The role of information in New York higher education policymaking: The budgetary process

Shakespeare, Christine G New York University 2005 해외박사(DDOD)

This is a dissertation about New York higher education policymaking. The goal was to understand the policymaking process including: the actors involved; their use of information in policymaking; the context within which the actors operated; and the policy changes which ensued. The study considered the historical, constitutional, cultural, and economic context in which higher education policymaking occurs. A policy theory framework was used to ask the following questions about the New York State budgetary process: (1) How is information used in the state higher education policy process; (2) What policy changes have occurred over the last decade; and (3) Which groups are most involved with the changes?. The use of information, the formation of coalitions, and the resultant changes in higher education policy in New York State from 1995--2003 were analyzed using the Advocacy Coalition Framework developed by Paul A. Sabatier. The unit of analysis was the budgetary process. This was a qualitative case study which used data gathered from interviews of state higher education actors. Documents corroborated interview data. There was minimal higher education policy change during the period of study; actors formed coalitions which were stable and predictable; New York higher education actors had limited capacity to process information and utilized simplifying heuristics heavily; New York's limited political opportunity structure forces policymaking to occur primarily through the budget process; and successful changes in New York were aligned with New York's socio-cultural and historical values for higher education and economic opportunity. The conclusion discusses implications for further research in higher education policy using policy change or coalition formation for analysis of the state or nation's contextual elements.

"Every day was a battle": Liberal anticommunism in Cold War New York, 1944--1956

Link, Daniel J New York University 2006 해외박사(DDOD)

This dissertation examines the impact of the post-World War II red scare on New York City, and particularly the influence of liberal anticommunism on the city's political culture. During the early Cold War, liberal anticommunists became influential in shaping New York's political order by creating the Liberal Party. Formed by a group of Jewish labor leaders, the Liberal Party drew on their influence and experience, gained from years of actively fighting against Communists within the city's labor unions, to realign the city's dominant political ideology away from the progressive spirit of the Popular Front, and toward a more moderate liberalism. This dissertation uses the Liberal Party as a lens through which to understand the ideology of liberal anticommunists, their influence on New York's political culture, and the role they played in the red scare as it developed in New York and nationally. The influence of liberal anticommunists on the political culture of the United States during the Cold War has garnered scant attention from historians, who have focused primarily on conservatives. The actions of liberal anticommunists in New York reflected a national development among liberals. Throughout the early Cold War, liberals around the country moved to distance themselves from Communists and their allies. Some liberals were motivated by a sincere ideological antipathy toward Communism, but overall they had a shrewd understanding that if radicals could be displaced from the political power they had enjoyed during the Popular Front, liberals would be the beneficiaries. Additionally, this dissertation weighs the impact of the Cold War on New York's Jewish community. Communist and anti-Communist Jews used both religious and cultural appeals in their attempts to win the support of their fellow Jews. The conflict between the two forces represented an internecine struggle among New York's working and middle-class Jews to define a political ideology that would reflect their values and aspirations in the postwar period. Communists and their allies vied for Jewish support by promoting international peace. In contrast, the Liberal Party represented the views of Jews who eschewed radicalism in favor of reform, in part as a means to achieve social respectability.

Organizing services to the elderly: A tale of two cities (New York City)

Vernis, Alfred New York University 2000 해외박사(DDOD)

In order to study public-private collaboration the thesis explores the home care service program offered by the New York City Department for the Aging and the Barcelona Department of Social Services. The subject of the analysis is not the home care service in itself, but the relationship between the public agencies that contract out the service and the private organizations that deliver it. The field studies in both cities examined a public or “focal agency”, and a number of private (nonprofit and for-profit) organizations that interact with this agency. The dissertation attempts to discover which factors are important for managing a relationship between a public and a private nonprofit organization over time. Nine interorganizational dimensions and twenty interorganizational variables were selected and studied in detail on both sides of the relationship in New York City and Barcelona. The research also attempts to discover the positive features of the New York City experience in order to try to translate them to Barcelona, and the negative features in order to avoid them. In Europe, there is a general movement by both conservative and liberal governments to provide social services through private organizations. Without doubt, one of the more interesting points on managing of public-private collaboration in social services that Barcelona can learn from New York is the relational model of contracting out compared to the traditional model based exclusively on competition. In order for Barcelona and other cities to adopt the relational model, it is necessary to convince both public managers and politicians of its advantages. In order to be able to translate the New York experience to Barcelona the thesis had to first thoroughly study certain points in both cities, among them evolution of the welfare state, social policies, demographic trends, development of the nonprofit sector, and so on. This clearly revealed that, if Barcelona wants to have a nonprofit sector similar to New York's, it will have to dedicate a great deal of effort toward building public trust.

