Once subjected to an extractive history of British colonial and Indian national imperatives and ignored by development institutions, the mountainous region of Kumaon, Uttarakhand now thrives in its current development trends. Given that developers and donors disregarded the region while much of the rest of India prospered, it seems incongruous that the region should now be succeeding in its own development. This project asks why the isolated and “underdeveloped” region of Kumaon that was “left behind” by mainstream development and has only recently emerged is now able to succeed in its own grassroots development. My thesis posits an answer grounded in the notions of agency and identity politics in regional social movements and development vision. I examine the interdependency between the environment and social and historical processes, which informs my analysis of local development strategy regarding regional preferences for grass use in livelihood practices. The analysis employs data collected through qualitative, ethnographic interview processes and participant observation in the field. Supplementing the primary data with literature on identity assertion as a response to colonial and neocolonial processes, I argue that Kumaon has thrived and created significant agricultural development, notwithstanding the lack of outside aid, because development there is inextricably linked to regional movements for social change. These social movements have distinguished Kumaon from national trends of development and have led to the emergence of a conservationist and rights-oriented regional identity, which has helped form a particular vision for Kumaoni development focused on the environmental rights of the people.

This project strives to address the surprisingly high rates of eating disorders (ED) in southern Italy. Determinants for ED in southern Italy are characterized by perfectionist tendencies and parental criticism, rather than the low self-esteem and body image problems most often associated with ED. The high prevalence of ED and unique composition of symptoms and psychological determinants among southern Italian women point to a compelling paradox: Given the widely supported theory that the development of eating disorders in a population may be ascribed not only to media-stimulated body image concerns but also to processes of modernization and industrialization, why do women in southern Italy, which has not conformed to or successfully undergone these processes, exhibit relatively high rates of eating disorders? This thesis argues that ED in southern Italy is a symptom of transgenerational transmission of trauma related to collective regional fear of the end of WWII and loss of the precarious economic certainty of the Allied occupation. This fear and eventual loss could not be openly mourned because of its conflict with the Resistance and liberation myths that sustain WWII memory in the popular national narrative. To substantiate this claim, I will further propose that both culture-specific ED pathologies and acclaimed films represent ciphered articulations of the psychically “indigestible” nature of this conflict. I will analyze selected films of acclaimed southern Italian directors: Ettore Scola’s La famiglia, Giuseppe Tornatore’s Cinema Paradiso, Francesco Rosi’s Tre fratelli, and Mario Martone’s L’amore molesto. Each film is analyzed anasemically—that is, completely wthin the bounds of its auditory, visual, and cinematographic language—before connecting it to historical and social contexts.

French films about World War II tend to fall into either the category of heritage film, which promotes a narrative of reconciliation in relation to the collaboration, or another group of films that serves to implicitly or explicitly question that narrative of reconciliation. Films of the latter category have probed the memory of the Vichy collaboration since the end of the war despite Charles de Gaulle’s efforts to repress narratives that challenged the idea of a country united against Germany. In the 1980’s, however, heritage film became the prevalent genre and offered a Gaullist view of World War II in France. This thesis asks, why, given the plethora of films dealing with the realities of the French role in World War II dating from the late 1940’s, a rubric of heritage film emerged as one way of classifying filmic discourse on the Vichy collaboration. I hypothesize that the heritage cinema rubric, specifically the Vichy cinema rubric, asserts a legibility of French identity, which was compromised by France’s collaboration with Nazi Germany, and attempts to thwart filmic narratives of identity loss. Through tropes of the uncanny and characters that experience repressed trauma and blocked mourning, films such as Le Silence de la Mer (1949), Lacombe, Lucien (1974), Mr. Klein (1976), and Le Dernier Metro (1980) reflect the French collective experience of loss during and in the aftermath of the collaboration. WWII films produced in the decades leading up to the emergence of this genre in essence dramatize a troubling disappearance of French cultural identity, which the heritage rubric sought to control.

Mussels attach themselves to hard substrates by extruding thin, strong, and flexible hair-like attachments known as byssal threads, which are anchored in place with small adhesive plaques. While many studies have examined how multiple abiotic variables affect mussel attachment strength, few have performed extensive single variable tests within a controlled lab setting. In this study, we investigated the effects of temperature on byssus production in the native Northern Pacific intertidal blue mussel, Mytilus trossulus, and expected to see a decline in production with increasing temperatures (specifically, between 18°C-25°C). We also hypothesized that threads produced in warmer temperatures would show a visual decline in quality, either through thinning, degradation, or tearing. Mussels were placed in a temperature controlled flume for 24 hours. Six different trials were run at 10°C, 14°C, 18°C, 20°C, 22°C, and 25°C. Byssal threads were counted for the duration of each trial to determine production and rate of attachment. Threads produced under these different temperature regimes were analyzed using scanning electron microscopy to visually compare differences in quality. Overall, there was a significantly negative correlation between thread production and increases in temperature, with the highest amount occurring at 18°C (11.25 threads +2.0 s.e.m.) and the lowest at 25°C (0 threads). Acclimatization and rate of thread production was also negatively affected by temperature increases. In addition, we saw a significant difference in percentage of mussel attachment between temperatures, with up to 93% attached in the 10°C and 18°C treatments and 50-0% in the 20°C-25°C treatments. However, visual analyses of thread quality differences were inconclusive. Our findings indicate that climatic temperature increases may negatively affect both the range of M. trossulus within Northern Pacific rocky intertidal zones as well as potentially setback the aquaculture of the species.