINETEENTH-CENTURY WOMEN'S DEFENSES OF WOMEN'S PREACHING

This dissertation explores how nineteenth-century Protestant women negotiated genre in order to manage more effectively the controversial rhetorical project of defending women's right to preach. After providing a comprehensive overview of the debate of women's preaching in America, this project presents a genre study of a subset of these defenses: those women who do not adhere strictly to their "home" genres, but rather demonstrate a range of generic blending and manipulation in their defenses of women's preaching. This study further reads religion as an integral identity category that was the seat for other activist rhetorics; by extension, then, women's defenses of women's preaching is an important site of activism and rhetorical discourse. Foote, Willard, and Woosley are rhetoricians and theologians; the hybrid form of their books provides them with a textual space for the intersections of their rhetoric and theology. This study examines three books within the tradition of defenses of women's preaching--Julia Foote's A Brand Plucked from the Fire (1879), Frances Willard's Woman in the Pulpit (1888), and Louisa Woosley's Shall Woman Preach? (1891)--as representative of the journey a genre takes from early adaptation to solidification, what Carolyn Miller calls "typified rhetorical action" (151) and as the containers for an egalitarian theology. Foote adapts the genre of spiritual autobiography to include the oral and textual discourses of letters, sermons, and hymn in order to present her holiness theology. Willard experiments with the epistolary genre in order to present her Social Gospel theology. Woosley includes all of the genres of defenses of women's preaching: sermon, spiritual autobiography, editorial letter, and speech; she also appropriates Masonic rhetoric in order to merge the defense of women's preaching with another kind of defense prevalent at the time: the scriptural defense of women. Significantly, each woman resolves "separate spheres" ideology by suggesting a new religious sphere where men and women participate equally: Foote's sphere is the sphere of holiness; Willard's is her reconceptualized Kingdom of God; and Woosley's is a world of action, where men and women, after ritualized initiation, are responsible for building the temple of God

Poetry and the Common Weal: Conceiving Civic Utility in British Poetics of the Long Eighteenth Century

This dissertation pursues a twofold proposition: writers of the long eighteenth century widely presumed that poetry influenced the “common weal” (the common wellbeing, conceived as a national community); and this expectation guided poetic composition even at the level of strategy or “design.” I demonstrate this claim in a series of three case studies, each of which delineates an elaborate, intertextual dialogue in which rival authors developed divergent strategies for civic reform. My analysis emphasizes the category of poiesis (poetic making), negotiated within discursive conventions of neoclassical genres. Chapters 1 and 2 argue that two verse translators of The Works of Virgil exploited to different ends the convention that epic poetry shaped the “manners.” Whereas John Ogilby conceived the Aeneid as a work that inspired “obedience” to an absolute monarch, John Dryden refashioned Virgil’s poetry to serve a limited monarchy in the wake of the English Revolution. Chapters 3 and 4 argue that two satirists of the age of Walpole tackled the “Mandevillean dilemma,” which encouraged satirists, traditionally scourges of vice, to accommodate the controversial idea that private vices had public benefits. Whereas Edward Young imagined vanity as a passion that facilitated its own reform, Alexander Pope’s Dunciad proved that even published expressions of malice might have virtuous effects. Chapters 5 and 6 argue that two West-Indian georgic writers divergently confirmed the commonplace that georgics modeled good agricultural management. Whereas Samuel Martin appealed to local sugarcane planters as “practical philosophers” who made “interest” and “duty” agree, James Grainger courted a metropolitan audience, ebulliently portraying a form of colonial settlement flawed at its core: riddled with disease, neglected by absenteeism, and tragically dependent on transatlantic trade to sustain its human populations. Taken together, these case studies tell a story in which visions of mixed government gradually supplant visions of monarchical absolutism and criticism of powerful public figures is increasingly theorized as a positive force in the polity. By revising our investigation of the relationship between poetry and “politics” in the long eighteenth century, I suggest, we gain access to a sophisticated communitarian discourse about the role of the arts in sustaining government

Frontmatter, Table of Contents, Preface, Conference Organization, Supporters and Sponsors

