Matching Items (11)
Filtering by
- All Subjects: history
Description
Civic leadership in Phoenix, Arizona promoted the city's performing arts as part of a deliberate plan towards the larger growth agenda after World War II. From the 1940s through the late 1960s, the business and professional leaders who controlled city government served on boards for performing arts groups, built venues, offered financial support, and sometimes participated as artists in order to attract high-technology firms and highly skilled workers to the area. They believed one aspect of Phoenix's urban development included a need for quality, high-culture performing arts scene that signaled a high quality of life and drew more residents. After this era of boosterism ended and control shifted from business and professional leaders to city government, performing arts support fluctuated with leadership's attitudes and the local, state, and national economies. The early civic leaders were successful in their overall mission to expand the city - now the sixth largest in the nation - and many of the organizations and venues they patronized still serve the community; however, the commitment to developing a quality arts and culture scene waned. Today's public, private, and arts and culture leaders are using the same argument as Phoenix tries once again to become a high-technology center. The theory that arts and culture stimulate the economy directly and indirectly is true today as it was in the 1940s. Although the plan was effective, it needed fully committed supporters, strong infrastructure, and continued revising in order to move the vision into the twenty-first century.
ContributorsBickert, Michelle (Author) / Vandermeer, Phiip (Thesis advisor) / Dallett, Nancy (Committee member) / Warren-Findley, Jannelle (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis explores some of the ways in which Egyptian men and women changed certain aspects of their reality through collective actions in public spaces during and after the 2011 Revolution. This thesis argues that the power of collective action which Egyptian men and women successfully employed in 2011 to bring down the thirty year regime of Hosni Mubarak carried over into the post-Revolutionary era to express itself in three unique ways: the combatting of women's sexual harassment in public spaces, the creation of graffiti with distinct Revolutionary themes, and the creation of protest music which drew from historical precedent while also creating new songs. The methodology of this study of the 2011 Egyptian Revolution lies is the use of newspaper reporting and online sources as primary source material. These sources include Egyptian newspapers such as Egypt Independent and Al Ahram, as well as scholarly websites like Jadaliyya, and also personal blogs. These accounts provide topical and up to the minute accounts of history as it unfolded. Primary source material is also drawn from oral interviews done during the summer of 2012 by the author and others in Egypt. The theoretical grounding lies in social movement theories that are centered on the Middle Eastern context in particular. Drawing from newspaper accounts and social movement theories this thesis is built around a notion of collective action expressed in unique ways in post-2011 Revolution Egypt. This thesis is also solidly grounded in the history of Egypt as relevant to each of the topics which it explores: combatting sexual harassment and the creation of graffiti and music. Relevant scholarly books help to inform the historical material presented here as context. This thesis is situated within the existing literature on the 2011 Egyptian Revolution and public history while also contributing something new to this area of study by examining the actions of ordinary men and women acting in public spaces in new ways during and after the Revolution. The existing literature on the 2011 Revolution generally neglects micro-level changes of the sort discussed in the topical areas to follow. The ordinary men and women who contributed to the Revolution are now part of the historical record, an example of the public making history par excellence.
ContributorsSchmidl, Hannah (Author) / El Hamel, Chouki (Thesis advisor) / Gallab, Abdullahi (Committee member) / Dallett, Nancy (Committee member) / Arizona State University (Publisher)
Created2014
Description
Tempe political and business leaders implemented a series of strategies, composed of interconnected economic, political, and cultural factors that contributed to the city's growth over time. Influenced by a new economic opportunities and challenges, changing ideas about redevelopment and the role of suburbs, and Tempe's own growth issues after 1960, Tempe leaders and citizens formed a distinct vision for downtown redevelopment. Modified over time, the redevelopment strategy depended on effective planning and financing, public-private collaboration, citizen participation, and a revised perception of growth. After 1980, the strategy gained momentum enabling leaders to expand their ambitions for downtown. Redevelopment manifested through riverfront redevelopment, art and culture, and historic preservation redirecting the city's growth, creating economic development, and revitalizing downtown as Tempe began flourishing as a mature supersuburb. The strategy showed considerable economic success by 2012 and the completion of the Rio Salado Project, the Tempe Center for the Arts, and the preservation of the Hayden Flour Mill made downtown an attractive and diverse urban destination.
