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This is a continuation of lists of dissertations begun in the July 1970 issue of Western Historical Quarterly . The dissertations listed here were selected from Digital Dissertations , an online version of Dissertation Abstracts International (Ann Arbor, MI). All of the following dissertations were published in 2015. Jessica Nelson is an editorial fellow at Western Historical Quarterly and a graduate student in history at Utah State University. Cantine, Pamela Ann, “Balancing Life: Women, Family, and Work in California Agribusiness,” University of California, Riverside, 2015. AAT 10010598. McCollom, Jason, “Political Harvests: Transnational Farmers’ Movements in North Dakota and Saskatchewan, 1905–1950,” University of Arkansas, 2015. AAT 3685658. Nygren, Joshua M., “Soil, Water, and the State: The Conservation-Industrial Complex and American Agriculture since 1920,” University of Kansas, 2015. AAT 3708159. Ahlstedt, Wilbert Terry, “John Collier and Mexico in the Shaping of U.S. Indian Policy: 1934–1945,” University of Nebraska–Lincoln, 2015. AAT 3689614. Burnham, Mary Helen, “Maude I. Kearns: Overlapping Interpretations of Art and Pedagogy in the Northwest and along the Pacific Coast, 1890–1932,” City University of New York, 2015. AAT 3703512. Harris, Herman L., “Arthur L. Washington, Twentieth Century Educator and Change Agent at Sumner High School,” University of Missouri–Saint Louis, 2015. AAT 10012854. Koenig, Sarah Elizabeth, “The Legend of Marcus Whitman and the Making of American History,” Yale University, 2015. AAAT 3663667. Hopkins, Bethany J., “The Fruit of Her Fields: California Women in Commercial Horticulture, 1870–1915,” University of California, Davis, 2015. AAT 3737054. Orejel, Keith, “Factories in the Fallows: The Political Economy of America’s Rural Heartland, 1945–1980,” Columbia University, 2015. AAT 3702019. Ruiz, Stevie R., “The Color of Development: Racial Capitalism and Land Conflict in Southern California’s Imperial County,” University of California, San Diego, 2015. AAT 3721672. Wasserman, Zachary B., “Inventing Startup Capitalism: Silicon Valley and the Politics of Technology Entrepreneurship from …

Contemplating King Solomon’s enormous importation of gold from the mysterious land of Ophir filled Victorians with vicarious pride and glutted their pedantic appetite with no end of tempting antiquarian puzzles concerning the identity of his trading partners. This article provides details and context regarding the various putative Ophirs proposed by British travellers during the nineteenth century, which ranged from Sumatra to the Gold Coast. It concludes in the latter decades of the century, when the legend of King Solomon’s mines converged with the discovery of gold in South Africa. As scholars have noted, the mid-century discovery of ancient ruins in present-day Zimbabwe by the German explorer Karl Mauch rekindled the Ophir debate and focused most people’s attention on South Africa as its location. This was also the immediate context to Rider Haggard’s fascination with ancient African civilization in his immensely popular novel King Solomon’s Mines. Numerous subsequent explorers, adventure novelists, a...

This paper interrogates the adaptation of two literary bushranger narratives to film during the Australian Film Revival in the 1970s and 1980s: The Chant of Jimmie Blacksmith (Fred Schepisi, 1978), an adaptation of Thomas Keneally's 1972 novel of the same name, which itself was based on the true story of Jimmy Governor, and Donald Crombie and Ken Hannam's 1985 adaptation of Rolf Boldrewood's 1889 novel Robbery Under Arms, a text that has seen numerous other adaptations on both stage and screen. Analysis of these case studies demonstrates that the narratives' ideological positions regarding Australia's past can be understood in relation to the western genre, their narrative structures, selective deviations from their respective source materials, and the similitude of their bushranger characters to Graham Seal's 'outlaw legend'. I relate each film's ideological stance on bushranging to its production context and argue that Robbery Under Arms depicts a romantic idealisation of Australian history that is closer to Alfred Dampier and Garnet Walch's 1890 stage melodrama version than the original novel in its appeal to populist nationalism, while The Chant of Jimmie Blacksmith attempts a visual translation of the novel's revisionist approach to bushranger and colonial legends.

