Carl A. Helmecke, like many German Americans marginalized by the anti-Germanism of the First World War and interwar period, believed that democracy had failed him. A professor with a doctoral degree in social philosophy, he regularly wrote newsletter columns declaring that the emphasis on individualism in the United States had allowed antidemocratic forces to corrupt the government, oppress citizens, and politicize schools and institutions for propaganda purposes. Moreover, widespread hunger and unemployment during the Great Depression added to the long list of failures attributable to democracy. What the United States needed, Helmecke thought, was political change, and he believed that the Nazi regime in his homeland, albeit flawed, had much to offer. In 1937, he went on a teaching sabbatical to Nazi Germany to study the Third Reich's education and social programs. When he returned to the United States, he began promoting Nazi ideals about education and labor camps. Although Hitler's 1939 invasion of Poland, followed by the United States entry into World War II, brought his fascist illusions for political change in the United States to an abrupt end, his belief in the correctness of an autocratic system of governance for Germany rather than that of the western democracies …

The role of Odierno's III Corps as MNC-I has failed to receive sufficient attention from studies of the 2007-2008 surge of U.S. forces in Iraq. However, was Odierno's employment of military force in time, space, and purpose based on the logic of conventional military operations that laid the groundwork for the successes gained in 2007 and 2008. III Corps's achievements as an operational headquarters were rooted in the successful application of operational art. Operational art is a way to conceptualize how to fight wars using campaigns of multiple, simultaneous, and successive operations across a theater of operations to achieve a unifying goal. While neither downplaying nor minimizing the importance of Army COIN principles, a study of MNC-I's December 2006-February 2008 campaign in Iraq through the neglected prism of operational art suggests that the campaign's success was due to the successful application of already established operational principles rather than from a revolution in the profession of arms.

The expansionist agenda of the Polk administration culminated in the War with Mexico. The capture of Mexico City in September 1847 left the United States Army with the unprecedented task of occupying an enemy capital for an extended period. After the initial theaters of operation proved unable to secure a peace, Maj. Gen. Winfield Scott commenced a campaign to take central Mexico including the capital city. In March 1847, an army of 11,000 soldiers under Scott landed at Vera Cruz. In six months, Scott's army marched over 250 miles and won five major battles. In mid-September, Scott took Mexico City. Throughout the campaign, Scott attempted to implement a pacification plan in an effort to prompt Mexico to open peace negotiations. Concern for his army weighed heavily on him as he faced unprecedented challenges in occupying Mexico City after its capture. The United States simply had almost no experience in the ramifications of fighting a foreign war, other than a few brief small-scale incursions onto foreign soil at Tripoli in 1805 and in British Canada. The difficulties that arose for Scott from the situation in Mexico were frustrating. Scott pacification plan used conciliation, coercion, and force on Mexico's army and people …

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 …

Somehow Holier ruminates playfully on the problem of suffering and our responses to it. These poems take as their subjects theology, history, art, my wife's struggle with chronic migraines, and gardening. "Res Gestae Variorum," a crown of sonnets at the center of the book, recounts the lives of would-be Christian saints, like the third-century theologian Origen, whose penchant for suffering obstructed them on the path to holiness. In "Mater Misericordiae" I flip through a calendar filled with famous depictions of Mary while my wife consults with a doctor. These poems blend humor and pathos, striving at once to laugh in the face of pain and account for its awful cost. Throughout, I'm in conversation with the poets who've influenced my voice as a writer: Charles Wright, Phillip Larkin, and Seamus Heaney.

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.

This dissertation attempts to uncover systematic patterns regarding elite management in dictatorships. To do so, it describes how dictators manage their elites and what factors determine the outcomes of their decision. Although considerable literature has examined the various structural features of dictatorships and has identified different elite management strategies to explain the persistence of dictatorships, few, if any, have empirically tested any of the theoretical propositions generated by this increasingly large body of literature. This dissertation is the first empirical attempt to explore the elite management strategies of various dictatorships, ranging from the individual case of the most extreme dictatorship (North Korea) as well as different kinds of military dictatorships (South Korea), and global patterns of autocratic regimes. To address the main research question, "what determines the choice of the dictator's elite management strategies?" this dissertation identifies three key factors - dictator, elites, and structure. The relationship between dictators and elites is basically hostile. Conflicts between actors over power acquisition often emerge in violent ways. Nevertheless, dictators do not always treat elites with repression. They sometimes make efforts to embrace and cooperate with the other elites. The variation of their strategies toward elites is determined by various conditions. The results …

The early modern English masque is a hybrid form of entertainment that included music, dance, poetry, and visual spectacle, and for which there is no modern equivalent. This dissertation looks at four incarnations of the Elizabethan and Jacobean masque: the court masque, the masque embedded in the progress entertainment, the masque embedded in the commercial play, and the masque embedded in the commercial play performed at court. This study treats masques as a form of elite theatre (that is, theatre for, by, and about elite figures like monarchs and aristocrats) and follows them from the court to the countryside, through the commercial playhouse, and back again to the court in pursuit of a more nuanced picture of the hybridity and flexibility of early modern English performance culture.