Frontmatter, Table of Contents, Preface, Conference Organization, Supporters and Sponsor

Fred Kabotie, Elizabeth Willis DeHuff, and the Genesis of the Santa Fe Style

Those scholars who have overlooked the relevance of Fred Kabotie and the Santa Fe Style he developed have missed an important historical segment of early Native American painting. This dissertation underscores the convergence of diverse intellectual, artistic and cultural backgrounds, especially those of Kabotie and Elizabeth Willis DeHuff, his first art teacher, which led to the formation of the Santa Fe Style in 1918. This style was formative for Dorothy Dunn’s later Studio School at the Santa Fe Indian Boarding School. This first generation of the Santa Fe Style of watercolor painting was empowered by highly educated men and women, who helped to ensure the national recognition Kabotie’s work received. Among Kabotie’s early supporters were Elizabeth Willis and John DeHuff, Mabel Dodge Luhan, Edgar Lee Hewett, Kenneth Chapman, Robert Henri, Maynard Dixon, Marsden Hartley, John Sloan, John Louw Nelson and George Gustav Heye. By uncovering the multiple discourses connecting these individuals with Kabotie and his work, this study develops a basis for analyzing the many perspectives this new style synthesized and advanced. This dissertation positions Kabotie and the Santa Fe Style within these and several larger cultural arenas, including Hopi culture, modern art and Santa Fe intellectuals, thus providing a multistoried dimensionality overlooked in earlier scholarship. Through evaluating these individuals who informed and empowered the creation of the Santa Fe Style, while carefully considering Kabotie’s response to them in his work, this dissertation initiates a clearer understanding of early twentieth-century cultural and artistic interactions, both locally and nationally. The Santa Fe Style provided a new direction for American Indian art prior to World War II; it initiated a fresh dialogue between the Hopi people and the Anglo government, and it afforded a complex and ongoing conversation for not just Fred Kabotie and his art, but also, through him, the Hopi people. Moreover, it had a profound effect on the development of Southwest Native American painting over the next fifty years

On the origins of Þórðar saga kakala

This thesis focuses on the origins of Þórðar saga kakala. Chapter 1 reviews scholarship on the lost original version of Þórðar saga kakala (*Þórðar saga kakala hin mikla). By testing previous arguments and suppositions, it concludes that: *Þórðar saga kakala hin mikla was a “biography” of the adult life (c. 1233-56) of Þórður kakali Sighvatsson (c. 1210-56); it was written during the 1270s in the Western Quarter of Iceland; and Svarthöfði Dufgusson (c. 1218-c. 86) may have been its author. It also identifies a gap in previous research of Þórðar saga kakala’s earliest history: there has been no satisfactory attempt to establish its contemporary significance. The thesis attempts to remedy this over the following two chapters. In chapter 2, a literary-analytic approach is applied to *Þórðar saga kakala hin mikla. This literary analysis takes into account the formal elements of the extant text and reconstructed lost original, as well as what we know about the worldview of the audience. Chapter 2 constitutes the point of departure for chapter 3: an historical analysis of *Þórðar saga kakala hin mikla. After theorising about the telos of the biographical contemporary saga subgenre in general, *Þórðar saga kakala hin mikla is turned to in particular by considering the product of the literary analysis in chapter 2 within a 1270s political context. The conclusion drawn is that the saga can sensibly be considered as a work of propaganda to support Hrafn Oddsson in his power struggle with Þorvarður Þórarinsson during the period 1273-9. Chapter 3 then evaluates the ways in which Þórðar saga kakala concords with what we know and can infer about Hrafn’s political stances to appraise and bolster this interpretation of the text

The moments of, and movements for national accounts: contextualising changes to British national accounting during the 1930s to 1950s

