Thesis (M.A.)--Victoria University of Wellington, 2010. / Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Classical Languages and Literature, August 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A. in Theological Studies)--Associated Mennonite Biblical Seminary, 2002. / Abstract. Includes bibliographical references (leaves 99-105).

This work focuses on the use of anthropological and museum theory, methods and practices in the development and construction of a museum. It also illustrates how museums can be used as active research sites for anthropologists. This dissertation uses the Hotel Metropolitan Museum, a new African American museum in Paducah, Kentucky, as an example to demonstrate this research process. I approach this work as a museum professional and academic making a living outside the safety of the "Ivory Tower." I examine how the use of anthropological theories, case studies and methods can be used to help independent consultants understand interpersonal interaction/communication, community development and political structure. Also, I examine how these theories and methods can be applied and/or modified to construct situations that result in outcomes beneficial to the consultant and to the group for which s/he is working.

Doctor of Philosophy / Department of History / Sue Zschoche / In 1942, the U.S. Army and Navy announced the creation of their respective women’s military services: the WAAC/WAC and the WAVES. Although American women had served alongside the military in past conflicts, the creation of women’s military corps caused uproar in American society. Placing women directly into the armed services called into question cultural expectations about “masculinity” and “femininity.” Thus, the women’s corps had to be justified to the public in accordance with American cultural assumptions regarding proper gender roles. “Fashioning Femininity for War: Material Culture and Gender Performance in the WAC and WAVES during World War II” focuses on the role of material culture in communicating a feminine image of the WAC and WAVES to the American public as well as the ways in which servicewomen engaged material culture to fashion and perform a feminine identity compatible with contemporary understandings of “femininity.” Material culture served as a mechanism to resolve public concerns regarding both the femininity and the function of women in the military. WAC and WAVES material culture linked their wearers with stereotyped characteristics specifically related to contemporary meanings of “femininity” celebrated by American society, while at the same time associating them with military organizations doing vital war work. Ultimately, the WAVES were more successful in their manipulations of material culture than the WAC, communicating both femininity and function in a way that was complementary to the established gender hierarchy. Therefore, the WAVES enjoyed a prestigious position in the mind of the American public. This dissertation also contributes to the ongoing historiographical debate regarding World War II as a turning point for women’s liberation, arguing that while the seeds of women’s liberation were sown in women’s wartime activities, those same wartime women were firmly convinced that their rightful place was in the private rather than the public sphere. The war created an opportunity to reevaluate gender roles but it would take some time before those reevaluations bore fruit.

abstract: For the past few decades, feminist researchers have worked tirelessly to recover the history of American women’s sewing – both the artifacts made and the processes, practices, and identities linked to the objects produced. With the transition to the digital age, women are still sewing, but they are inventing, making, and distributing sewn objects using platforms and pathways online to share knowledge, showcase their handicrafts, and sell their wares. This dissertation examines contemporary sewing and asks how digital practices are extending and transforming the history of women’s sewing in America. I place my findings against the backdrop of women’s history by recounting how and why women sewed in previous eras. This dissertation demonstrates how past sewing practices are being repeated, remixed, and reimagined as women meet to sew, socialize, and collaborate on the web. The overall approach to this project is ethnographic in nature, in that I collected data by participating alongside my female subjects in the online settings they frequent to read about, write about, and discuss sewing, including blogs, email, and various social media sites. From these interactions, I provide case studies that illuminate my findings on how women share sewing knowledge and products in digital spaces. Specifically, I look at how women are using digital tools to learn and teach sewing, to sew for activist purposes, and to pursue entrepreneurship. My findings show that sewing continues to be a highly social activity for women, although collaboration and socializing often happen from geographically distanced locations and are enabled by online communication. Seamstresses wanting to provide sewing instruction are able to archive their knowledge electronically and disperse it widely, and those learning to sew can access this knowledge by navigating paths through a plethora of digital resources. Activists are able to recruit more widely when seeking participants for their causes and can send handmade goods to people in need around the globe. Although gender biases continue to plague working women, the internet provides new opportunities for female entrepreneurship and allows women to profit from their sewing skills. / Dissertation/Thesis / Doctoral Dissertation English 2016

