About these images


Login

Log in is required on this site ONLY to join an ASA member community group and contribute to the community blogs.

Are you a current ASA member?
Forgot your password?

Register

Register here for the annual meeting and to begin or renew an ASA membership

Register here to submit a proposal through the ASA's 2012 submission site.

Register here for JHU Press and ASA membership services, including online access to American Quarterly and the Encyclopedia of American Studies Online.

Register here to join an ASA community. Only current ASA members may contribute to the community blogs. Registration is not required to submit display or text ads or news and events or to view many pages. We will refuse posts that are not of professional interest to ASA members.

Click here for membership FAQ's

Events

Jun. 30 | 2012 Bode-Pearson Prize
Nominations for the 2012 Bode-Pearson Prize for Outstanding Contributions to American Studies due

Jun. 30 | 2012 Mary C. Turpie Prize
Nominations for the 2012 Mary C. Turpie Prize for Outstanding Contributions to American Studies Teaching, Advising, and Program Development due

Oct. 1 | Travel Grants for Graduate Students
For submission guidelines, click here

Resources: Abstracts of American Studies Dissertations

By University | By Year

Luftschein, Susan. "The Changing Face of an Expanding America: The City Beautiful Movement, the Myth of the Frontier, and the Louisiana Purchase Exposition, St. Louis, 1904," Art History Program, City University of New York, May 1996.

This dissertation explores two facets of the fair: the reliance on the ideals and practices of the City Beautiful Movement in the creation of its ground plan and its decorative scheme, and the mythology of the frontier as reflected in its sculptural program. The sculptural program was an integral part of the fair’s demonstration of the importance of civic art and municipal planning. It was also a clear and unequivocal demonstration of the mythology surrounding the American frontier, which was perceived at the time to be rapidly disappearing. Many of the sculptors employed by Bitter were responding to two important cultural forces: historians Frederick Jackson Turner and Theodore Roosevelt and their “frontier theses.”