In the wake of a disturbing decades-long trend in both print and visual media—the appropriation of Black history and culture—another trend is observed in works of African American fiction: the reclamation of the appropriated imagery, in both neo-slave narratives and works of Afrofuturism. The image focused on specifically in this paper is that of the ship, which I argue serves at least two identifiable functions in Black fiction: first, to address the historical treatment of Africans and their American descendants, and secondly, to demonstrate Black progress and potential. Through an exploration of three works of African American fiction, works that take their Black protagonists beyond the ship's dreadful hold, the reader can see the important themes being channeled: Charles Johnson's Middle Passage sets a course on how to arrive at true freedom, enacting a process of Black liberation that begins with learning how to survive "in the wake," a concept derived Christina Sharpe's work In the Wake: On Blackness and Being. Rivers Solomon's An Unkindness of Ghosts demonstrates not only the effects of "the hold," but how the hold itself has evolved from its origins on the slave ship; as new holds are constructed and demanded by society, rebellion is …

Despite their many successes, Roman leaders continually struggled with indiscipline in their own ranks as they battled Rome's opponents. Desertion and defection were steps that soldiers often undertook to avoid their obligated service. Previous scholarship has largely overlooked this aspect of Roman warfare. This dissertation analyzes why Roman soldiers began turning to desertion and defection throughout the Republican period. Such cases were generally rare in early Rome, but the expanding responsibilities and hardships of warfare in the Middle Republic caused them to rise, as did the sizeable growth of the Roman community. The civil wars of the Late Republic saw especially high cases of such acts, as generals incentivized defections in their opponents ranks. Roman desertion was not unique, but a common occurrence in ancient warfare. This dissertation also addresses how Romans capitalized on desertion and defection in warfare. The Second Punic War offers an example of how Rome achieved victory by encouraging defection in its enemy's alliances. Romans also relied heavily on defectors as a source of intelligence and as a tool in siege warfare. The moral forces of commitment, discipline, dissatisfaction, and desertion were often as important as the tactics and technologies of the participants in Rome's wars.

This dissertation examines how the state-building process relates to civil-military relations and how political influence of the military affects state's conflict behavior. By doing so, this study aims to introduce a nuanced consideration of the well-known civil-military problematique, which might be summarized as the threat the military can constitute to the polity that it is created to protect. I treat this paradox by addressing the following research questions: Why do some militaries have a qualitatively higher level of influence in politics than others? Second, how does the military's influence in politics affect a state's domestic conflict behavior? And third, how does it affect state's international conflict behavior? I develop a theory that when the military is heavily involved in the state-building process, it gains an unusual place within politics, gets itself imprinted in the DNA of the state, and gains undue political power. I name such militaries as state-builder militaries and argue that such states experience qualitatively different civil-military relations, in which the military acts as an extremely Praetorian institution. I argue that state-builder militaries would be able to insulate their political power from the democratization process that the country might experience and behave as persistent interveners in politics. I …

Middle childhood is the least understood developmental period in the attachment literature, likely due to active reorganization of the attachment system during this stage. Coinciding with increased cognitive and socioemotional competencies, middle childhood attachment begins to transition from relationship-specific attachment to general attachment representations. While parents continue serving as the primary attachment figure used as a secure base and safe haven, noticeable shifts occur in terms of the need for availability over proximity to attachment figures and the child's involvement in maintaining the attachment relationship. Currently, there is no dominant conceptual or methodological approach for studying attachment in middle childhood. The present study sought to develop and validate an observational coding system examining middle childhood attachment using a dimensional approach. The Middle Childhood Behavioral Attachment Dimensions (MCBAD) system demonstrated mixed reliability and validity compared to other established attachment measures. Compared to traditional categorical attachment measures, this study provides evidence for the utility of an anxiety-avoidance dimensional attachment scale in childhood. Additionally, the MCBAD is the first observational system that examines both nonverbal and verbal attachment behaviors in an unstructured separation-reunion episode, and findings suggest a need for further examination of verbal attachment during this developmental stage.

The purpose of this dissertation is to introduce Le Temps Déformé for solo flute, percussion, and strings, composed by Korean American composer Texu Kim (b. 1980) in 2017. The dissertation includes an analysis of the work and its background, to show that it represents a significant expansion of the concerto repertoire for solo flute and to help performers interpret it. This piece of writing should also contribute to the available sources about the composer Texu Kim, given that it is the first dissertation about him or his work. This piece should be appropriate for flutists who are seeking to perform a new piece with orchestra. Although hundreds of concertos have been written for solo flute and orchestra or string orchestra, Kim uses the unusual instrumentation of strings and percussion (drum and triangle) without woodwinds and brass. In a program note, the composer mentions that he made use of Korean traditional music, Sujecheon, which has similar instrumentation. The note also discusses he transformed and interpreted Korean traditional music to create a new interaction with Western music.