Patrolling the borders: Integration, identity, and patrol work in the New York City Police Department, 1941--1975

Darien, Andrew Todd New York University 2000 해외박사(DDOD)

The icon of the New York City police officer has occupied a unique place in the eclectic imagination of New Yorkers. For many of the city's residents in the first half of the twentieth century, New York's finest—the bluest of blue collars—conjured up notions of sturdiness, devotion, virility, and working-class machismo. While that image was relatively fixed in popular discourse until the 1960s, some New Yorkers maintained a far less flattering portrait of the man on the beat as crude, sexist, bigoted, and ominous. Regardless of one's assessment of the “typical” police officer, before 1960 few New Yorkers could dispute that he was a white male, usually of Irish descent. This project investigates the history of women and black and Puerto Rican men who crossed the “thin blue line.” It begins with the democratic promise of World War II and ends with New York's fiscal crisis in the early seventies. The heart of the dissertation focuses on the sixties, which begot a number of lively debates regarding the gender and racial boundaries of patrol work. As a bastion of white male labor well into the sixties, the history of patrol work can help to illustrate the contours of identity as manifested in the workplace. While the world of the patrol officer differed from other workplaces, its public and visible role made it an ideal subject for debates regarding fair employment practices, identity, and citizenship. The history of patrol work provides a particularly useful lens through which one can identify who had the authority to define what it meant to be a man or a woman or a member of a minority community, and how that power shifted over time. By interrogating the employment practices of the New York City Police Department (NYPD), one can identify who had the authority to construct, shape, bend, and re-form the racial and gender boundaries of patrol work.

Knickerbocker knowledge: Mapping cultural authority in the literature of New York

Bradley, Elizabeth Lee New York University 2002 해외박사(DDOD)

In this dissertation I argue that the trope of the “Knickerbocker” has had a formative influence on the definition and development of New York literature and the particular cultural identity that such a literature portrays. Specifically, aspects of Washington Irving's fictional historian, Diedrich Knickerbocker, and his predecessors, can be traced throughout nineteenth- and early twentieth-century literary portraits of New York City and its inhabitants. These continuities over time and genre reflect an ongoing engagement with the idea and terms of cultural authenticity in the city, as well as an abiding interest by New York writers in participating in, as well as chronicling, the arbitrary delineation of “society” through their depiction of its manners, customs, tastes, and members. “Knickerbocker” is a term that has become historical shorthand in the 150 years since its inception: it is a metonym for an old-school, Dutch-descended, native New Yorker, and the qualities that may be attributed to such a person or culture. This study maps the invention and development of the landscape and iconography of Knickerbocker New York through the investigation of a spectrum of literary texts and artifacts of popular culture. Participating narratives in this project of urban self-definition and social circumscription include the writings of Washington Irving and James Kirke Paulding; mid-century literary magazines such as <italic>Knickerbocker Magazine</italic> and the <italic> Democratic Review</italic>; popular accounts of “gaslight” and “Upper Ten” Manhattan, including works from George Foster, Edgar Allan Poe, Benjamin Baker and Charles Astor Bristed; society newspapers and lists such as <italic>Town Topics</italic> and the <italic>Social Register </italic>; etiquette manuals and advertisements; and the “Old New York” novels of Edith Wharton, including <italic>The House of Mirth, The Custom of the Country</italic>, and <italic>The Age of Innocence</italic>. The Knickerbocker genealogy compiled by this study demonstrates how Irving's fictional narrator came to be celebrated as a powerful cultural icon and co-opted as a repository of inherited tastes, enduring values, and correct social usage. Like his name, the society portrayed in Knickerbocker's mock-epic of colonial New York would come to possess a literary life of its own.