The moments of, and movements for national accounts: contextualising changes to British national accounting during the 1930s to 1950s Matthew Philip James Fright Abstract Despite a renewed interest in the origins of national income accounting, and increasing scholarship on the relationship this has to the State, there is further scope for us to better understand the context of how this came about. We do not fully understand how institutional factors shaped them or what the numbers themselves meant to the researchers. This thesis adopts a historical approach informed by the works of Geoffrey Hodgson and Quentin Skinner to better understand a critical juncture in national accounts transformation – the 1941 publication of White Paper Command Paper 6261 An analysis of War Finance and an Estimate of National Income and Expenditure – and how it was influenced by wider intellectual and institutional changes from the 1930s. The thesis is organised in two parts. In the first part, the Moments of National Accounts, Chapter 3 argues that 1930s economics drew on heroic figures from the distant past to justify new approaches to economics. Chapter 4 zooms out to consider the influence of international bodies such as the League of Nations and the Rockefeller Foundation during the 1930s upon a new data-driven, “realistic” approach to economics. Chapter 5 looks at how wider pressures for new wartime finance approaches justified new technocratic approaches which led to the publication of the first official national accounts. The second part, the Movements for National Accounts, examines the institutionalisation of this new technocratic national accounting approach through two case studies. Chapter 5 considers the way Keynes and Stone founded the Department of Applied Economics in Cambridge as a research centre for furthering a “realistic” research agenda. Chapter 6 examines a confluence of interests between the Colonial Office’s desire to export national accounts public finance, the researchers of the DAE and the colonial government of Nigeria led to the publication of the National Accounts of Nigeria in 1951. The contribution of the thesis is twofold: 1) showing how context matters to the idea of National Accounts culminating in the 1941 publication; and 2) showing why and how ideas became institutionalised after World War II. By unpacking both, this thesis shows how different bases of thought, rationale and contextual factors informed what National Accounts became in the UK, importantly, in ways that differ from thinking about National Accounts today.Pigott Scholarship; Queens' College Munro Studentship; and, Cambridge Political Economy Society Trust

Rezoning the Alternative: Art and Politics in New York at the Dawn of the Reagan Era

This thesis studies the history of alternative art spaces in New York, with a particular focus on the changing use and understanding of the term “alternative” at the turn of the 1980s. Exploring the impact of New York’s 1975 fiscal crisis, funding cuts in the public sector, gentrification, and the professionalization of established alternative spaces on the formation of new forms of artists’ self-organization, this thesis reveals the brief period of 1978 to 1981 as a lynchpin in the history of alternative art in New York. Each chapter examines an identity crisis that began to emerge when the first wave of alternative art institutions that formed at the beginning of the 1970s was confronted by a second wave that was poised to replace it. Representatives of this second wave, which included Collaborative Projects, Inc. (1978-1985), Fashion Moda (1978-1993), Group Material (1980-1996), and Political Art Documentation/Distribution (1980-1988), railed in different ways: against the bureaucratization of existing alternative spaces (Chapter One); against the continued exclusion of racial and ethnic minorities (Chapter Two); against the widespread refusal of artists to engage in radical politics (Chapter Three); and against the complicity of alternative spaces in gentrification and displacement (Chapter Four). By examining how competing ideas of the “alternative” coexisted during this brief period of time, I expose the “alternative” as a site of contestation—an unstable keyword struggled over in art discourse and practice. More broadly, this thesis asks how the austerity politics instituted in the aftermath of New York’s fiscal crisis left its trace on the organizational forms and institutional positions established in the New York art system at the turn of the 1980s. What marks of neoliberal ideology appeared before Ronald Reagan assumed the presidency of the United States? What assumptions guided artists and art critics working during this period—about the role of the alternative space, the position of the artist in society, and the potential for artists to act as agents of social change? Recovering the imprint of ideology on New York’s alternative art sphere during a moment affirmed by many artists, curators, critics, and politicians as “post-ideological,” this thesis charts the blind spots, limitations, and political consequences of ideals inherited from 1960s counterculture in the New York art system, as well as the unexpected convergence of these ideals and the nascent political imaginary of neoliberalism at the dawn of the Reagan era

Striking the shadow commander: ascertaining the legitimacy of the drone strike on Gen. Qasem Soleimani through an examination of the U.S. claim to pre-attack self-defence