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.

On the one hand, using a traditional narrative approach, this dissertation examines disco's historical trajectory from an underground movement to a mainstream phenomenon, and analyzes its relationships to American cultural and racial tensions during the 1970s and 1980s. On the other hand, this dissertation also departs from traditional historical approaches by emphasizing an archive of personal experiences, memories, and reflections produced over the last four decades by individuals, living and dead, whose creative expressions help give disco its definition. Each chapter is organized around the story of an individual DJ whose work and play reflected the broader disco landscape. Together, the anecdotal experiences of these DJs help to conjure a collective biography of disco, emphasizing the significance of disco not only as a "genre" of pop music, but as a larger reference point for shared, and sometimes contested, cultural experiences.

In this work, I examine and analyze women representation and themes in Pakistani literature in order to explore the emergence and development of feminist thought as reflected within it, from pre-independence to present day Pakistan. One of my central arguments is that the theorization of a workable feminism in the conflictual Pakistani state depends on understanding and accounting for the socio-political, religious, and economic milieu of the country under which women live. In the following chapters, I delineate the challenges feminism in Pakistan faces in conjunction with the analysis of selected literary works to highlight the way the figure of the woman emerges in public discourse. It is through this engagement, that I demonstrate, the complexity of Pakistani feminism and its negotiations with nationalism, religion, and patriarchy to create the basis for theorizing a workable Pakistani feminist politics. Following Dipesh Chakraborty's theorization of historicism in his book, Provincializing Europe, the basic premise of this dissertation is to explore the emergence of feminist thought in Pakistani literature while keeping the changing religio-political and socio-economic realities of the country at the forefront to establish an analysis grounded in worldliness of these texts. The goal of this exploration is to theorize a feminism …

At least half of the art objects in the public trust are currently in need of conservation today. In consideration of this crisis, a posthuman version of art conservation curriculum is proposed to transgress current limitations of the field. Through applying Michel Foucault's genealogy and archaeology to art conservation and its education, Anthropocentric motivations undergirding conservation are revealed. Foucault's death meditation inspires my narrativization of a fire event that incites a re-visioning of my over 25 years of conservation and teaching experience. By re-contextualizing theorist Ted Aoki's works, art conservation curriculum becomes a reflective and affective site for reciprocal healing of self and other, incorporating the lives of conservation students and art objects. Reconsidering art conservation curriculum in light of Aokian notions of curriculum as plan and curriculum as lived, provokes the curricular potentialities of new materialism, along with quantum physics' entanglement, intra-agency and intra-activity for the field. Art conservation and its curriculum are radically reimagined as indwelling between humanist priorities of the Anthropocene and posthumanist possibilities towards more caring, ethical and sustainable futures for both human and nonhumans' coexistence on this planet.

This dissertation contextualizes Brahms's vocal quartets within a largely forgotten discourse about Hausmusik that flourished in German-speaking lands in the second half of the nineteenth century. In numerous texts about Hausmusik from ca. 1848-1900, authors conceived the genre as an aesthetically and politically conservative expression of German identity and connected its accessible style to an ideal of social cohesion in the pre-industrial age. Similar issues of national identity and musical style arise in the reception of Brahms's quartets, which, I contend, was informed by the works' generic status as Hausmusik. Critics either praised Brahms's works for their simple, folk-like style or disparaged their complexity, artifice, and foreignness. Ultimately, I argue, Brahms sought to elevate the genre of Hausmusik in his vocal quartets by integrating aesthetic and cultural values associated with this genre with a more sophisticated musical style. The works' stylistic and generic ambiguity and the disparity in critics' responses reveal competing aesthetic, political, and cultural world views immediately before and after German unification. Chapter 2 shows how discourse about Hausmusik constructed German identity in the private sphere by promoting a folk-like aesthetic and accessible musical style over the perceived cosmopolitanism and commercialism of Salonmusik and other repertoires. Chapter 3 …