Jonathan Auerbach, winner of the YSS/Significance Young Statisticians Writing Competition, uses statistical methods to challenge an urban legend.

This essay takes a close look at the impact Mary Tighe’s friendship with Thomas Moore had on her publishing history, both during her lifetime and after her death. Tighe’s letters and journals indicate that the negative reviews of Moore’s Epistles, Odes and Other Poems (1806) strengthened her commitment to coterie circulation and her resistance to moving any of her manuscripts into print beyond the limited private edition of Psyche; or, the Legend of Love (1805), including a twovolume collection of her poems, ‘Verses Transcribed for H.T.’ (1805) and her novel Selena (c. 1803). After Tighe’s death her family posthumously published Psyche, with Other Poems (1811) with Longman as a monument to her excellence. Although Longman sought to publish Selena in 1818, Moore advised Longman against the novel’s publication, which did not occur until 2012. The novel’s sharp caricature of Moore as the hapless Edwin Stanmore may have played a role in his reluctance to advocate publication; so may his desire to preserve an idealized image of Tighe that is undermined by the novel’s violence.

Karl Bell, Woodbridge, Suffolk: Boydell Press, 2012, vii +262 pp, £55.00 (hardback), ISBN 978-1-843-83787-9 If we were to compile a list of the things that made the Victorians different from the in...

This article examines the French contingent of the pontifical zouaves, the volunteer force that defended the territory of the papacy in the decade 1860-70. Attention is focused on the zouave myth-though it must be recognized that the zouaves themselves actively participated in the construction of their legend. With its emphasis on pain, sacrifice and expiatory suffering and a powerful emotional dimension, the zouave legend can be aligned with the mid-century revival and was employed to teach Catholic lessons. Above all, however, the champions of the zouaves stressed that the zouaves were French patriots to be placed alongside figures such Clovis, Charlemagne, Saint-Louis and Joan of Arc: serving the papacy was the French national mission. Lastly the zouaves were identified with an enduring counter-revolutionary tradition: the zouaves appealed to a large constituency who defined themselves in opposition to the values of 1789 and the Third Republic. © 2013 The Author.

The medieval French Melusine romances, which recounted the legend of the fairy serpent's foundation of the illustrious Lusignan dynasty, enjoyed wide popularity across western Europe from the late fourteenth century onwards. This essay examines a collection of manuscript fragments of the prose Roman de Melusine located in the Upton House Bearsted (UHB) Collection in Warwickshire. It argues that the UHB fragments, and implicitly the original manuscript from which they derived, occupy a unique position among the surviving corpus of over thirty prose and poetic Melusine manuscripts. By contextualizing the fragments against extant manuscripts and editions, this essay posits a close textual and iconographic affiliation between the UHB manuscript fragments and early French and German editions of the Melusine romances. The multilingual phases of literary transmission that I suggest informed the production of the UHB manuscript in turn contributed to the exceptional illustrative program extant in the fragments. In particular, the fragments depict Melusine and the aesthetic of the merveilleux in a manner that echoes that of their German predecessors but is original among their French counterparts. By tracing the bibliographic ancestry of the UHB fragments, this essay offers fresh insight into the complex cycles of multilingual transmission, production, and reception that shaped the Melusine romances in both manuscript and printed culture at the end of the fifteenth century.

This article reads Balzac's Louis Lambert in the light of the history of rewritings of the Robinson Crusoe legend. Balzac participates in that history as one of the first figures of transition between early nineteenth-century popular rewritings of the Crusoe story for children and the many serious Crusoe-based novels for adults composed in the twentieth century. In Louis Lambert he makes subtle use of the Crusoe story, naming it only twice. Nevertheless, Balzac borrows and adapts structural patterns from Defoe's novel, eschewing literal travel adventure in favour of a philosophical focus. At the time when popular reworkings of Robinson Crusoe for children were at their height, Balzac paves the way for later novelists who will de-emphasize the story's moralistic aspect and inscribe it into a different set of aesthetic and philosophical concerns. Balzac and those who follow him foreground a philosophical escapade, solitary by nature, thus redrawing the map of self and world.

