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This thesis examines the contribution of Jewish artists to American popular culture in the mid-twentieth century and argues that the Jewish imagination contains a peculiar ability to simultaneous articulate the concerns of a specifically ethnic identity and a more universal American character. The thesis posits that by exploring how the Jewish community negotiated the space between ethnic identity and an American paradigm, Jewish artists were able to explore the middle ground between individuality and conformity, selfhood and consensus, liberalism and conservatism, tradition and change, and heritage and progress that held a wider pertinence for a more general American audience. The thesis argues that the diversity of the Jewish American imagination at this time can be united by a leitmotif that can be best described as the ambivalence of transition. By examining aesthetically dissimilar texts from a variety of artistic fields, in particular comic books, theatre, cinema, television, and literature, the thesis argues that despite the cultural evolutions that occurred throughout the thirties, forties and fifties, the Jewish voice articulated a continuing concern regarding the relationship between ethnic identity, masculine identity, the individual and mass culture. This last point hints at another preoccupation of this thesis; the texts analysed here all share a narrative focus that explores and represents notions of masculine identity and ideality. In this way, the thesis necessarily focuses upon debates about masculinity within the Jewish imagination and American culture, charting the evolution of the Jewish and American male and their relationship towards notions of performed, consensus, individual and paradigm masculinity. Although there has not necessarily been a desire to fully deny the notion of a continuing thematic preoccupation within the Jewish imaginary, previous scholarship has shown a tendency towards accentuating the eclectic nature of Jewish American culture. Whilst scholars like Paul Buhle and Stephen J. Whitfield recognise the importance of popular culture as an arena in which Jewish artists sought to articulate issues at the heart of Jewish identity and community in the US, their studies focus upon the kaleidoscopic eclecticism of Jewish American culture. The intention of this thesis is to harness the diversity inherent in Jewish cultural expression via the prevailing leitmotif of the ambivalence of transition. In this way the thesis will use the multifarious and textured fabric of mid-century Jewish culture, as well as the simultaneous articulation of both ethnic and more general concerns, to illuminate the understanding of both Jewish identity and American culture throughout the mid-century. Thus, the thesis builds upon work by the likes of Julian Levinson and Hana Wirth-Nesher that revisits ideas of assimilation and attempts to complicate the inexorable movement away from Jewish distinctiveness and identity. Similarly, the thesis builds upon studies by the likes of Pamela Robertson Wojcik and Will Brooker that attempt to accentuate the reductive understanding of the mid-century based upon boundless suburbia and unthinking conformity.

As a result of the groundbreaking success of his debut film Boyz N the Hood (1991), filmmaker John Singleton gained worldwide acclaim, the respect of major film industry figures and became the topic of both scholarly and popular culture film conversations. He also made history, becoming the youngest and the first African-American to be nominated for the Academy Award for excellence in directing. However, the lukewarm critical reception for his sophomore release Poetic Justice (1993) countered the promise many felt he had shown earlier and initiated a lack of interest in Singleton’s subsequent films, rendering him almost obsolete from any future cinematic analysis. This dissertation seeks to resurrect the discussion of John Singleton as a substantial contributor to the world of cinema by bringing attention to the voice that he has given young African-American men and women in the works that comprise what he calls his “hood trilogy,” which includes the aforementioned films and Baby Boy (2001). Specifically, the dissertation addresses this topic by examining how Singleton’s own discussion of black masculinity via film is an extension of the same conversation about maleness began by writers Richard Wright and Ralph Ellison, how the South Central Los Angeles environment has had a tremendous effect on the behaviors and attitudes of the young people that populate the area, the influence of hip hop culture on gender dynamics, and the strain often placed on black male/female relationships in urban settings. The methodological approach of the dissertation combines film, literature, music, and cultural and sociological studies in the effort to locate Singleton and these films as meaningful components in the investigation of film, popular culture and African-American history and culture. In analyzing these films that, as a result of their subject matter and setting, find the filmmaker at his most assured both narratively and cinematically, the intent of the dissertation is to confirm the potential that Singleton revealed in his debut and also bring awareness to the significant effect his work has on African-American youth culture at large. / text