abstract: This research examines four stateswomen fashion icons—Jacqueline Kennedy Onassis, Diana, Princess of Wales, Michelle Obama, and Catherine, the Duchess of Cambridge—and the way these stateswomen used clothing and personal style to create a public identity. Dress is a powerful tool of personal expression and identity creation and when we look at stateswoman style, we see the ways that dress gives them agency to negotiate the “official” identity that’s being placed on them. Personal style is the way we use personal adornments (clothing, jewelry, cosmetics, etc.) to form messages about who we are, who we dream we could be, and what our personal values are. It is a system of communication with rhetorical influence on others that, in return, offers a way to embrace, challenge, or subvert societal expectations and cultural norms. The choice to embrace, challenge, or subvert to the expectations is fluid, and the women continuously move back and forth between these states. I argue for the ways the selected women in this analysis make choices and negotiate such expectations on the national stage through their clothing choices. While personal style does not construct our identities on its own, our dress is often the first indicator of our identity and personality. Dress, therefore, becomes one way to express our identity, even in situations where we are otherwise silenced. Stateswomen are “not body as advertisement”—as celebrities are—but “body as a source of agency.” For every woman, stateswomen included, clothing is a rhetorical statement that they make every day. These women exemplify the way choices can be made powerfully—because they are “like us” more than fashion icons. These stateswomen icons show the public evolving negotiations between personal and public style and identity. They demonstrate the ways that clothing choices can be empowering ways to construct identity and use clothing as an identity statement. This is instrumental in helping average women of the public learn how they can use clothing as a rhetorical statement that creates agency and identity. / Dissertation/Thesis / Doctoral Dissertation English 2018

Submitted by NAOR FRANCO DE CARVALHO null (naor.franco@yahoo.com.br) on 2017-01-20T13:26:58Z No. of bitstreams: 1 Dissertação - Naor Franco repositório.pdf: 4004801 bytes, checksum: 4f56501c59141c81d3268969db3a1c58 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-01-23T12:31:33Z (GMT) No. of bitstreams: 1 carvalho_nf_me_assis.pdf: 4004801 bytes, checksum: 4f56501c59141c81d3268969db3a1c58 (MD5) / Made available in DSpace on 2017-01-23T12:31:33Z (GMT). No. of bitstreams: 1 carvalho_nf_me_assis.pdf: 4004801 bytes, checksum: 4f56501c59141c81d3268969db3a1c58 (MD5) Previous issue date: 2016-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente dissertação visa a análise das construções identitárias e de memória de Michael Traumann e sua família, por meio da Biblioteca Traumann, a observar as práticas culturais e visões de mundo que ela manifesta. Essas questões são problematizadas a partir de seu enquadramento social e histórico, no qual desenvolveu o conjunto das vivências da família. Por meio de seu microcosmo, foi observado o esforço e a tentativa de (re)construir, em seu exílio, uma cultura alemã e europeia juntamente com a brasileira. Portanto, esta pesquisa apoia-se na análise da materialidade da Biblioteca, entendendo-a como expressão do contexto social em que ela foi formada. Dessa forma, a enquadramos como produto e produtora de cultura, e como lugar de memória. A partir dos livros presentes em sua composição, problematizamos o relacionamento entre suas leituras e seu contexto social. Além disso, por meio da investigação da Biblioteca Cidadã e de algumas produções textuais serão questionados os posicionamentos de Michael Traumann como guardião de uma cultura que temia a decadência e de uma memória familiar voltada ao elitismo cultural. / This research tries to analyze the identity and memorie constructions of Michael Traumann and his family, through the Traumann’s Library, and to observe the cultural practice and world visions that it shows. These questions will be problematized from his social and historical place, in which he has developed his family context. Through his microcosm, we will be observe his effort and his try to (re)build, in his volunteer exile, a German, European and Brazilian culture. Therefore, we will consider as acculturated/acculturatingand as a memory place. Next, will be questioned Michael Traumann’s positions as a keeper of a culture that was afraid of a decadency and of a family memory turned to the culture elitism.

Esta pesquisa trata da representação de gênero nos anúncios publicitários da loja Mappin veiculados entre os anos de 1931 e 1945. Ao circularem pela sociedade, os anúncios divulgavam produtos ao mesmo tempo em que difundiam as noções de feminilidade e de masculinidade do período. Partindo do pressuposto de que as identidades não são constituídas previamente no âmbito do abstrato e posteriormente materializadas em imagens e outros artefatos, mas que estes participam ativamente de sua construção, serão analisadas as características, as posturas e os hábitos associados às mulheres e aos homens do período. / This research deals with the representation of gender in the advertisements of the Mappin store published between the years of 1931 and 1945. As they moved through society, the ads spread products while imparting insights into what would constitute the femininity and masculinity of the period. Assuming that identities are not previously constituted within the abstract and subsequently materialized in images and other artifacts, but that they actively participate in their construction; the characteristics, postures, and habits associated with women and men of the period will be analyzed.

The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound. / Arts, Faculty of / Music, School of / Graduate