Dissertations / Theses on the topic 'Richard Johnson'

Les études consacrées à Charles Johnson soulignent la distance entre sa vision originale et le Black Arts Movement et le Black Aesthetic, mouvements politiquement engagés. Cependant, ses romans et nouvelles, indéniablement philosophiques, traduisent une réflexion qui interroge les fondements de la politique. Oxherding Tale et Middle Passage montrent des catastrophes politiques (i. e. la plantation nommée Leviathan ou le négrier appelé Republic) alors que les héros de ces romans explorent différentes esthétiques. Le désastre politique provient donc d’une incapacité esthétique. Inversement, les voyages métaphysiques des personnages principaux aboutissent à de nouvelles façons de percevoir le monde et les autres au travers d’une intersubjectivité esthétique. La comparaison des théories de Schiller et d’Adorno sur l’art et la politique avec la vision bouddhiste de l’auteur sur l’art et ses effets sur le monde, permet de faire émerger de l’ensemble de l’oeuvre de Charles Johnson sa quête esthétique et sa philosophie politique qui définissent l’action comme une co-création. En conclusion, si l’oeuvre de Charles Johnson, héritier de la fiction morale de John Gardner, est le lieu d’une libération esthétique et spirituelle, elle est aussi une contribution à la construction de ce qu’Arendt appelait le monde, et sa définition de l’art correspond à l’enracinement de Simone Weil
Those who have commented on Charles Johnson’s fiction often find a distance between his work and Black Aesthetic or the Black Arts Movement, and indeed his fiction is not committed to any racial politics. Nevertheless, it does reflect on the bases of politics and bring them into question. Since Oxherding Tale and Middle Passage have political catastrophes as backgrounds (i.e. Flo Hatfield’s Leviathan or Falcon’s Republic) on which the heroes explore different aesthetic systems, it can be argued that political failure stems from aesthetic impairment. Conversely, as the metaphysical journeys of Charles Johnson’s characters end in new ways of perceiving the world, the relationship between self and other is re-evaluated in aesthetic intersubjectivity. Moreover, an examination of Schiller’s and Adorno’s ideas regarding the link between art and politics serves as a comparison with the novelist’s Buddhist understanding of art and its effect upon the world. Consequently, an analysis of the subtext highlights Johnson's aesthetic quest and its relation to a philosophical inquiry into politics. Thus, political action is defined as a co-creative work. In conclusion, while for Charles Johnson fiction is the space for aesthetic and spiritual liberation, it also starts an ethical rebuilding of what Hannah Arendt called the world, and Johnson's definition of art is an answer to what Simone Weil termed as the need for root

This thesis reviews the significance of the 1969 Japan-US Summit between Prime Minister Satii Eisaku and President Richard Nixon in light of official documents that have been disclosed in Japan since 2010 and in the United States since the 1990s. Based on newly available sources, this thesis shows that the 1969 Summit should be considered a Japanese-led initiative with two aims: firstly, to announce a deadline for Okinawa's return with all nuclear weapons removed; and secondly, to reform the Japan-US security treaty system without repeating the kind of outright revision concluded in 1960. The Japanese plan to reform the security treaty system involved simplifying the prior consultation formula by making a public commitment to the security of South Korea of sufficient strength that the United States would agree to the dissolution of the 1960 secret 'Korea Minute'. The Japanese Government achieved its first aim but only partially succeeded in its second. Whilst the return of Okinawa was announced, the status of US bases in Okinawa and mainland Japan continued to be governed by an elaborate web of agreements, public and secret, which damaged public confidence and hampered an improvement in relations between Japan and its neighbouring countries. This thesis shows that commonly held academic opinions about the 1969 Summit are incorrect. Firstly, there was no quid pro quo in which Japan linked its security to South Korea in exchange for Okinawa: both these outcomes were in fact Japanese objectives at the beginning of the summit preparations. Secondly, the success of the summit did not depend on 'backchannel' negotiations between Wakaizumi Kei and Henry Kissinger: it is likely that an announcement on Okinawa's reversion would have been achieved in 1969 even if preparations for the summit had been left to the Japanese Foreign Ministry and the US State Department. Word Limit: Approx. 98,000 words, excluding Bibliography