ContributorsGerszewski, Alyssa Danielle (Author) / Vandermeer, Philip (Thesis advisor) / Dallett, Nancy (Committee member) / Thompson, Victoria (Committee member) / Arizona State University (Publisher)
Created2014
Description
This research explores the various and often conflicting interpretations of the Battle of Horseshoe Bend, an event seemingly lost in the public mind of twenty-first century America. The conflict, which pitted United States forces under the command of Major General Andrew Jackson against a militant offshoot of the Creek Confederacy, known as the Redsticks, ranks as the single most staggering loss of life in annals of American Indian warfare. Today, exactly 200 years after the conflict, the legacy of Horseshoe Bend stands as an obscure and often unheard of event. Drawing upon over two centuries of unpublished archival data, newspapers, and political propaganda this research argues that the dominate narrative of Northern history, the shadowy details of the War of 1812, and the erasure of shameful events from the legacy of westward expansion have all contributed to transform what once was a battle of epic proportions, described by Jackson himself as an "extermination," into a seemingly forgotten affair. Ultimately, the Battle of Horseshoe Bend's elusiveness has allowed for the production of various historical myths and political messages, critiques and hyperboles, facts and theories. Hailed as a triumph during the War of 1812, and a high-water mark by the proponents of Manifest Destiny, Jackson's victory has also experienced its fair share of American derision and disregard. Whereas some have criticized the battle as a "cold blooded massacre," others have glorified it as a touchstone of American masculinity, and excused it as a natural event in the unfolding of human evolution. Despite the battle's controversial nature, on 3 August 1956, President Dwight D. Eisenhower, a strong supporter of the National Park Service, approved act HR 11766 establishing Horseshoe Bend National Military Park, the very first national park in the state of Alabama. Hailed and forgotten, silenced and celebrated, exploited and yet largely unknown. This research explores what happened after the smoke cleared at the Battle of Horseshoe Bend. It is a story about the production of history, the power of the past, and the malleability of the American mind.
ContributorsWeiss, Justin Scott (Author) / Fixico, Donald (Thesis advisor) / Schermerhorn, Calvin (Committee member) / Dallett, Nancy (Committee member) / Arizona State University (Publisher)
Created2014
Description
This thesis is based on the responses of Soviet Displaced Persons collected by the Harvard Study on the Soviet Social System (HPSSS), an oral history conducted in Munich and New York from 1950 to 1951 in which former Soviet citizens were interviewed. They were primarily interviewed about daily life within the Soviet Union. A total of 331 displaced persons were interviewed over the course of the study, with most individuals receiving multiple interview sessions. These sessions were divided broadly as A and B sections. The A-section, which the majority of interviewees received and was viewed by the compilers as a broad sociological inquiry, was divided into subsections focusing on Soviet work, government, family, education, communication, philosophy of life, and ideology. The B-sections were used for deeper anthropological inquiries and are potentially more controversial due to the use of Rorschach tests and situational responses. Fewer respondents were continued on to the B interviews which contained a variety of subsections, though most respondents were only asked questions from one or two sections of the greater whole. A portion of the B section interviews do provide valuable insight to my thesis for their focus on the Displaced Person status of the interviewees. The project consisted of 764 separate interviews of the 331 respondents. The interviewers for the HPSSS were primarily graduate students, ranging from history, sociology, psychology and economics departments, with varying degrees of fluency in Russian and Ukrainian. Some of the interviewers went on to become leading experts in Soviet Studies in the years to follow. Others stopped publishing, following the major publication of the HPSSS in the late 1950s, which may indicate a move to the private sector or employment within the federal government rather than academics. While not possible to include within my analysis, the major publications of the study also included the insights garnered from nearly ten thousand written questionnaires of DPs that were tabulated and discarded prior to publication.