The targeted killing of Gen. Qasem Soleimani set off a chain of events that nearly incited a significant international conflict. Spearheaded by the Central Intelligence Agency, this counterterror mission sought to eliminate Soleimani on the grounds that he posed an ‘imminent threat’ to the United States. Following the strike, the US claimed that it had acted legitimately by citing adherence to self-defence under customary international law. However, this justification for the preemptive use of force would quickly unravel when it was determined that no such ‘imminent’ threat could be corroborated. Further doubt was raised when several US officials confirmed that US President Trump had signed what amounted to Soleimani’s death warrant seven months before the strike. When it was reported that another Iranian official was unsuccessfully targeted in Yemen on the same day as Soleimani, it became clear that there was rather more to the story than what the US had disclosed. This dissertation seeks to interrogate some of these issues. The purpose of this dissertation is to determine whether the US claim to pre-attack self-defence was legitimate. Comprehensive analysis based on process tracing was undertaken deploying qualitative approaches. Real-time information on the Soleimani strike was combined with critical conclusions extricated from scholarly works on the subject to develop a framework capable of ascertaining the Soleimani strike's legitimacy. Thus, this dissertation seeks to contribute to our understanding of pre-attack self-defence doctrine by developing a framework capable of determining the legitimacy of operations similar to that of the Soleimani strike. In sum, this dissertation determined that the US strike on Gen. Soleimani did not sufficiently adhere to pre-attack self-defence conditions based on available intelligence. This project further reaffirms this topic's growing importance and raised further issues for future research, including the urgent need for a minimum legal threshold of imminence necessary to permit such attacks

World Christianity

World Christianity publications proliferate but the issue of methodology has received little attention. World Christianity: Methodological Considerations addresses this lacuna and explores the methodological ramifications of the World Christianity turn. In twelve chapters scholars from various academic backgrounds (anthropology, religious studies, history, missiology, intercultural studies, theology, and patristics) as well as of multiple cultural and national belongings investigate methodological issues (e.g. methods, use of sources, choosing a unit of analysis, terminology, conceptual categories,) relevant to World Christianity debates. In a closing chapter the editors Frederiks and Nagy converge the findings and sketch the outlines of what they coin as a ‘World Christianity approach’, a multidisciplinary and multiple perspective approach to study Christianity/ies’ plurality and diversity in past and present. Readership: All interested in the study of Christianity worldwide as well as scholars from religious studies, theology, history, or anthropology, concerned with methodology

Building a New (Deal) Identity The Evolution of Italian-American Political Culture and Ideology, 1910–1940

Italian Americans were a key constituency of the white-ethnic voting bloc that formed one of the main pillars of the New Deal coalition. However, few historians have looked at motives for the group’s allegiance beyond economic necessity and machine politics. This approach has falsely colored enthusiasm for the New Deal as a reflexive reaction to the Great Depression. “Building a New (Deal) Identity” argues that Italian Americans living in western Pennsylvania and eastern Ohio, from Pittsburgh through Cleveland, voted heavily for the New Deal during the 1930s because of their unique political reshaping during the preceding two decades. In this explanation, politicians such as Franklin Roosevelt harnessed a group already susceptible to a modern liberal ideology rather than persuaded Italian Americans to support them out of sheer economic desperation. This dissertation helps explain why the Democratic Party’s New Deal liberalism changed the American political paradigm for a generation. By tracing ideological roots to the previous decades, it becomes clear why that liberalism became part of the Italian-American identity as opposed to an aberration that disappeared with the resolution of the economic crisis. Italian Americans created the foundation for accepting modern liberalism because they synthesized three major influences circulating in their community. American civic nationalism contributed ideas about democracy and personal rights. Radical leftists, including socialists and anarcho-syndicalists, convinced people of the need for unionization and concessions to workers. Finally, Italian Fascism showed the benefits of an activist government willing to intervene in the economy to solve crises. Although these influences are well-documented in Italian-American historiography, historians have treated them as mutually exclusive trends. “Building a New (Deal) Identity” explains how each component impacted average people. Through each stage, Italian Americans purged the conflicting aspects of the influences to create a fusion that resembled modern American liberalism and was ripe for appropriation by the New Dealers