This chapter concentrates on another significant element of the Irish Catholic Church’s transnational fundraising, namely the collecting tours on behalf of church-building projects that Irish clerics regularly conducted in diaspora destinations, including but not limited to the US. Based on close analysis of a series of surviving personal diaries and letters produced by collecting priests in the second half of the nineteenth century, this chapter outlines the difficulties, including hostile resident clergy, that collecting priests faced, explores the emotions of religious fundraising, for both giver and receiver, and assesses the place that such epic fundraising tours have in the narratives that surrounded Ireland’s newly built Catholic infrastructure.

Although rarely at the center of the most influential human historical narratives, the stories of human-plant interaction are nonetheless sporadically recorded in a variety of literary genres and other cultural media across nearly five centuries. This chapter aims to provide a contextual outline of our present human–plant culture as it developed in North America through the early nineteenth century, and to orient readers to the most frequently discussed texts, questions, and resources in the field. It introduces the early modern history of settler cash crops – cotton, sugar, and tobacco – and the longer history of changing agricultural practice during the early contact period. Early American literature in English – poetry, herbals, prose tracts, and instructional writing – was deeply engaged with the movement of indigenous and imported plant species as they flowed in and out of North America as rapidly as humans moved into the region from the rest of the globe.

Johnson’s political views were complex, partly because they were based on a deeper philosophy of the individual and society. Placed here by divine providence, each person has something to do for the good of others; and legislators, too, can play their part in preserving human relationships from individual malice. Crucially, governments must also keep order, and ward off the possibility of social breakdown – the Civil War was within living memory when Johnson was growing up. Thus he praised hierarchy and state-enforced religious unity, inasmuch as it mean harmony and security. Johnson’s political writings are often combative and bluntly phrased: in his early work as an Opposition journalist, outraged at censorship and creeping tyranny; in his fierce critiques of imperial exploitation and slavery; and in his contempt for the radicals who appealed to ‘liberty’ – a slogan Johnson regarded with some suspicion. In his journey to the Scottish Highlands, meanwhile, Johnson praised traditional authority while showing no nostalgia for feudalism.

Abolishing states would not be the end of the matter; the country’s leaders would have to make a number of fundamental secondary decisions. Someone would ultimately have to decide which of the essential functions currently performed by state government should be nationalized, which ones should be localized, and, as to the latter, how the various local functions are to be further distributed among the many different species of local governments – municipalities, counties, townships, special purpose districts, and unincorporated areas. Who should select the decision-maker? Decisions would also be needed as to the processes and responsibilities for replacing the states’ current roles in national elections, in supplying the bulk of the country’s judges, and in the constitutional amendment process. This chapter considers the options for filling those voids. In the process, it offers a portrait of what a unitary American republic might look like without state government.

This introductory chapter articulates the main thesis and summarizes the arguments that support it. It lays out the reasons that the thesis is important, describes what the book adds to the existing literature, explains some critical terms and concepts, and adds necessary disclaimers.

This chapter contrasts the approach to nature taken by Alexander von Humboldt and Hegel. In particular, it focuses upon the notion of Naturphilosophie and how it is developed in the work of both thinkers. It gives details from the work of Schiller, Goethe, and Schelling in order to provide historical context to the discussion. To clarify some of the contrasts between Humboldt’s and Hegel’s approaches to nature, the chapter focuses upon their approaches to the landscape and people of America. The fate of natural beauty in the work of both thinkers is highlighted. It argues, by reference to Adorno’s critique of Hegel, that while Humboldt gives natural beauty autonomy by not limiting it to what the subject contributes to it, Hegel’s view of nature is as repressed natural beauty, eclipsing it with human reason and human subjectivity. Ultimately, Humboldt’s more empirical approach, balanced with a recognition of the role of freedom, allows nature to come into clearer focus than it does in Hegel’s work. Hegel’s more abstract, speculative approach keeps nature too far from the empirical realm. In the case of our understanding of nature, Hegel’s clean hands become a problem, resulting in a Naturphilosophie that does not bring us close enough to nature or its beauties.

Chapter 30 examines Goethe’s relationship with America. The country was for him an imagined space full of possibility, a historical frontier which opened onto modernity. The chapter considers the transatlantic network which, in the post-Napoleonic period, linked Harvard, Göttingen and Weimar, and would prove particularly important for Goethe’s geological studies. It also describes the – at times ambivalent – perspectives on American democracy that reached Goethe from Prince Bernhard, the son of Carl August, during his American travels, before moving to an analysis of American influences on and representations of America in Goethe’s literary work.

Key developments that began to affect international politics in the immediate aftermath of the Cold War – globalisation, humanitarian intervention at odds with previously unquestioned prerogatives of state sovereignty, and the development of multilateral institutions to manage emerging security and economic challenges – gained further momentum in the late 1990s. Paradoxically, the Australian–US relationship was both reaffirmed and tested in some very traditional ways over this period. The Howard government was elected in March 1996 with a pledge to ’reinvigorate’ that relationship, which it felt had been neglected by its Labor predecessors.

The closeness of the John Howard and George W Bush administrations is a commonplace of commentary on that era; one uncritical account even describes the relationship between the two countries and leaders as a ‘partnership’, although Howard only appeared three times in the former president’s memoirs, published in 2010. Prime Minister Howard’s invocation of the ANZUS (Australia New Zealand United States) Treaty in 2001, his determination to participate in the Iraq invasion and occupation, and his scepticism on anthropogenic climate change were all of a piece with the mood that prevailed in Washington. In February 2007, US Vice-President Dick Cheney visited Australia expressly to record Washington’s gratitude for Australia’s consistent role in the ‘global war on terror’. So close was Howard’s identification with Bush that his judgment of what bounds should be observed in commentary on domestic US politics was compromised. Thus in February 2007 he took the unprecedented step of criticising presidential candidate Barack Obama’s strategy on Iraq by claiming it served the interests of al Qaeda.