Recent scholarship on Hamlet has highlighted the material practices of textual production and circulation that saturate the play. Yet aural performances and other endeavors that do not find a stable foothold in writing have received less attention, including Ophelia’s “posies” of emblematic flowers, snatches of popular ballads, and mad utterances. This essay draws on media theory in order to argue that Ophelia offers a new way of thinking about Hamlet ’s meta-dramatic conflict. By exploiting the disruptive tendencies of theatrical music and alluding to the legend of Orpheus, Ophelia produces an unwieldy form of poesie that does not congeal into stable matter. Her song-speech takes shape within an adaptive process of transmission through recycled quotations, technologies, bodies, music, and other structures that continually shift and adapt. Ophelia demonstrates the ways in which early modern poesie is embedded within a media ecology, a nexus of communication in which meaning does not result from the concrete manifestation of an external source but emerges in relation to the contingencies of its environment.

HERACLES (Hercules according to the Romans) was probably the earliest and greatest body builder of all times and, without doubt, the greatest hero of Greek mythology. His conception, the result of a brief affair between the supreme deity Zeus and a mortal woman, made Zeus's wife Hera furious. She surreptitiously inserted two deadly snakes into Heracle's crib. According to legend, that evening, a nurse found the delighted baby giggling and joyfully playing with a strangled serpent in each hand. Are stronger people already stronger at birth, as the Heracles legend seems to suggest? Is the destiny of our muscles already encoded in our genes (1)? Perhaps more importantly, what is the role of genetics as opposed to behavioral and environmental factors in the maintenance of muscle mass and strength with aging?

“The past exudes legend: one can't make pure clay of time's mud. There is no life that can be recaptured wholly; as it was. Which is to say that all biography is ultimately fiction.” So said the writer Bernard Malamud, in Dubin's Lives ,a book that appears designed to illustrate Hayden White's ideas about the porous membrane between fact and invention, fiction and history. 1 This essay attempts to explore this porosity by reflecting upon writing the lives of Elizabeth and Constance, two young Mauritian slave girls, who, convicted in May 1832 of attempting to poison their mistress, were sentenced to transportation for life, and were accordingly banished to Australia. They arrived in Sydney in 1834, and never left the colony of New South Wales. While a number of historians, including Clare Anderson and Deborah Oxley, have made mention of Elizabeth and Constance, Cassandra Pybus and myself were the first to attempt a biography of the girls, with an emphasis upon their “Australian exile.” 2 In writing their lives, we aimed to reclaim the voices of the voiceless, while reinforcing a pluralistic view of Australian history, society and culture. Nevertheless, in reflecting upon the researching and writing of the lives of Elizabeth and Constance, I was forced to question, from both practical and theoretical perspectives, the methods of the historian life-writer, particularly attempts to read against the grain of the archive. For no matter how hard we tried, the figures of Elizabeth and Constance, never more than shadows, kept receding into the background. The shadow-girls are historical ghosts, two of those many millions of figures who haunt the historian's imagination. Charged, as we appear to be, with the

