Octavia E. Butler (1947-2006), the first major African-American woman science fiction writer and the only science-fiction author to win the MacArthur "genius" grant, died from an accidental fall in February 2006. She is remembered for her work, which clearly fits into the science-fiction tradition, with imagined near- and far-future technologies, telepathy, aliens, space travel, and time travel. Yet Butler's stories are not clichéd space operas featuring white men in spaceship battles. Whatever the near- or far-future setting, the challenging themes that form the substance of Butler's writing are always power, dominance, slavery, and the complexity of human relationships. Butler's best-known works include the Parable novels (Parable of the Sower and Parable of the Talents), in which the main character Lauren Olamina writes a series of verses that become a new religion in an imagined near-future dystopian version of the United States. This dissertation is a composition for SATB chorus, orchestra, and speaker based on these verses and on quotations from Butler herself describing how she became a writer and the genesis of the Parable series. The musical setting of these quotations highlights parallels between Butler's novels and her own life. In the accompanying paper I analyze my process of extrapolating selected themes from Butler's life and work. My intent is to demonstrate how these themes are interwoven into the musical setting at many levels, and to show how the particular quotations and themes I chose to set musically reveal Butler's insights about present-day human experience on a larger scale. / text

Wong Yuen-wing Catherine. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 110-112). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Abstract --- p.ii / 摘要 --- p.iv / Introduction Ethnicity and Novel Writing in the Multicultural Society --- p.1 / Chapter Chapter One --- Working Against Assimilation: Reassurance of Her Chinese Cultural Ethnicity in Her Memoirs --- p.17 / Chapter Chapter Two --- Breaking the Mirage of the Assimilating Culture: Empowering One's Identity by Embracing One's Ethnic Culture --- p.46 / Chapter Chapter Three --- Emerging of Two Different Identities: Ethnicity Formation by Means of Adjustment --- p.74 / Conclusion Articulating One's Ethnicity: Moving to a Larger Self --- p.101 / Selected Bibliography --- p.109

"Mexican Americans Write Toward Justice in Texas, 1973 - 1982" examines literature produced in the course of struggles for justice conducted by Mexicans, Mexican Americans, and their allies, the origins of this literature, and its effects. Three areas -- police brutality, exploitation of farmworkers, and inequitable, inadequate public education - troubled Mexican Americans activists across the political spectrum. Additionally, many people were appalled by U.S. treatment of immigrants. The poetry and plays of Nephtalí De León, Heriberto Terán, Gil Scott-Heron, Carlos Morton, and an activist teatro in Houston exemplify a long tradition of cultural production that simultaneously mourns and organizes in response to violence against Mexicans in Texas. The Texas Farmworker Union (TFWU) newspaper, El Cuhamil , documents the cacophony of voices participating in farmworker mobilizations for social justice in Texas. El Cuhamil also reorients the narratives about farm worker organizing from a U.S.- centered "civil rights" perspective to a Mexican-centered one. Two U.S. Supreme Court decisions arising from Texas, San Antonio v. Rodríguez (1973) and Plyler v. Doe (1982), illustrate how federal courts began to retreat from the engagement with social justice that had characterized much civil rights jurisprudence between roughly 1946 and 1973. These decisions also reveal the contradictions at the heart of constitutional equal protection at its "best" or most effective. This dissertation seeks to understand how Mexicans and Mexican Americans tested a variety of rhetorical strategies - U.S. citizenship, Aztlán, the international working class, Catholic universalism, and human rights - to articulate their needs and desires and make claims in popular culture, labor organizing, and the law. I situate these writings historically and in U.S. Southwestern literature, Mexican American literature, U.S. civil rights jurisprudence, and Mexican intellectual traditions. A subsidiary contribution of this dissertation is its tentative exploration of the distinct trajectories of Mexican Americans in what is now the Texas Plains and Panhandle. The alienating sense of "nothingness" that some people attribute to this region derives from the conditions under which Anglo settlement began in the 1880s. Modernity, here, did not alter or overlap with the modes of production that preceded it, but violently obliterated them. / text

Not available / text

Thesis (Ph.D.) -- McMaster University, 1999. / Includes bibliographical references (leaves 253-274). Also available via World Wide Web.

Thesis (Ph. D. in Religion)--Vanderbilt University, May 2006. / Title from title screen. Includes bibliographical references.

Creole Gatherings examines the relationship between canon formation and belonging. It studies the evolution of a print culture in New Orleans during the nineteenth and early twentieth century, and argues that textual collection and other paratextual practices were a means of claiming cultural belonging in a society organized around linguistic and racial hierarchies. It proposes an extensive study of the Creole print culture of New Orleans that also takes into account New Orleans’ position as a major American city that entertained connections with many other places in the Atlantic world. Stepping away from a regionalist framework, the dissertation seeks to expand existing literary scholarship on Louisiana and to participate in the production of knowledge about literary exchange in the Atlantic. The dissertation examines the category of identification “Creole,” which became racialized in the late nineteenth century, and the emergence of a scholarly discourse about a “Creole literature.” It argues that two canons were established in the twentieth century, an Afro-Creole canon that would, in time, become affiliated to the canon of African-American literature, and a white Creole canon that would fail to become part of either the American or French canons that formed in the second half of the twentieth century. The study of these canons relies on the analysis of a variety of texts, mainly anthologies, literary criticism, bibliographical essays, collections of poetry, and the literary sections of newspapers. These constitute a continuity of practices indicative of an attempt to record and organize literary production. This study reveals a tension between goals of protecting one’s culture and incorporating it into an emerging field of study and underscores the racializing processes at play within the category of “Creole literature.” Highlighting connections between New Orleans and Haiti’s literary cultures in the nineteenth century, the dissertation points to the need for a large-scale transnational study of these two cultures.