No country outside Britain has embraced Vaughan Williams’s music more warmly and extensively than the USA. The composer first visited in 1922 (extended stays followed in 1932 and 1954), but he had earlier developed a sympathy for American democratic ideals through intense involvement with Walt Whitman’s poetry. Vaughan Williams’s stature in America grew steadily from around 1920, when major works, most notably A London Symphony, began to be performed regularly, and it reached a zenith in the 1940s and 1950s, when he was widely regarded as a major international figure in the same league as Stravinsky or Bartók. While his American reputation echoed the deepening Anglo-American ‘special relationship’ that developed during the alliances of the Second World War and the Cold War, advocacy from a wide range of European émigrés such as Serge Koussevitzky and Bruno Walter indicates a broad appeal reaching well beyond any narrow notion of Anglo-Saxon kinship. Vaughan Williams’s profound engagement with folk song, modality, Whitman, and the symphony aligned particularly closely with prevailing trends in American music c. 1930–60, and his impact can be felt in the work of composers like Samuel Barber and Roy Harris; more recently, the admiration of John Adams, among others, indicates continuing relevance.

The complicated relationship between American and European cultural production, particularly in the nineteenth century, is the subject of this chapter. American essayists of this period were, on the one hand, greatly influenced by the literature and culture of Europe and sought to absorb its lessons into their own writing. On the other, these same essayists pushed back against the idea that European writing should be their primary influence. Instead, they frequently critiqued Europe from afar and sought to develop a new idiom and fresh form of expression unique to the United States. Writers like Washington Irving, Walt Whitman, Ralph Waldo Emerson, Margaret Fuller, Edgar Allan Poe, Frederick Douglass, Henry James, and Henry David Thoreau explored the many tensions between the United States and Europe in their essays and used them to debate the extent to which America should remain in Europe’s cultural shadow.

This chapter examines Messiaen’s long involvement with the USA. It discusses commissions, his relationship with notable figures, his teaching there, and the genesis and performance of both the Turangalîla-Symphonie and Des canyons aux étoiles…, including Messiaen’s admiration for the mountains in Utah. It also explores Messiaen as a performer of his own music in America (he premiered the Méditations sur le mystère de la Sainte-Trinité), the commissioning and performance of the Livre du Saint-Sacrement, and the orchestral éclairs sur l’Au-delà….

This chapter describes the emergence of a new kind of sacrificial military hero, rooted in Christian rather than classical precedents. This development appears in the context of wars involving supposedly savage peoples--the Scottish Highlanders encountered in the Jacobite rebellion of 1745, and the indigenous peoples encountered as allies and enemies in North America and Canada. The figure of the devout Colonel Gardiner, killed at the Battle of Prestonpans, and looted by Highlanders, is compared with the brutal figure of the Duke of Cumberland (the victorious hero and butcher of Culloden). And responses to the death of General Braddock, killed in an ambush in the American wilds, and believed to have been left unburied, are compared with responses to the death of General James Wolfe, who died victorious at the Battle of Quebec (and who was sometimes represented as a Christian martyr). The hero-as-martyr was used to justify violence as part of a civilizing and Christianizing project.

An overview of testing and measurement in North America is provided, covering topics related to privacy laws and regulations, online proctoring, artificial intelligence, accommodations, accessibility, and the “opt out of testing” movement that are currently defining measurement in North America. This is not to say that these challenges are unique to North America; in fact, the challenges related to these topics are being faced all over the world in varying degrees and the same opportunities exist, but these topics are of particular importance when it comes to measurement and assessment in North America. Building on these observations, a discussion of how advances in technology and computing power provide an opportunity to challenge the status quo related to assessment; these advancements will allow assessment of skills in more authentic ways that will provide better insight into someone’s knowledge, skills, and abilities. The question we should be asking and attempting to answer is “How can assessment developers leverage the power of the cloud and technology to measure skills more accurately and create higher fidelity in the assessment process?”

This chapter considers the close interrelationship between theatre and cinema during the First World War. As well as looking at key examples of plays which were adapted into films such as The Better ‘Ole (1917) it looks at the relationship between the two modes of popular entertainment, emphasising, for example, how film screenings often incorporated or were incorporated into live performance, and how the two industries shared business practices. The chapter examines the economics and practices of cinema exhibiting, drawing parallels to the regional theatre circuits. It argues for the role of government-endorsed films such as The Battle of the Somme (1916) in establishing the respectability of cinema and demonstrates how from 1917 cinema could shift to being more of a source of entertainment: a shift which threatened the theatre industry. It examines this competition through a focus on the growth of the ‘Super film’ and through attention to the dominance of American films on British screens. The chapter ends with a focus on post-war films. Through discussion the factual war films produced in the 1920s, as well as the fictional dramas, it highlights the ways in which post-war cinema became a means for mediating memory on the war.

This chapter focuses on issues of objection and dissent. As well as examining the ways in which the theatre challenged or questioned the war - through works such as Drinkwater’s X=0 (1917) and Malleson’s banned Black ‘Ell (1917) - it considers the theatre’s representation of objectors to the war - through pieces such as Jones’ The Pacifists (1917) and Collins’ revue sketch The Consciensciousless Objector (1916). It contextualises the production of these works in relation to changes in wider attitudes towards the war, as well as considering how playwrights with pacifist leanings were constrained both by the censor and by cultural nationalism. It discusses the contribution of George Bernard Shaw to debates over the war and, as the final chapter in this part of the book, it also links to part III and the discussion of changing attitudes towards the war in the 1920s and 1930s.