This thesis examines the transmission of Protestantism to Australia by the early British colonists and its consequences for their engagement with the land between 1788 and 1850. It explores the ways in which colonists gave religious meaning to their surrounds, particularly their use of exile and exodus narratives to describe journeying to the colony and their sense of their destination as a site of banishment, a wilderness or a Promised Land. The potency of these scriptural images for colonising Europeans has been recognised in North America and elsewhere: this study establishes and details their significance in early colonial Australia. This thesis also considers the ways in which colonists’ Protestant values mediated their engagement with their surrounds and informed their behaviour towards the land and its indigenous inhabitants. It demonstrates that leading Protestants asserted and acted upon their particular values for industry, order, mission and biblicism in ways that contributed to the transformation of Aboriginal land. From the physical changes wrought by industrious agricultural labour through to the spiritual transformations achieved by rites of consecration, their specifically Protestant values enabled Britons to inhabit the land on familiar material and cultural terms. The structural basis for this study is provided by thematic biographies of five prominent colonial Protestants: Richard Johnson, Samuel Marsden, William Grant Broughton, John Wollaston and John Dunmore Lang. The private and public writings of these men are examined in light of the wider literature on religion and colonialism and environmental history. By delineating the significance of Protestantism to individual colonists’ responses to the land, this thesis confirms the trend of much recent British and Australian historiography towards a more religious understanding of the eighteenth and early nineteenth centuries. Its overarching argument is that Protestantism helped lay the foundation for colonial society by encouraging the transformation of the environment according to the colonists’ values and needs, and by providing ideological support for the British use and occupation of the territory. Prominent Protestants applied their religious ideas to Australia in ways that tended to assist, legitimate or even necessitate the colonisation of the land.

Doctor of Philosophy
This thesis examines the transmission of Protestantism to Australia by the early British colonists and its consequences for their engagement with the land between 1788 and 1850. It explores the ways in which colonists gave religious meaning to their surrounds, particularly their use of exile and exodus narratives to describe journeying to the colony and their sense of their destination as a site of banishment, a wilderness or a Promised Land. The potency of these scriptural images for colonising Europeans has been recognised in North America and elsewhere: this study establishes and details their significance in early colonial Australia. This thesis also considers the ways in which colonists’ Protestant values mediated their engagement with their surrounds and informed their behaviour towards the land and its indigenous inhabitants. It demonstrates that leading Protestants asserted and acted upon their particular values for industry, order, mission and biblicism in ways that contributed to the transformation of Aboriginal land. From the physical changes wrought by industrious agricultural labour through to the spiritual transformations achieved by rites of consecration, their specifically Protestant values enabled Britons to inhabit the land on familiar material and cultural terms. The structural basis for this study is provided by thematic biographies of five prominent colonial Protestants: Richard Johnson, Samuel Marsden, William Grant Broughton, John Wollaston and John Dunmore Lang. The private and public writings of these men are examined in light of the wider literature on religion and colonialism and environmental history. By delineating the significance of Protestantism to individual colonists’ responses to the land, this thesis confirms the trend of much recent British and Australian historiography towards a more religious understanding of the eighteenth and early nineteenth centuries. Its overarching argument is that Protestantism helped lay the foundation for colonial society by encouraging the transformation of the environment according to the colonists’ values and needs, and by providing ideological support for the British use and occupation of the territory. Prominent Protestants applied their religious ideas to Australia in ways that tended to assist, legitimate or even necessitate the colonisation of the land.