At the beginning of the new millennium, the Philippines welcomed Miss Saigon as the nation's "musical event of the decade" ("Pride" par. 1). In 2000, the musical generated phenomenal ticket sales and renewed what journalists termed "Saigon Mania" from the early 1990s in Manila (Tolentino), where local critics declared it worth watching "even if you have to pay a leg and an arm" ("Miss Saigon Is Home" par. 33). Its sponsor was the Ang Bayang Makulay Foundation, established by Joseph Victor Ejercito, the son of former president of the Philippines Joseph Estrada. Also the recipient of endorsements and security assistance from leaders of the opposing political parties, Miss Saigon, Manila, was seen as unifying the Philippines ("Miss Saigon Unifies"). Manila was the only Asian city where the original British production team held auditions in their ostensibly worldwide search for the female lead, Kim, and where they found Lea Salonga for the premiere and other young Filipinas in following years. Manila was the first city to stage the musical for its international tours in Asia, and the only Asian production that received immediate coverage on CNN network (Ressa). After Manila, Miss Saigon traveled to major cities in East and Southeast Asia, including Ho Chi Minh City, Singapore, Hong Kong, and most recently Seoul, where it has consistently enjoyed box-office success. I examine the transnational productions of Miss Saigon in London, New York, and Manila as a case study of the post-Cold War circulation of American neocolonial cultural expressions? I use the term transnational, because each location is a part of "a world system, in which the exchange of commodities, the flow of capital, and the iterations of cultures know no borders" (Fishkin 8). Different nations' economic and political systems have historically been brought into increasingly closer cooperation by integrated market capitalism in the past centuries. (2) On the one hand, globalization points to the homogenizing effect of this development. On the other hand, multidirectional interaction, intersection, contact, conflict, appropriation, and synergy and synapse between nations, cultures, and individuals inform the "hybridities and fluidities" that define the transnational aspect of this world system (Fishkin 7-8). This study of Miss Saigon as a terrain of struggle and negotiation provides new meanings of Americanness and Filipino/a identity. Just as the Philippines appeared on the US imperialist map as America's gateway to Asia at the turn of the twentieth century, Manila has been a vital site for the transnational production of Miss Saigon at the turn of this century. Building on and extending the Asian American Studies scholarship on Miss Saigon and cultural studies approaches of political economy, I examine this musical at the tenuous intersections between national identities, colonial history, orientalist heteropatriarchal fantasies, and globalized capitalism. (3) Miss Saigon is a commercially popular and critically contested musical closely associated with Filipino/as and Asian Americans. Despite the publicity surrounding the protests from Asian American theater and activist communities, the musical was hailed a "legend" at its 1991 New York premiere (Kroll). The buzz resulted in the largest advance ticket sale in Broadway history (Pogrebin par. 5). Later that year, Salonga, the Filipina actress who originated the title role of Kim, became the first Asian to win the Tony Award for Best Actress. The musical is the eleventh-longest-running Broadway musical in musical theater history. To date, Miss Saigon is ranked the third most successful musical in British theater history; it has won thirty major awards and entertained more than thirty-one million people in eighteen countries and in nine languages ("Miss Saigon Sets"). Miss Saigon's storyline is simple: as a remake of Madama Butterfly, it relates the romance between Kim, a Vietnamese bar girl working for a Eurasian man known as the "Engineer," and Chris, a US Marine, in Saigon, 1975; Kim forsakes her betrothed cousin Thuy, a Viet Cong, to marry Chris; Chris retreats with American forces, and Kim flees to Thailand to work in the Engineer's bar, raise Chris's son, and wait for Chris; three years later, Chris returns with his American wife; enacting the ultimate sacrifice, Kim kills herself so that Chris will take her son to America for a better life. …