Translocal and multicultural counterpublics: Rumba and la regla de ocha in New York and Havana (Cuba)

Knauer, Lisa Maya New York University 2005 해외박사(DDOD)

My dissertation is a study of how individuals craft identities through traditional Afrocuban music and religion in and between the New York metropolitan area and Cuba. The linked practices of the musical complex of rumba and Afrocuban religions such as la regla de ocha (known colloquially as santeria), I argue, form a translocal cultural world with an ambiguous relationship to nation-states, ethnic and geographic communities, and commercial circuits in both the U.S. and Cuba. La regla de ocha in particular has evolved in recent years from a marginal, somewhat clandestine practice to become a global religion. During the past decade, as Cuba has turned to international tourism to resolve its protracted economic crisis, secular and sacred Afrocuban cultures have increased in popularity and social acceptance, both among the population at large and as a point of attraction for foreign tourists. On the one hand, it serves as both a cultural and spiritual resource for individuals trying to negotiate a shifting and uncertain political/economic terrain. Simultaneously, however, it has become a source of social and economic capital for both the Cuban government, which promotes and markets the country's Afrocuban heritage, and also those individuals---especially musicians, dancers and religious practitioners---who come to view it as a livelihood and not simply a way of life. During the same time, in the New York area, the loosely defined communities surrounding rumba and santeria have grown and changed. They have expanded outward to include growing numbers of non-Cubans, but have also been enriched by the constant flow of new migrants from Cuba. In both places, Afrocuban culture is thus a polysemous and highly charged space, a contact zone between people of diverse backgrounds and experiences, motivated by varied and perhaps conflicting needs and desires. These developments are not autonomous, I argue, for these sites are integrally and intimately connected by a regular flow of people, goods and ideas in both directions. They are thus constitutive elements of a multi-sited or translocal public sphere that connects Cuba with significant parts of its diaspora. But they are not exclusively Cuban, so they are linked to other circuits and impulses. My dissertation traces the evolution of rumba and Afrocuban religion in Cuba, and follows the recreation of these practices in the New York area, through the narratives and life experiences of Cubans, Cuban immigrants, and the varied ethnic and racial communities that have embraced these practices. This extended history provides a different perspective on relations between Cuban immigrants and their homeland. Further, because Cuban immigrants have never been a hegemonic force within New York's Latino population, this study situates Cuban immigrants within a broader ethnic and racial context.

Irish sport and culture at New York's Gaelic Park

Brady, Sara New York University 2005 해외박사(DDOD)

This dissertation examines Gaelic Park Sports Center in the north Bronx, home to the New York Gaelic Athletic Association (NYGAA), a community-based, nonprofit organization that runs annual seasons of Irish sports: Gaelic football (sort of a cross between rugby and soccer played by men and women), hurling (sort of a cross between lacrosse and field hockey played by men), and camogie (almost identical to hurling, but played by women). Since it opened in 1928, the Park has hosted various cultural non-athletic performances such as concerts, feisanna (Irish dance competitions), ceilis (social gatherings with music and dance), weddings, political rallies, fundraisers, and benefits. The Park consists of a stadium, bleachers, dressing rooms, a banquet room, bar, and ticket booth. The community that gathers at Gaelic Park for events overwhelmingly comes from the population of Irish immigrants who have settled in the New York area since the mid-20th century. These immigrants correspond to three recent waves of Irish immigration to New York: the 1950s, the 1980s, and the late 1990s--present. The community that gathers at Gaelic Park is unique in that, unlike an event such as the New York St. Patrick's Day parade where the "Irish" community performs primarily for an "American" crowd, the performers and spectators at Gaelic Park are overwhelmingly Irish. Other spectators include the descendants of these and previous immigrants, as well as visiting Irish and New Yorkers interested in particular events. This project gives specific attention to how the performances of sport and culture occurring in and around the athletic stadium relate to Irish immigrants to New York with consideration of the various waves of these migrations. I argue that as a site of performance, Gaelic Park allows this varied population of "Irish New Yorkers" to articulate a resilient and resistant version of "Irishness.".

Citizen participation in city planning, New York City, 1945--1975

Reaven, Marci New York University 2009 해외박사(DDOD)