En la primera parte de la tesis se establece una comparación entre dos obras metateatrales de finales del siglo XVIII, La comedia nueva de Leandro Fernández de Moratín y The Critic de Sheridan. Estas obras son examinadas en el contexto de las polémicas teatrales que se produjeron durante el siglo en España y en Inglaterra. La segunda parte de la tesis explora las razones de una discrepancia. A pesar de ser muchas las similitudes entre el panorama teatral dieciochesco en los dos países, en España la solución a un panorama que los neoclásicos consideran deplorable se plantea en términos de una “reforma” y esta es auspiciada por el gobierno; en Inglaterra no sucede nada parecido. En esta parte del trabajo se parte de algunas obras de crítica capitales y, al hilo de los temas que tratan sus autores, se examina el distinto valor, peso o significado de algunos “telones de fondo” de la crítica inglesa y española de la época: el patriotismo, la religión, la política… De esta manera se llega a las diferencias en las circunstancias históricas de ambos países que contribuyen a explicar la ausencia de una “guerra teatral” en Inglaterra. Así, por ejemplo, un factor que modifica sustancialmente la simetría del paralelismo que en principio pudiera establecerse entre las polémicas teatrales que se dan en ambos países es el religioso. Debido al papel que los puritanos habían desempeñado en la historia de Inglaterra, los ataques virulentos al mundo teatral son allí ligeramente sospechosos, y ni el gobierno whig ni la monarquía de Hanover se plantearon intervenir activamente en una reforma teatral. Pero los puritanos y las clases medias, de gustos más remilgados que el público de la Restauración, tuvieron la fuerza suficiente como para influir en el curso del teatro creando un clima del que nació la comedia sentimental.
In the first part of the thesis a comparison is drawn between two metatheatrical plays from the end of the 18th century, Leandro Fernández de Moratín’s La comedia nueva and Sheridan’s The Critic. These plays are examined in the context of the theatrical controversies that took place during the 18th century in England and Spain. In the second part of the thesis the reasons for a disparity are explored; for even though the theatrical situation in both countries is very similar, in Spain the answer to a theatrical scene considered deplorable by the neoclassicists is presented in terms of a “reform”, which is moreover backed by the government. Nothing of the kind happens in England. In this part of the thesis, and starting from some capital critical works and the topics discussed by their authors, I look into the different value, weight or meaning of a few “backdrops” in Spanish and English criticism of the time: patriotism, religion, politics… This brings us to the differences in the historical circumstances of both countries that help to explain the absence of a “theatrical war” in England. Religion, for instance, is one factor that substantially modifies the symmetry of the parallelism that could initially be established between the theatrical polemics that take place in both countries. Owing to the role the Puritans had played in the history of England, virulent attacks on the theatre are slightly suspect there, and neither the Whig administration nor the Hanoverian monarchy considered actively intervening in a theatrical reform. But the Puritans and the middle classes, more prudish in their tastes than the audience of the Restoration, had enough weight to affect the course of the drama by creating an atmosphere out of which the sentimental comedy was born.

This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and portrayed Powell both during and after his lifetime, this thesis links Powell’s obscurity to a deliberate, public rejection of his Anglo-Saxon supremacist definition of the United States.

The dissertation investigates narrative strategies employed by the contemporary American novel to criticize and counteract the dynamics of domination. The study focuses primarily on Charles Johnson's Middle Passage (1990), Richard Powers's The Time of Our Singing (2003), and Leslie Marmon Silko's Almanac of the Dead (1991). These three novels address problems of sociopolitical repression and racial discrimination arising from the preconditions and heritage of colonial rule and the enslavement of Native Americans and African-Americans. While Johnson, Powers, and Silko refer to concrete historical moments, the critique implicit in their novels does not primarily arise from narrated historical facts or fictional experience, but from the narrative configurations they construct, and in which they embed these facts and experiences. They juxtapose naturalized assumptions about fixed meanings of space, temporality, and ensuing notions of self prevailing in the narrated historical past to ever changing combinations of ethnic, cultural, and social belonging within shifting spatial and temporal parameters, until these assumptions become untenable. Their method of exposition is therefore basically dialogic, and the insights that these novels yield constitute a form of knowledge that becomes available precisely through the combination of dialogics and literary narrative. To the degree that previous assumptions still prevail, all three novels provide a critique of the foundations on which members of Western culture across racial and ethnic lines construct their sense of authority within dynamics of power today. Johnson, Powers, and Silko are associated with African American, mainstream American, and Native American literature, or, in the case of Silko, with the field of American women's writing, and yet, while belonging in these subfields of American studies, go beyond and indeed defy such institutional categories in the conceptual reach of their work. Their novels participate
La thèse examine les stratégies narratives employées par le roman américain contemporain en vue de critiquer et de contrecarrer la dynamique de la domination. L'étude se concentre principalement sur Middle Passage de Charles Johnson (1990), The Time of Our Singing (2003) de Richard Powers et Almanac of the Dead (1991) de Leslie Marmon Silko. Ces trois romans abordent les problèmes socio-politiques de répression et de discrimination raciale découlant des conditions préalables et de l'héritage de la domination coloniale et l'asservissement des Amérindiens et des Afro-Américains. Tandis que Johnson, Powers et Silko se rapportent à des moments historiques concrets, la critique implicite que l'on retrouve dans leurs oeuvres n'est pas principalement issue des faits historiques narrés ou des expériences fictives proposées, mais des configurations narratives qu'ils construisent, et dans lesquels ils intègrent ces faits et ces expériences. Ils juxtaposent des hypothèses établies touchant les significations convenues de la temporalité et de l'espace qui mènent des notions d'autonomie en vigueur dans le passé historique rapporté jusqu'à l'évolution constante des combinaisons de facteurs ethniques, culturels et sociaux appartenant au transfert des paramètres temporels et spatiaux, et ce, jusqu'à ce que ces hypothèses deviennent insoutenables. Leur méthode d'exposition est donc essentiellement dialogique et les propositions offertes par ces romans constituent une forme de connaissance qui devient disponible notamment à travers la combinaison de la dialogique et de la narration littéraire. Dans la mesure où les hypothèses antérieures continuent de prévaloir, les trois romans fournissent une critique des fondements sur lesquels les membres de la culture occidentale à travers les frontières raciales et ethniques construisent leur sens de l'autorité au sein de la dynamique du pouvoir exercé aujourd'hui. Johnson, Powers, et Silko sont associ