Toni and Slade Morrison and Pascal Lemaitre's reworkings of three of Aesop's fables, collected in a combined edition under the title of Who's Got Game? in 2007, were first published as individual children's books in 2003, each bearing a main title relating to the ancient original but framing its title significantly as a question: The Ant or the Grasshopper? The Lion or the Mouse? Poppy or the Snake? The first of these is probably the best known of the fables attributed to Aesop. The second, which reflects upon the use of power and clemency, the code of gratitude, and the situational definition of power, has been adapted in many versions. "Poppy or the Snake?"--a seemingly simple moral narrative that takes as its hypotext (or originary text) (1) a lesser-known fable called the "The Countryman and the Snake" (2)--concerns ill-judged acts of charity and the inadvisability of bringing snakes into your home, or as it is phrased in Ben Edwin Perry's translation of Babrius and Phaedrus, the tenet that "To Pity the Pitiless Is Folly" (187). The context and motivations for the series, which will eventually comprise retellings of six of Aesop's fables, can be examined in relation to four key considerations. First, Morrison became well acquainted with the classics as a part of her formal education; Marc C. Conner comments that by the time she began teaching in the late 1950s, "she had studied Latin for four years, taken degrees in classics and literature, and written a Master's Thesis that employed structures of Greek tragedy to understand the work of Faulkner and Woolf"; thus, "any critical view that would blind itself to her training in a western, even classical background is misguided" (xii). (3) Second, as Anne Lake Prescott notes at the end of her review of Annabel Patterson's Fables of Power (1991), "there is an important fable tradition in America derived from a black slave community born and bred in the briar patch of oppression and enforced double meanings" (548-49). One could expand this point by observing that there is an affinity between African tales--which frequently involve animals such as Ananu or Anansi the Spider--and the instructive tales of the Aesopian tradition; and indeed the latter may well have been drawn, to a greater or lesser extent, from vernacular tales circulated in various parts of the ancient world. (4) Third, Aesop, who according to legend was born a slave and was deformed in body, represents an instance of the wise outsider gifted with trenchant yet subtly couched powers of expression. (The Roman writer Phaedrus, a less-noted fabulist who set Aesop's tales in verse, was also an ex-slave). (5) Fourth, the status of fables is curiously mixed, moving between the realms of the moralistic tract, particularly adapted to the instruction of children and easily taken up by those with vested ideological interests, (6) and the multivalent text which is open to diverse applications and interpretations. (7) Aside from the enduring influence of fables within European and world culture, English translations and adaptations of Aesop and other fabulists are innumerable; these have been variously "dress'd," as the title of Bernard Mandeville's translation of Jean de La Fontaine's Fables puts it, in familiar and contemporary language for the readier understanding of their readers, and sometimes they may be directed to new, more open, or "divergent" frameworks--as indicated by the title of Lloyd W. Daly's 1961 volume, Aesop without Morals. Fables, with or without stated morals, are still very much alive in our time. This essay examines how the fine line between the "moral" and "moralistic" is handled in the Morrisons' and Lemaitre's reworkings; how the authors draw upon different source materials and mythic associations; and how the stories are directed to the interests of the contemporary child reader in such a manner as to sustain inquiry and provoke interrogation (not just in their endings, but throughout). …

The later novels of Tunisian writer Albert Memmi reveal an interest in the visual: Le Scorpion (1969) foregrounds text as visual object, with myriad typefaces and images of calligraphy interspersed throughout the text; Le Desert (1977) is punctuated by a series of engravings that form an iconotextual structure. Despite this profusion of visual material, Memmi does not submit to an ekphrastic impulse; the novels scrupulously avoid commentary on their visual elements. This complex relationship to ekphrasis is troubled by Memmi’s L’Ecriture coloree ou Je vous aime en rouge (1986), an essay that proposes a colour-based legend offering readers a ‘map’ to navigate the registers of discourse contained within a text. While Memmi’s system raises more questions than it solves, it offers an opportunity to probe the stability of certain binaries (blindness and sight, and ocularcentrism and ocularphobia). Moreover, it blurs the frontiers between text and image, for ecriture coloree also holds the promise of turning the page of text into a modernist painting, with its coloured lines of text morphing into a Mondrianesque tableau such that discourse, figured as blocks and swatches of colour, would find itself resisting verbal representation.

The overriding project of the eighteenth-century Enlightenment was, in Max Weber’s phrase, the ‘disenchantment of the world’ , submitting traditional understanding based on ignorance or superstition to the cold clear light of reason and scientific enquiry. The puzzle that this handsomely produced book presents us with, therefore, is why so many works of musical theatre produced in the eighteenth century had supernatural subjects. David J. Buch appends a list of such works produced between 1699 and 1791, which is in itself an impressive feat of painstaking scholarship. I attempted to count them as they appear across twenty-three pages, and estimate that the list details some eight hundred works of Italian, French, and German musical theatre. Clearly, interest in the supernatural flourished in the Age of Reason. That closing date—1791 rather than 1799—is a clue to one of the book’s purposes, which is to provide a context for the two most remarkable examples of eighteenth-century supernatural operas: Mozart’s Don Giovanni and Die Zauberflote, the latter produced in 1791. Traditionally these two operas have been seen as being anticipatory of Romanticism, Don Giovanni in particular having been taken as a Romantic touchstone by writers such as E. T. A. Hoffman and Soren Kierkegaard. But given the astonishing proliferation of magical and supernatural works in eighteenth-century musical theatre (Buch lists sixty works based on the Don Juan legend in Italy alone, many of them ballets—although it is a little unclear from his listing whether he is referring to individual works, or multiple performances of what may sometimes be the same works), Buch is surely right to insist that Mozart’s supernatural operas must also be understood as part of an eighteenth-century theatrical tradition. This book represents a formidable exercise in archival research. Buch has tracked down hundreds of the works that he lists, …