This dissertation explores how the practice of city planning in New York City came to incorporate "citizen participation" in the three decades after World War II. At the beginning of this period, planning in New York was characterized by a lack of transparency, absence of citizen involvement, and the powerful, controlling presence of planning czar Robert Moses. By period's end, citizens had become accepted parties to land use decision-making, and formal procedures for involving citizens in planning had been written into local law. I explain that this turning point came about not by premeditated campaign but by a cumulative process of change. Government, planning professionals, grassroots organizations, and civic and social agencies all participated. Among these actors were voluntary groups, including the Cooper Square Committee, a key focus here; the Citizens Union; members of community boards; advocacy planners; officials and citizens involved in the War on Poverty Programs; and city government figures, especially during Mayor John Lindsay's administration. I also look at the motivations and interactions that galvanized these protagonists. They reacted to the upheavals caused by urban renewal, but also to fears about citizen alienation in mass, urban society, and to anxieties about effective governance in New York. Alliances, good fortune, and strategy advanced the cause, but so did surmounting conflicts and obstacles. What proponents shared was a belief that the practice of city planning should not exist outside of a democratic political framework. To challenge and change this state of affairs, they were willing to learn through practice and in public, to experiment and to innovate. I examine the process of "social learning" in which they elaborated ideas about housing, citizenship, and cities, and also created the organizational, institutional, and policy forms to carry those ideas forward. By 1975, their efforts had given rise to a public newly attentive to city planning who wanted to help shape its effects. Implementing that desire was circumscribed by the limited power that the drive for citizen participation achieved. But this study shows that the movement changed the political landscape of planning and gave more leverage to a broader range of stakeholders.

To you (whoever you are): Address, redress, and imagined publics in the works of Marianne Moore

Alsadir, Nuar New York University 2005 해외박사(DDOD)

This dissertation examines the figure of address in Marianne Moore's early poetry. As Moore's address shifted between the private and the public, the historical and the fictive, she developed in her work a way of circumventing the anticipation of criticism from her readers---as well as the resultant self-consciousness---by addressing her work, at least in the early years, to, as Ezra Pound termed it in his first letter to her, "the members of the reading public capable of understanding."1 Moore edited her imagined public by shifting and revising her figure of address. Redress re-addresses and, as it is the act of addressing that shapes a public, the re-addressing that happens in the editing process recreates a public through new imaginings. Accordingly, Moore adopted different perspectives in addressing and readdressing her work to new audiences. A close reading of Moore's early work reveals that the address within many of the poems was originally written as though it were directed towards a specific person and mediated by an imagined public. Moore often incorporated a familiar address within her poems---directed towards either someone she knew or someone she knew of---because she needed to address a figure whose response she could imagine, yet she later recast the direction of such an address when anthologizing her work as "poetry" and anticipating generic concerns. In addressing her poems to a new public, the general readers of anthologies, she redressed the addresses within the individual pieces so as to edit out the familiar and direct the poems along with the book, without mediation, to a broad public. The ambivalence of Moore's address complicates the application of generic approaches, particularly the protocols of lyric reading. Each time her address shifts she is conjuring a new public and, in so doing, speaking into a different speech genre and demanding new protocols for reading. These poems are generally read within the paradigms of lyric readings, which are complicated by her shifting address. This dissertation argues the need for alternate ways of approaching Moore's early poems that take her shifting figure of address into account. 1Ezra Pound, "To Marianne Moore," 16 Dec. 1918, letter 155 of The Selected Letters of Ezra Pound, ed. D. D. Paige (New York: New Directions, 1971) 142.

Fear and healing in the global city: A cultural-anthropological study of ego-effacement and the city experience in North and South America during the 1990s (New York City)

Vega-Llona, Silvia New York University 2001 해외박사(DDOD)

This dissertation is the record of a journey into the global city. This global city is New York. My journey was in a very real sense a hemispheric journey, trying to articulate the new kind of dialectic that seems to be forming itself, in the field of culture and cultural studies, around an extended notion of the Americas. On this journey, my debt goes to anthropology, and especially those anthropologists who have studied rituals and festivals as situated at the interface of the public and private in traditional societies. From them I took the notion that their thinking could be extended to include the public-private “events” of an urban post-industrial environment, as well as to make my own as a scholar and city-dweller their sensitivity to the problematics of the participant observer. Where this dissertation tries to break new ground is that I want to both extend the work of Performance Studies and sharpen its focus in one particular direction. This direction is that of the moving image and its cultural and political impact, its global dimensions and ramifications. The changes of the city, the body and the image in the past decade often been noted in cultural theory as well as sociology and identity-politics. They go under the name of post-colonial theory, globalisation, multiculturalism. None of these seems to me entirely appropriate to my object of study—the shifting relations between the transnational individual/post-industrial subject on the one hand, and the global city of capital and commerce on the other. NYC still functions as a magnet for the peoples all over the world, but now it does so also merely through its images. This too, however, is a story of what it means to be in “the Americas,” of what it means to be an “American,” and perhaps even more importantly, of what it takes to “become” an American in the late 20th and early 21st century. Therefore I take from contemporary performance studies the idea of more mobile identities, and from anthropology the radicalization of the concept of the participant observer, as indicated by such concepts as “mimesis” and “alterity.&rdquo.