Aldo Crommelynck (1931-2008) a animé l'atelier Crommelynck à Paris de 1956 à 1986, en compagnie de son frère Piero, puis a travaillé seul entre Paris et New York en partenariat avec Pace Editions, jusqu'en 1998. Sa collaboration avec les peintres modernes, dont Picasso à Mougins, a inauguré une carrière internationale auprès d'une quarantaine d'artistes contemporains. Sa maîtrise de l'eau-forte s'est intégrée au milieu artistique international, entre Paris, Londres et New York, dans un contexte profitable au marché de l'art. Son nom est associé à un mouvement de retour à la taille­douce qui coïncide avec le goût des artistes issus du Pop pour le travail de la main et pour la figuration du quotidien. D'autres, issus du minimalisme et du néo-expressionnisme, verront en lui le dépositaire d'un certain métier de la gravure identifié à Paris. Cette thèse entend déterminer ce que fut le «style Crommelynck», dans toutes ses dimensions
Aldo Crommelynck (1931-2008) run the Crommelynck studio, in Paris from 1956 to 1986, with his brother Piero, and then worked alone between Paris and New York in partnership with Pace Editions until 1998. His collaboration with modem painters, including Picasso in Mougins, preceded his international career with forty or so contemporary artists. His mastery of etching well integrated into the artistic world of Paris, London and New York, in a context profitable to the art market. His name is associated with the revival of printmaking in the United States that coincided with the taste of the artists coming from Pop Art for handmade creation and for the representation of daily life. Others, who came afterwards, impregnated with Minimalism or Neo-expressionism, saw him as the repository of a certain etching craft identified with Paris. This thesis intends to determine what was the « Crommerlynck style » in all its dimensions

This thesis is the first full-length study of the English clergyman and historian William Cave (1637-1713). As one of a number of Restoration divines invested in exploring the lives and writings of the early Christians, Cave has nonetheless won only meagre interest from early-modernists in the past decade. Among his contemporaries and well into the nineteenth century Cave’s vernacular biographies of the Apostles and Church Fathers were widely read, but it was with the two volumes of his Scriptorum Ecclesiasticorum Historia Literaria (1688 and 1698), his life’s work, that he made his most important and lasting contribution to scholarship. The first aim of the thesis is therefore to build on a recent quickening of research into the innovative early-modern genre of historia literaria by exploring how, why, and with what help, in the context of late seventeenth-century European intellectual culture, Cave decided to write a work of literary history. To do so it makes extensive use of the handwritten drafts, annotations, notebooks, and letters that he left behind, giving a comprehensive account of his reading and scholarly practices from his student-days in 1650s Cambridge and then as a young clergyman in the 1660s to his final, unsuccessful attempts to publish a revised edition of his book at the end of his life. Cave’s motives, it finds, were multiple, complex, and sometimes conflicting: they developed in response to the immediate practical concerns of the post-Restoration Church of England even as they reflected some of the deeper-lying tensions of late humanist scholarship. The second reason for writing a thesis about Cave is that it makes it possible to reconsider an influential historiographical narrative about the origins of the ‘modern’ disciplinary category of literature. Since the 1970s the consensus among scholars has been that the nineteenth-century definition of literature as imaginative fictions in verse and prose – in other words literature as it is now taught in schools and universities – more or less completely replaced the early-modern notion of literature, literae, as learned books of all kinds. This view is challenged in the final section of this thesis, which traces the influence of Cave’s work on some of the canonical authors of the English literary tradition, including Johnson and Coleridge. Coleridge’s example, in particular, helps us to see why Cave and scholars like him were excluded lastingly from genealogies of English studies in the twentieth century, despite having given the discipline many of its characteristic concerns and aversions.

