Chapter I includes a description of the Chartist Movement and discusses the criteria found in John W. Bowers and Donovan J. Och's Rhetoric of Agitation and Control that were used to analyze the agitation and control groups of the movement. Chapter II describes the ideologies of both groups. Chapter III analyzes the rhetorical strategies of the agitation group: petition, solidification, promulgation, polarization, non-violent resistance, and confrontation-escalation, and the strategies of the control group: avoidance and suppression. Chapter IV concludes that Chartist agitators effectively used rhetorical strategies; however, the control strategy of suppression was stronger and brought about the demise of Chartism.

This study investigates the motives behind the rhetorical strategies of rejection and acceptance used by John Bright in his four Parliamentary speeches opposing the Crimean War. Kenneth Burke's dramatistic pentad was used to evaluate the four speeches. An examination of the pentad's five elements reveals that Bright had six motives for opposing the war. To achieve his purpose in giving the speeches--to restore peace to England and the world--Bright' used the major rhetorical agencies of rejection and acceptance. Bright's act, his selection of agencies, and his purpose were all definitely influenced by the scene in which they occurred.

In this study, six speeches delivered by Stokely Carmichael, during and immediately following his role as chairman of the Student Nonviolent Coordinating Committee, have been analyzed to determine if, and in what ways, Carmichael used the elements of agitational rhetoric.

The objective of this investigation is to compile a chronological history of the St. Charles Theatre of New Orleans from 1880 to 1888, the last successful years of the theatre when it was under the management of David Bidwell. In order to clarify the role of the St. Charles Theatre as it reflected theatre art in New Orleans during the latter quarter of the nineteenth century, special attention will be given to the physical improvements of the theatre, the kind of entertainment provided, the personalities who appeared, and the critical comments of the local newspapers.