ContributorsWilder, Ian (Author) / Manchester, Laurie (Thesis director) / Von Hagen, Mark (Committee member) / Benkert, Volker (Committee member) / Barrett, The Honors College (Contributor)
Created2015-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
In the sixty-seven years following the end of World War II, West Germany and Japan underwent a remarkable series of economic and social changes that irrevocably altered their respective ways of life. Formerly xenophobic, militaristic and highly socially stratified societies, both emerged from the 20th Century as liberal, prosperous and free. Both made great strides well beyond the expectations of their occupiers, and rebounded from the overwhelming destruction of their national economies within a few short decades. While these changes have yielded dramatic results, the wartime period still looms large in their respective collective memories. Therefore, an ongoing and diverse dialectical process would engage the considerable popular, official, and intellectual energy of their post-war generations. In West Germany, the term Vergangenheitsbewältigung (VGB) emerged to describe a process of coming to terms with the past, while the Japanese chose kako no kokufuku to describe their similar historical sojourns. Although intellectuals of widely varying backgrounds in both nations made great strides toward making Japanese and German citizens cognizant of the roles that their militaries played in gruesome atrocities, popular cinematic productions served to reiterate older, discredited assertions of the fundamental honor and innocence of the average soldier, thereby nurturing a historically revisionist line of reasoning that continues to compete for public attention. All forms of media would play an important role in sustaining this “apologetic narrative,” and cinema, among the most popular and visible of these mediums, was not excluded from this. Indeed, films would play a unique recurring role, like rhetorical time capsules, in offering a sanitized historical image of Japanese and German soldiers that continues to endure in modern times. Nevertheless, even as West Germany and Japan regained their sovereignty and re-examined their pasts with ever greater resolution and insight, their respective film industries continued to “reset” the clock, and accentuated the visibility and relevancy of apologetic forces still in existence within both societies. However, it is important to note that, when speaking of “Germans” and “Japanese,” that they are not meant to be thought of as being uniformly of one mind or another. Rather, the use of these words is meant as convenient shorthand to refer to the dominant forces in Japanese and German civil society at any given time over the course of their respective post- war histories. Furthermore, references to “Germany” during the Cold War period are to be understood to mean the Federal Republic of Germany, rather than their socialist counterpart, the German Democratic Republic, a nation that undertook its own coming to terms with the past in an entirely distinct fashion.
ContributorsPiscopo, Michael (Author) / Benkert, Volker (Thesis director) / Moore, Aaron (Committee member) / Machander, Sina (Committee member) / Barrett, The Honors College (Contributor) / College of Liberal Arts and Sciences (Contributor)
Created2012-12
Description
The Maricopa produce one of the most recognizable types of pottery made in Arizona. Since the late nineteenth century, the ware has been manufactured for sale, and a small number of individuals continue to produce the pottery today. Over the past forty years, the amount of pottery in museum and private collections has increased dramatically. Studying these new collections changes the way in which developments in the pottery are understood. Previous scholarship identified three phases of development, including a pottery revival in the late 1930s during which the involvement of government and museum personnel resulted in the improvement of the ware and a change in style. An analysis of expanded pottery collections shows that this period was not a revival, but rather part of a more gradual continuum. Hindsight shows that the activities of the 1930s served to publicize Maricopa potters, resulting in an increasingly collectible pottery. One collector, Adele Cheatham of Laveen, Arizona, compiled a collection that helps to shed light on developments in the 1960s and 1970s demonstrating that there were relationships between the potters' community and residents of Laveen. This indicates that for women in these settlements the manufacture and sale of Maricopa pottery was a common interest and created deeper bonds, some of which developed into close friendships. The eight different potters represented in the Cheatham Collection highlight a shift in generations within the potter community, showing the importance of teaching and family relationships in transmitting the knowledge of the craft to the next generation. These relationships have continued to change as the number of potters has dwindled, and instruction of the craft has transitioned from one that was learned in a home setting to one that is increasingly introduced in a classroom. At the same time, this historically female associated craft has shifted to one where men are actively producing pottery. Changes in teaching style, the people producing the pottery and decorative techniques indicate that Maricopa pottery is an art in transition.