abstract: Race is a complex system founded on social ideologies that categorize and evaluate human beings into different groups based on their visible characteristics (e.g., skin color) that, according to this notion of race, indicate a person's personal traits (e.g., intelligence). The concept of race has been an integral part of American society since the ratification of the United States Constitution in the late 18th century. Early on, the practice of race within American society established one particular group as the norm: the White Anglo-Saxon Protestant. By the late 19th and early 20th centuries, the distinctions among racial groups essentially came down to "white" and "nonwhite." Consequently, certain social inequalities were bestowed upon those groups that did not fit the model of the dominant "white" group. Autobiographies, especially those from marginalized groups, can serve as an important source of these social disparities since the author is able to recount their own social experiences vis-à-vis racial practices within society. With this in mind, this thesis analyses the concept of race in relation to the personal experiences of two authors through their respective autobiographies: Hunger of Memory: The Education of Richard Rodriguez (1982) by Richard Rodriguez and How Did You Get to Be Mexican?: A White/Brown Man's Search for Identity (1999) by Kevin R. Johnson. The critical work of Paula M. L. Moya, Linda Martín Alcoff, Hazel Rose Markus, George M. Fredrickson, Genaro M. Padilla and others are used as the theoretical framework in the literary analysis of these authors' texts. In summary, the results of this study demonstrate the concept of race as a salient aspect in regards to the ideological formation of each respective author.
Dissertation/Thesis
M.A. Spanish 2014

My project examines eighteenth-century struggles over literary property and its part in England’s control over its colonies. Debates over literary property set in the context of the larger colonial struggles over ownership help us to understand the relationship between authority and authorship: in the colonies, booksellers and authors worked together to make authority and authorship local, to separate it from England, English constructions of authorship, and the book trade system in London. The figures I analyze––Daniel Defoe, Jonathan Swift, Samuel Johnson, and Mathew Carey––brought new models of print capitalism to the colonies, dispersing an understanding of copyright that was an assertion of local affiliations. In the case of Ireland, these affiliations manifested themselves in a nationalist movement, and in Scotland, in an assertion of equality under the union of Great Britain. In the newly formed United States, the affiliations were among those still struggling for legal recognition after the American Revolution. Using book history in the service of literary analysis, my study is the first devoted to reading the way that liminal figures such as George Faulkner, Alexander Donaldson, Absalom Jones, and Richard Allen have influenced the work of these largely canonical authors, and thus local politics, through their literary production practices.
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The first Evangelical minister whom I ever met, once asked me to preach in St Peter's Church Hobart. It was part of a very novel decision to involve laymen and so the minister thought that for a six weeks' trial period he would have lay people delivering the sermons. I knew nothing about Evangelicalism and I was to be the first of the six speakers. I and two of my colleagues had just had a long, tiresome but victorious struggle for equal pay for women teachers, so I chose as my text Hebrews 11:1 "Now faith is the substance of things hoped for, the evidence of things not seen," and my sermon was to be about a better and more equal deal for women in the church. The novel decision was cancelled immediately and I learned quite an amount about Evangicalism, especially that it is not given to a woman to be the bringer of good tidings. In cases where it does happen, it is customary to shoot the messenger. I wish to thank the late Reverend Herbert Condon, Archdeacon Lou Daniels, Dr Richard Ely and Joanne Webb for their considerable help and interest in this project.

Doctoral dissertation: Panoptical tropes and negotiations between art and politics in Charles Johnson's short fiction Abstract The dissertation traces the uneasy marriage between ideology and aesthetics in African American literature, and its reflections in Charles Johnson's short fiction. The historical introduction is an attempt to reevaluate the tradition of ideological self-policing in African American literature. Its central thesis resides in the claim that African American literature and its critical reception has still retained some of this ideological template, in a manner and degree that throws it out of sync with the mainstream trajectory of American literature. This lingering anachronism cannot be legitimately attributed to a single causative circumstance, yet one of the more obvious explanations for this residual trend is the living memory of overt discriminatory practices in many parts of the United States, which is why the centrifugal literary discourses of assimilationism and protest fiction are still very vibrant. This simple argument alone provides a sufficient basis for contextualizing and understanding the thesis that ideological writing still inadvertently manages to find its way into African American fictional pursuits. This is also underscored by the observable fact that even the...

Despite being the global leader in the “war on terror,” the United States has been accused of sponsoring terrorism against Cuba. The following study assesses these charges. After establishing a definition of terrorism, it examines U.S.-Cuban relations from 1808 to 1958, arguing that the United States has historically employed violence in its efforts to control Cuba. U.S. leaders maintained this approach even after the Cuban Revolution: months after Fidel Castro’s guerrilla army took power, Washington began organizing Cuban exiles to carry out terrorist attacks against the island, and continued to support and tolerate such activities until the 1970s, culminating in what was the hemisphere’s most lethal act of airline terrorism before 9/11. Since then, the United States has maintained contact with well-known anti-Castro terrorists, in many cases employing and harbouring them, despite its claims to be fighting an international campaign against terrorism.