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This dissertation offers a history of the perilous American present. Through a series of timely case studies I investigate the constitutive force and present-day regeneration of political and racial violence in the United States. Drawing on a range of contemporary critical thought, "Afterlives of Violence" constellates scenes from recent works of memoir, fiction, poetry, nonfiction, and film, my principal interest in each case being to excavate the temporalities, the effects, and the disavowals of American carnage—understood less as a damaging deviation from a “great” past than as precisely that past’s unceasing, pernicious fallout. Where often violence continues to be conceived of as an event, my research and readings draw on examples from twenty-first-century American literature, politics, law, and culture to present it instead as a haunting structure that is enduring at least in part because of the very illegibility and deliberate obscuring of its aftermaths under certain idioms of thought and norms of representation. Bookended by discussions of a white supremacist’s massacre at a Charleston church (in July 2015) and of the national memorial to racial terror lynching established in Montgomery (in April 2018), the dissertation offers a series of figures for thinking through history’s afterlives—both in the grim renewal of its violences in the U.S. today and in the imaginative arts of refusal which its inheritance inspires. In the first two chapters of the dissertation, I critically explore the ways that recent African American and Native American literature maps, respectively, the residual afterlives of slavery and ongoing menace of antiblack animus, and, the blind spots in settler colonial law that simultaneously conceal and extend the violence of occupation, in particular exposing the lives of Native women to harm across time. Through extended readings of texts including Saidiya Hartman’s "Lose Your Mother," Dionne Brand’s "A Map to the Door of No Return," Louise Erdrich’s "The Round House," and Layli Long Soldier’s "WHEREAS," I demonstrate how the wounding attachments of history and the longing for a different future they prompt are, in turn, exacerbated and thwarted by injurious mnemonic and political legacies that the authors present as essentially unfinished with their lives. I also show how these texts perform a fundamental critique of liberal gestures of redress and apology, as well as concomitant invocations of closure associated with the politics of recognition. Here, the present is celebrated for its being newly distanced from a past we have come to identify as imprudent, with the meaning or substance of race additionally believed to have been at long last left behind. Quite to the contrary, the texts I analyze have us understand that these efforts too often only seek to acknowledge the traumatic specters of history in order to more quickly forget the tenacious continuing hold of their traces on modern American life. In the work of Hartman and Brand, for instance, the physical and metaphorical abyss which is the Door of No Return ensures that the losses of history remain irreparable, while Erdrich and Long Soldier each demonstrate how the precedents and aporias of settler law guarantee that they survive. Where the opening chapters are in some fashion concerned with the aftereffects of a violence often interpreted as historical, the later chapters of the dissertation shift to examine two emergent technologies of state violence: the drone and the border wall. Beyond the immediately notable racial dimension that ties them to the preceding case studies, these forms of violence also have their own genealogies, too, which I read back into them. Further, I propose that their ominous afterlives are prospectively prefigured in our own destitute times, even as I also insist the future necessarily remains undecided. Concentrating, in the first case, on the visual and temporal regimes of extraterritorial drone killing—which I argue can be revealingly likened to the death penalty in the conception of “future dangerousness” each shares—and, in the second, on the brutalist aesthetics and political rhetoric of walling plans for the U.S.-Mexico border—which in specific ways derealize the lives that this architecture is intended to target—these chapters use primary legal documents to draw out the logic and justification of preemptive and protective violence. I pay particular attention to how these respective forms of harm are frequently legitimated on the basis of their being humanitarian in character. In an extended analysis of a trio of Hollywood “drone films” I show how they troublingly come to adopt this same frame, staging targeted execution as a regrettable necessity and lesser evil, while in readings of executive orders and government reports pertaining to the southern border I unweave the misleading mobilization of human rights discourse to justify wall construction. With the assistance of decidedly more critical texts, including Solmaz Sharif’s "LOOK" and, in the context of the militarized borderlands, Sara Uribe’s "Antígona González" and Valeria Luiselli’s "Tell Me How It Ends," I provide a distinct rejoinder to this mode of thinking. I highlight the authors’ formal efforts to bring back into view, first, the ways of seeing and types of narrating that make possible the conversion of calculated erasure and cruel destitution into ethical action, and, just as importantly, the bodies affected and existences wrought in the wake of political violence. Beside its sustained insistence on the need to truly reckon with the fact that everything which has happened will never not have happened, ultimately at stake in the symphony of reflections offered by "Afterlives of Violence" are questions of how we recognize, think, describe, and, perhaps finally, refuse or resist violence. Inspired in large part by the multitemporal geographies of loss and hope, of suffering and flourishing, traced in the work of American studies and feminist scholars including Saidiya Hartman, Christina Sharpe, Colin Dayan, Avery Gordon, Patricia Williams, and Judith Butler, I wager to break the hold of the past—or to derail the perils of the present—in the service of a more just future, at minimum their multifarious and continuing afterimages of violence must first be properly pictured. Insofar as law, photography, and history must be understood as other names for the transmission of the past, I have found them useful instruments to think with in this endeavor, while literature, broadly conceived, I have interpreted as a site for the performance of thought’s suspension, its undoing, its reinauguration.

The period of 1919 to 1939 was a significant one for the development of the literature of Oregon and the Pacific Northwest. The literary work produced in the region prior to the first world war was greatly influenced by the "Genteel tradition" of the late nineteenth century. By 1939, however, the literature of Oregon and the region had emerged from the outdated literary standards of the pre-war period and had found a new, realistic, natural voice, strongly regional in nature and rooted in the modern American tradition.