Depicted in this compelling early eighteenth-century print (Fig. 1), St Veronica’s veil is among the most renowned examples of the cultural phenomenon that is the subject of this volume: a relic. According to the tradition that has crystallized around it over two millennia, the vernicle is the cloth with which a pious Jerusalem woman compassionately dried the face of the suffering Christ on the road to his crucifixion at Calvary, and upon which his visage was miraculously imprinted in photographic facsimile. Some versions of the welter of legend now surrounding it tell how this hallowed item was carried to Rome and presented to the Emperor Tiberius, whom it is said to have cured. Endorsed with indulgences and exposed for public veneration by the papacy, it was popularized in pen and paint by authors and artists in the later Middle Ages. Devotion to the relic survived Fig. 1. The Vernicle of St Veronica, print made by Jakob Christoph le Blon, 1721. AN17568001 Trustees of the British Museum

Rollin H. Baker passed away on 12 November 2007, 1 day after reaching his 91st birthday. Rollin was a living legend, famous for his pioneering research on biogeography and natural history of Mexican mammals, especially rodents, for his contributions to the understanding of Michigan mammals, and for being a mentor and friend to all young, aspiring mammalogists. Rollin Baker's career lasted way beyond his traditional retirement, and in his final months he was still active in the Texas Society of Mammalogists and in conservation issues in Texas. Indeed, when he was 89 years old he presented a guest lecture in mammalogy for appreciative graduate students at Texas Tech University. Rollin was born in Cordova, Illinois, on 11 November 1916 but grew up in Texas, the state that he always considered home. His childhood interest in the natural world was encouraged and supported by his parents. In his autobiography, published in Going Afield (Baker 2005), Rollin explained that his focus on mammals largely grew from reading classic works by Seton, Burgess, and Hornaday. He also described how, at age 11, he collected his 1st cotton rats near his home in Houston and carted them home, alive, in his wagon! This early experience not only piqued his curiosity but also literally began a life-long fascination with the cotton rat. Ultimately, Rollin shaped a career around his interest in nature and the outdoors, and this is what engaged him intellectually and emotionally until the end of his life. Along the trail of his life, he made wonderful and lasting contributions as a scientist, educator, historian, raconteur, and warm-hearted friend. As he often put it, his fondness for small mammals was rooted in emotion rather than in a cold-hearted “use” of nature's noblemen as a means to test dispassionate hypotheses. Rollin's curiosity about small …

AElfric's Passio Petri et Pauli (CH I, 26), a hagiography in a collection of homilies, has been called an ‘experiment in genre’. By examining this ‘two-part homily’ in comparison with the Latin sources, this essay proposes to demonstrate how AElfric adapts the hagiographic material to the theme and style of the homily. The essay begins by examining the first part of the work, which is a homily on Matthew 16:13–19, focusing on its theme and how it is developed in the exegesis. I argue that the theme, the distinguishing by Peter of true God, is given central expression in an ‘envelope pattern’ that hinges on a characteristic AElfrician wordplay (‘todaelde … untodaeledlice’, lines 46–51). It is then elaborated in three segments of the exegesis, with geleafa (not always prompted by the Latin) as the keyword. The essay then discusses how the legend of the two Apostles in the second part is linked successfully to the homily proper, in terms of theme and style. Stylistically, for example, the legend uses two modes of discourse, narrative and homiletic; the former being the mode for describing ‘bad’ characters with colourful details (as in lines 226–44), and the latter seen at its best in Paul's reply to Nero and Peter's speech before being crucified, where AElfric the homilist has almost replaced AElfric the narrator. The homiletic mode directly links the hagiography to the homily proper, while the narrative reinforces that link, providing a foil to the homiletic contents and style, thus securing a unity and coherence of the two-part homily as a whole.

