ARCHIVE An Undergraduate Journal of History ARCHIVE AN UNDERGRADUATE JOURNAL OF HISTORY Volume 22, 2019 Volume 22, May 2019 University of Wisconsin-Madison ARCHIVE AN UNDERGRADUATE JOURNAL OF HISTORY VOLUME 22, MAY 2019 Editor-IN-Chief John Douglas Editorial Board Samuel Bertsch Isabelle Cook Grant Haxton Jack Kelly Hilary Miller Marissa Miller Jacob Price Owen Tortora FACULTY ADVISOR Professor Susan Lee Johnson Published by the University of Wisconsin-Madison Printing services provided by DoIt Digital Publishing COVER IMAGE This photo depicts students outside UW’s Afro-American Center in the 1970s. Image courtesy of University of Wisconsin-Madison Digital Collections. TABLE OF CONTENTS Editor’S NOTE 4 THE WAR OF Art Vivant Denon and the Construction of a Napoleonic Imperial Identity 6 Matt Stiles DIME NOVEL INDIANS Individualism and the American Imagination 26 Lucas Sczygelski DEFENDING AND DENOUNCING IMPerial IDEOLOGY Capitalism, Justice, and Empire in Ero-Guro Literature Ian Rumball 50 KEMalist REPUBLICANISM AS MilitarisM Mustafa Kemal Ataturk’s Military Career and the Birth of the Turkish Republic 64 Necdet Emre Kurultay “PerhaPS I WAS HAPPiest AT Tilsit” Napoleon and Alexander I, 1805-1821 82 Sebastian van Bastelaer “PURChasers OF THEIR OWN ‘Kith AND Kin’” Southwest Borderlands Captive-Taking and the Limits of U.S. Authority in New Mexico, 1849-1852 100 Daniel Ahrendt SECondary DisenfranChiseMENT OR A GOLDEN OPPortunity? Aboriginal Experiences on the Victorian Goldfields, 1851-1869 126 Isabella Martin PASSED OVER SKETChily AND Hastily Crusader Greed in High School Textbooks 140 Jacob Gonring ProhiBition AT THE UNIVersity OF WisCONSIN- MADISON A Rebellious Campus Largely Unaffected 158 Griffin Wray Editors’ BiograPhies 172 ARCHIVE A NOTE FROM THE EDITOR The 2019 ARCHIVE Editorial Board is proud to present Volume 22 of ARCHIVE. For nearly twenty-two years, ARCHIVE has highlighted exceptional undergraduate historical work, and this year is no exception. More important, ARCHIVE has helped undergraduates at the University of Wisconsin-Madison and across the globe uncover forgotten histories and address topics in underrepresented academic fields. As with every edition of ARCHIVE, the debts and gratitude owed are innumerable. The editorial board would first like to thank Professor Su- san Lee Johnson for her guidance, expertise in academic publishing, and unfailing support throughout the semester. Without her encouragement and genuine belief in each of the editors, this year’s volume would simply not be possible. We would also like to thank the Chair of the History De- partment, Professor Laird Boswell, along with Scott Burkhardt, Christina Matta, and the rest of the History Department faculty and staff for their trust in and support of ARCHIVE. In each volume of ARCHIVE, there is an overarching theme, a com- monality that links the articles. Though diverse in geographic and tem- poral breadth, the articles in this volume discuss the interplay between political institutions and ideologies and social and cultural landscapes. The journal begins in eighteenth-century France, when Napoleon I appointed Dominique-Vivant Denon as his Chief Artistic Advisor. In this article, Matt Stiles explores the ways in which Denon’s work led to Paris’s ascension as the world’s new cosmopolitan center. Though separated by the Atlantic Ocean, Lucas Sczygelski’s article, too, studies the ways that people in positions of power used art to further the development of na- tional identity. Lucas draws a connection between American dime novels and American individualism, arguing that dime novels proselytized and reinforced a peculiarly American individualism to their audience. Simi- larly, Ian Rumball’s article explores how Japan’s twentieth-century ero- guro-nansenu (erotic, grotesque nonsense) literary genre both challenged and reaffirmed Japanese imperial and fascist doctrines. Moving beyond how political institutions and ideologies were rein- forced by the arts, the next articles focus on how authoritative rulers and their policies shaped the social landscape of their communities. Necdet Emre Kurultay’s article provides a fresh perspective on Kemalism and early twentieth-century Turkish political history. It explores how Mus- tafa Kemal Ataturk’s memoirs and political writings illuminate his grand vision of the Turkish Republic as a militocratic state. Taking a different approach, Sebastian van Bastelaer’s article examines the personal rela- tionship between Napoleon Bonaparte and Tsar Alexander I through the autocrats’ personal correspondence. His article explores how the demise 4 A NOTE FroM THE Editor of the once great friendship underpinned the eventual war between the French and Russian empires. The next articles differ in that they look to reclaim the histories of marginalized groups whose stories have gone untold or been misrepre- sented. Daniel Ahrendt’s article focuses on captive-taking practices of the 1840s and 1850s in the U.S. southwest borderlands. He shows how captive-taking served as a central component in long-standing social relationships