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The photographer discusses work in “Hearing Through Walls”, a Masters of Fine Arts thesis exhibit held at downtown Tipton Gallery from February 19th through March 2nd, 2018. The exhibition consists of 15 archival inkjet prints and one two-channel video piece, representing the artists three-year exploration into narrative forms in image making. Using non-traditional approaches to photographic portraiture and experimental exhibition layout, the artist forms questions around themes of domesticity, lost youth, and American masculinity. Among these themes is an investigation into photographic issues, including the cultural role that photographs play in perpetuating, miming, and disrupting the facades of everyday life. Non-photographic influences are listed, including the paintings of Edward Hopper and the filmmaking of Paul Thomas Anderson. Historic and contemporary photographic influences included are Garry Winogrand, William Eggleston, Philip-Lorca Dicorcia, and Katy Grannan.

This study examined the relationships between childhood family of origin (FOO) adversities, coming to terms with them, and adult intimate relationship satisfaction for Native American individuals. The sample consisted of 186 Native American individuals in committed relationships who responded to the RELATionship Evaluation (RELATE). Among the items in the questionnaire were measures of childhood FOO adversity, whether respondents had come to terms with FOO problems, relationship quality and depression. Results from structural equation modeling indicated that coming to terms buffered the negative effects of childhood family of origin adversities on depression and relationship quality. Results suggest that coming to terms may help Native American individuals deal with FOO adversity and improve intimate relationship quality. Coming to terms with childhood FOO adversity should be considered in the treatment of Native American individuals in intimate relationships. Clinical implications and directions for future research are discussed.

This study examined the direct actor/partner effects of self-esteem, coming to terms, and relationship quality and the indirect effects of self-esteem on relationship quality when mediated by coming to terms. The sample included 160 interracial couples of which 69.4% were made up of an African-American male and a Caucasian female, while 30.6 were made up of an African-American female and a Caucasian male. These couples completed the RELATionship Evaluation (RELATE), a survey questionnaire. This study used three variables from the RELATE: self-esteem, coming to terms, and relationship quality. Results from Structural Equation Modeling indicated that self-esteem had a negative effect on relationship quality in men and women. Female partner's negative self-esteem increased her male partner's likelihood of coming to terms, but male partner's negative self-esteem decreased his own likelihood of coming to terms. Coming to terms did not predict relationship quality in this study. The relatively satisfied couples of this sample suggest that interracial couples may not have poorer relationship quality than intraracial couples, as some previous research purports.

This essay focuses on Louisa May Alcott's Little Women as a feminist novel and explores the representations of feminisms in the text. First, I argue Little Women is a novel that presents writing as feminist practice from a Künstlerroman perspective, which highlights Jo March's subversive feminism in the time. Next the essay shows how Jo’s gender fluidity helps her reconcile/negotiate her artistic aspirations and social expectations as part of her creative path. Finally, my essay also goes beyond Jo March's character to show how minor characters like the forgotten Beth March and emerging artist Amy March are a reminder of the text’s Künstlerroman focus, how patriarchy attempts to erase women like Beth who do not seem to fit into the stereotypes of the time due to their sickness or gender.

In Double Exile: A Memoir examines the life of a family of Ghanaian immigrants and their journeys of acculturation, and the impact of the father's spiraling mental health issues on his family. Through the eyes of their daughter, this thesis briefly explores their lives on the right side of the Atlantic, as medical professionals, and then focuses on the life of their daughter born in America on the left side of the Atlantic. As novelist Georges Simenon has said, "I am at home everywhere, and nowhere. I am never a stranger and I never quite belong." This memoir explores this tension between alienation and connection, as a second-generation immigrant grows up navigating between various cultures: to dominant American culture, evangelical Christian/Southern culture, African-American culture, and Ghanaian culture. In an attempt to understand the present, this thesis is a sankofa journey back into the author's history. Spanning over four decades, the memoir uncovers various exilic configurations: exiled from family, from ethnic heritage, from home, and from one's self.

Stories I Told Myself: A Memoir explores the experience of growing up gay in the 1980s. It is one boy's journey toward self-acceptance set against the conservative backdrop of a rural community on California's central coast. The story illuminates the hunger for a life different than the one being lived, and the ever-present sense of being different exacerbated by bullying and unrequited love. It is a narrative of evolving identity, and includes cultural insights and societal context of the time period. The author poses a fundamental question, "How did I make it out of the 80's alive?" and he explores the answer with poignant humor and self-examination. Mr. Crimmins shows that, beyond the constraints of time and place, the process of coming out remains an important and consistent element of the queer experience.

Half-Virgin. (Under the direction of Jocelyn Bartkevicius) Half-Virgin is a cross-genre collection of essays, short stories, and poems about the humor, pain, and occasional glory of journeying into adulthood but not quite getting there. The works in this collection seek to create a definition of a term, “half-virgin,” that I coined in the process of writing this thesis. Among the possibilities explored are: an individual who embarks upon sexual activity for the first time and does not achieve orgasm; an individual who has reached orgasm through consensual sexual activity, but has remained uncertain about what he or she is doing; and the curious sensation of being half-child, half-adult. Ultimately, I believe, a “half-virgin” possesses all of these traits. One of the goals of the collection is to scramble the prototypical coming-of-age story into bits and parts and halves. Among the approaches included are earnest memoir (the real and metaphorical costumes a young couple wears on Halloween), character-driven fiction (the life story of Marlow, a college track star who ends up the unwitting inspiration for Super Mario Brothers), and narrative experiments (a tongue-in-cheek creative writing syllabus and a bullet pointed resume of sexual conquests). By exploring the untidy fragments in love, lust, and human connection in these works, Half-Virgin aspires to find wholeness through the jagged adventures of growing up.

Mild to Moderately Severe is an episodic memoir of a boy coming of age as a latch-key kid, living with a working single mother and partly raising himself, as a hearing impaired and depressed young adult, learning to navigate the culture with a strategy of faking it, as a nomad with seven mailing addresses before turning ten. It is an examination of accidental and cultivated loneliness, a narrative of a boy and later a man who is too adept at adapting to different environments, a reflection on relationships and popularity and a need for attention and love that clashes with a need to walk through unfamiliar neighborhoods alone. "Mild to moderately severe" is a diagnosed level of my hearing impairment. It is also the level of clinical depression I'm supposed to have been suffering since I was a preteen. It is also an answer to the question, "How was your day?"

Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, explores themes of liminality, urbanization, and coming of age in its trio of Irish folklore-themed films. Secret of Kells, Song of the Sea, and Wolfwalkers each explore Irish identity, folklore, and community through different time periods and spaces to create truly Irish animated films. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. By communicating these themes in animated films, Cartoon Saloon centers indigenous animation work in a country that has lacked an indigenous industry and uses the flexibility of animation as an art form to address Ireland's history and mythology through the writing, music score, and animation style of the three films. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry. / Master of Arts / Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, has released a trio of films centered on Irish folklore. These films explore Irish history, mythology, and tradition through several time periods and explore themes of liminality and coming of age. Secret of Kells, the first film, explores the Abbey of Kells and the creation of the Book of Kells through the eyes of Brandon, a young monk learning to find his place in the Abbey. He encounters a fairy girl and learns that there is more to his world than the Abbot had taught him. The second film, Song of the Sea, is set in modern times and tells the story of Ben's adventure to save his sister, who is half-selkie. The final film, Wolfwalkers, explores Kilkenny during English occupation through the adventures of Robyn, a young English girl who is turned into a wolfwalker and learns about the magic present in the Irish countryside. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.