The Women's Social and Political Union (W.S.P.U.) wove around itself a series of legends contributing to a mythology, which continues to be repeated as suffragette history. This article examines this mythology's centrepiece, the legend of ‘Black Friday’, the allegation that suffragettes were brutally attacked by the police during demonstrations between 18 and 23 November 1910. It challenges the accepted story by rigorous use of archive sources – principally contemporary newspapers and National Archives files – and offers conclusions which should lead to a searching reassessment of W.S.P.U. tactics and methods.

The legend of a seal-amulet, UC 51354, from Deir Rifa, Egypt remains unclassified. Here the case is made that it is written in ProtoCanaanite alphabetic script and reads as a short West Semitic text indicating the name and title of its owner.

I challenge both critical views as I reconsider Yamamoto's politics through an analysis of the vision of history evident in her work and in some key moments of her biography, with a focus on the postwar period that was the peak of her literary production as well as her political activ ity. Beginning with analysis of the debate over Herman Melville's Benito Cereno that erupts in her communication with Winters, followed by a reconsideration of Yamamoto's decision to leave her position as a journal ist for The Los Angeles Tribune (which Lee portrays as her retreat from politics), I trace the emergence of Yamamoto's decidedly counter-hege monic and anti-racist perspective toward history. Turning to "Wilshire Bus," "Yoneko's Earthquake," "Seventeen Syllables," and "The Legend of Miss Sasagawara," four of Yamamoto's best known stories from this era, I examine how this critical vision is expressed through the predicament of

Who can blame music historians for frequently claiming that Guido of Arezzo invented the musical staff? Given the medieval period’s unmanageable length, it must often be reduced to as streamlined a shape as possible, with some select significant heroes along the way to push ahead the plot of musical progress: Gregory invented chant; the troubadours, vernacular song; Leoninus and Perotinus, polyphony; Franco of Cologne, measured notation. And Guido invented the staff. To be sure, not all historians put it quite this way. Some, such as Richard Hoppin, write more cautiously that “the completion of the four-line staff . . . is generally credited to Guido d’Arezzo,” or, in the words of the New Grove Dictionary of Music, that Guido “is remembered today for his development of a system of precise pitch notation through lines and spaces.” Such occasional caution aside, however, the legend of Guido as inventor of the staff abides and pervades. In his Notation of Polyphonic Music, Willi Apel writes of “the staff, that ingenious invention of Guido of Arezzo.” As Claude Palisca puts it in his biography of Guido, it was that medieval Italian music writer’s prologue to his antiphoner around 1030 that contained one of the “brilliant proposals that launched the Guido legend, the device of staff notation.” “Guido’s introduction of a system of four lines and four spaces” is, in Paul Henry Lang’s widely read history, an “achievement” deemed “one of the most significant in the history of music.” And in the most recent Oxford History of Western Music, we read that “the man responsible for this signal achievement,” the staff, was “Guido of Arezzo, who around 1030 (in the prologue to an antiphoner) first proposed placing neumes on the lines and spaces of a ruled staff to define their precise pitch content.” To this “legend in his own time,” the history goes on to say, “we, who still rely on his inventions nearly a thousand years later, owe him a lot, as did all the generations of Western musicians preceding us.” To be fair, this recent view of Guido as inventor of the staff owes its existence to an impressive tradition, long and deeply entrenched.

This article focuses on historical memory as conditioned by changing attitudes toward race. The death of an African American football player was long ignored, but it served to ignite new discussion at Iowa State University as part of the changing racial climate of the civil rights era. The results exposed interesting divisions and generated intriguing controversies among key groups in the university and its constituency.