of exchange and interdependence between peoples in the borderlands, and how the U.S. government failed to understand the area’s politics and economies. Similarly, Isabella Martin’s piece examines the ways in which Aboriginal autonomy in Australia first increased but then declined in the context of the nineteenth-century gold rush. The final two articles introspectively look at both U.S. high schools and universities. In his article, Jacob Gonring explains how high school history textbooks have depicted the motivations of crusaders, increasing- ly identifying greed as a key motive. This year’s edition concludes with an article about our own university. Griffin Wray analyzes student life at the University of Wisconsin-Madison during the Prohibition era, showing how the university’s ambivalence towards Prohibition, along with stu- dents’ determination to evade the law, led to a noted lack of temperance on campus. On a more personal note, this volume marks a special moment in ARCHIVE’s history. Not only this year, but for more than two decades, ARCHIVE has dedicated itself to helping recover the forgotten or un- told stories of marginalized groups and communities in Madison, in Wisconsin, and across the globe. As the first Black American ARCHIVE Editor-in-Chief, I wanted our cover photo to foreground this accom- plishment by highlighting a small piece of the rich history of African Americans on our campus. While our university has begun to take preliminary steps toward acknowledging the history of Black students on campus, representations often reflect the “angry Black student protes- tor” trope. Garbed in black leather clothing, emulating the Black Panther image, Black students on our campus have been treated as a monolith, continuously marginalized from the remaining student body. Rarely are we depicted as “regular” students. This cover illustration looks to reclaim our history. Though I may be the first Black ARCHIVE Editor-in-Chief, it is my hope that I am not the last. - John Douglas, ARCHIVE Editor-in-Chief 5 THE WAR OF Art Vivant Denon and the Construction of Napoleonic Imperial Identity Matt Stiles Image: L’arc de triomphe du Carrousel dans le jardin des Tuileries, 2011, Paris, Wikimedia Commons, accessed online. Matt Stiles is a senior majoring in History at the University of Wisconsin- Madison. His studies focus on French history and art history. Matt is particularly interested in how artists respond to societal changes. After graduation, he will spend a year in Paris teaching English in French high schools. He hopes to continue his studies in France to earn graduate degrees in either History or Art History. This article was written for Professor Suzanne Desan’s capstone seminar in Fall 2018. 6 THE WAR OF ART aris is one of the world’s most spectacular cities. With its opulent architecture and distinguished establishments, an unmistakable P aura of majesty pervades its wide boulevards. The Arc de Tri- omphe de l’Étoile, both massive and commanding, makes an impression on any pedestrians along the grand Champs-Elysées. The Panthéon, the final home for many of France’s most exemplary citizens, exhibits the nation’s tumultuous and storied past. Embedded in the heart of the city is the acclaimed Musée du Louvre; its unparalleled collection includes trea- sures from every corner of the world. During my time in Paris, I was con- sumed by the city’s distinct effect of grandeur, of conquest, and of empire. It seemed to represent a veritable epicenter of imperial power. Buildings, bridges, and monuments adorned with the capital “N” serve as reminders of the enduring legacy of the First French Empire and its ruler, Napoleon I. Under the direction of Napoleon’s chief artistic advisor, Vivant De- non, the regime began to carefully weave the symbols of empire directly into the fabric of the city. When Napoleon III commissioned the Baron George Haussmann to implement massive renovations of Paris, it was the culmination of this process.1 By all accounts, Napoleon knew relatively little about the arts. Still, given his political awareness and general popularity, he certainly under- stood the relevance of art and architecture in constructing an identity for his newly proclaimed French Empire. The man he chose to help with this project was Dominique-Vivant Denon. From 1802 through 1815, Denon controlled almost every aspect of the arts within the empire by serving as Napoleon’s general director of museums, monuments, medals, and art acquisitions.2 With his experiences in Egypt and Rome and his wealth of knowledge on art history, Denon brought a distinct approach to the chal- lenge of realizing the First French Empire’s identity. Through strict control of state-sponsored artists and appropriation of ancient civilizations, he developed the arts and the city of Paris as a way to glorify the empire and, more important, to legitimize the French Empire as Rome’s successor in the historical canon. While serving as Napoleon’s museum director, Vivant Denon created a powerful legacy that still reverberates around Paris and across Europe to this day.