ContributorsVogel, Lindsey Lianne (Author) / Warren-Findley, Jannelle (Thesis advisor) / Dallett, Nancy (Committee member) / Simon, Arelyn (Committee member) / Arizona State University (Publisher)
Created2010
Description
ABSTRACT
The Wesley Bolin Memorial Plaza is located across the street from the state capitol building in Phoenix, Arizona. Here, pieces of Arizona’s history are commemorated through monuments and memorials. Monuments and memorials reflect how people have conceived their collective identity, especially when those choices are made in public spaces. The markers in the Wesley Bolin Plaza reflect the changing identity of Arizonans, both locally and in connection to national identity. Over time, they have become crucial to shaping the landscape and the historical memory of the city, state, or country. Of note, the memorials on the Arizona State Capitol grounds are unique in how they are placed all together in a park directly across the street. In 1976, the Wesley Bolin Memorial Plaza emerged through a conversation with broader currents in the region’s and nation’s history. Over time, the plaza has become a sacred space because so many of its memorials include relics and artifacts, or list the names of those who have lost their lives in their service to Arizona. In these ways the plaza became a landscape of memory where visitors come to remember and honor those people and parts of Arizona history. The memorial plaza also influences Arizonans’ knowledge of history. It engenders a local as well as a national loyalty and identity in its citizens and visitors. By researching the history of several of the prominent monuments and memorials in the plaza, I discovered a rich history and an intriguing story behind each one that is built. Most monuments and memorials are commemorating complex events or people in history, yet have only short inscriptions on them. As a result, much of the historical narrative, complexities, and symbolism can be lost. My purpose is to tell the story of the plaza, these memorials, and their history; highlighting their significance to Arizonans and explaining how the monuments and memorials fit into the larger story of historical commemoration.
The Wesley Bolin Memorial Plaza is located across the street from the state capitol building in Phoenix, Arizona. Here, pieces of Arizona’s history are commemorated through monuments and memorials. Monuments and memorials reflect how people have conceived their collective identity, especially when those choices are made in public spaces. The markers in the Wesley Bolin Plaza reflect the changing identity of Arizonans, both locally and in connection to national identity. Over time, they have become crucial to shaping the landscape and the historical memory of the city, state, or country. Of note, the memorials on the Arizona State Capitol grounds are unique in how they are placed all together in a park directly across the street. In 1976, the Wesley Bolin Memorial Plaza emerged through a conversation with broader currents in the region’s and nation’s history. Over time, the plaza has become a sacred space because so many of its memorials include relics and artifacts, or list the names of those who have lost their lives in their service to Arizona. In these ways the plaza became a landscape of memory where visitors come to remember and honor those people and parts of Arizona history. The memorial plaza also influences Arizonans’ knowledge of history. It engenders a local as well as a national loyalty and identity in its citizens and visitors. By researching the history of several of the prominent monuments and memorials in the plaza, I discovered a rich history and an intriguing story behind each one that is built. Most monuments and memorials are commemorating complex events or people in history, yet have only short inscriptions on them. As a result, much of the historical narrative, complexities, and symbolism can be lost. My purpose is to tell the story of the plaza, these memorials, and their history; highlighting their significance to Arizonans and explaining how the monuments and memorials fit into the larger story of historical commemoration.
ContributorsBurnham, Kaitlyn Brimley (Author) / Tebeau, Mark (Thesis advisor) / O'Donnell, Catherine (Committee member) / Benkert, Volker (Committee member) / Arizona State University (Publisher)
Created2019