Although the Apollo 11 moon landing was one of the most remarkable events of the twentieth century, it was also among the most abstruse—what did it mean, after all? With implications ranging from the everyday benefits of “spinoff” to the cosmic questions of existence, it seemed like it had to signify something important. But the United States was undergoing a profound cultural shift as the 1960s gave way to the 1970s, a transformative moment when the rationalist, technological optimism of the high Space Age began losing traction to the more intuitive, relativistic, neo-romantic cultural aura of the 1970s. This turn left many Americans who reckoned that Apollo should be important—somehow, in some way—unable to adequately integrate the event into their worldviews, their American mythologies. This study examines how Americans attempted to make sense of Apollo in the 1960s and 1970s. This period saw a noticeable retreat from the faith in science and rationalism that had driven American thought and culture in the decades following World War II, and which formed the foundation of the successful space program. In its stead emerged a new understanding of “progress” that was divorced from its previous equation with technological advancement for its own sake and reconsidered in terms of its impact on sustainability and personal fulfillment. In this environment, Apollo—an endeavor that that ultimately seemed to offer no deeper meaning that itself—provided bold evidence that the crucial answers to life’s quandaries would not be discovered through technological journeys to the near planets; indeed, that the prolonged emphasis on these sorts of materialist endeavors had only obscured humanity’s quest for true meaning and its continued sustenance on what Apollo made abundantly clear was the only planet it would inhabit for a long time to come. This cultural turn spelled doom for a space program that for all its futuristic trappings was actually firmly rooted in the past, in a mindset that had flourished throughout the middle of the twentieth century but was now falling under wide suspicion. / text

The history of California's Basque boardinghouses, or ostatuak, is the subject of this dissertation. To date, scholarly literature on ethnic boardinghouses is minimal and even less has been written on the Basque "hotels" of the American West. As a result, conclusions in this study rely upon interviews, census records, local directories, early maps, and newspapers. The first Basque boardinghouses in the United States appeared in California in the decade following the gold rush and tended to be outposts along travel routes used by Basque miners and sheepmen. As more Basques migrated to the United States, clusters of ostatuak sprang up in communities where Basque colonies had formed, particularly in Los Angeles and San Francisco during the late nineteenth century. In the years between 1890 and 1940, the ostatuak reached their zenith as Basques spread throughout the state and took their boardinghouses with them. This study outlines the earliest appearances of the Basque ostatuak, charts their expansion, and describes their present state of demise. The role of the ostatuak within Basque-American culture and a description of how they operated is another important aspect of this dissertation. Information from interviews supports the claim that the ostatua was the most important social institution among Americanuak during peak years of Basque immigration. Since a majority of the Basque sojourners who arrived before 1930 were unmarried, unable to speak English, and intended to return to the Old World within a decade of their arrival, the Basque-American often substituted his "hotel" contacts for his Old World family. At the ostatuak, he found a familiar language and cuisine, as well as an employment agency, a place to vacation, translating services, an occasional loan, explanations of his host culture, and new friends from old villages. This history of California's ostatuak is the first of its kind and encourages future research on Basque boardinghouses throughout the American West.

To determine whether or not systematic desensitization treatment would produce a significant reduction in negative affect evoked by racial discrimination, 60 Mexican-American college students who scored above average on the Terrell Racial Discrimination Index were selected and assigned randomly to one of three treatment conditions: systematic desensitization (DS), therapist contact (TC), and no-treatment control (NTC). Before undergoing treatment, subjects completed the Background Information Questionnaire (BIQ), and three measures of negative affect: the Multiple Affect Adjective Check List (MAACL); the Profile of Mood States (POMS); and the Treatment Rating Scales (TRS). After concluding treatment, subjects completed the three measures of negative affect only. Results were nonsignificant with respect to two of the affect measures—the POMS and the MAACL. However, significant differentia1 treatment effects were observed for the TRS measure. Relative to the TC and NTC conditions, subjects in the DS condition evidenced significantly less anger, depression, and anxiety. No other group differences attained the level of statistical significance (p < .05). Several explanations are offered for the negative findings of the MAACL and POMS. These explanations include the possibility that the measures themselves are insensitive to treatment effects. Nevertheless, due to the significant findings of the TRS, it is concluded that systematic desensitization proves effective in alleviating the negative emotional responses of Mexican Americans to racial discrimination. The implications of these findings are discussed.

In this bibliography an attempt has been made to furnish references to teachers that may assist them to develop in the students: (1) an attitude of friendly interest which will help to link the Americas in mutual respect and to promote a better understanding of problems to be met; (2) to gain an understanding and appreciation of the background of South American culture of today; (3) to become familiar with the folk music as well as the concert, both vocal and instrumental.

I did not create an abstract for this thesis.

This Post Mortem discusses the choices made during the design and development process of In a Haystack, a narrative based adventure video game that discusses Privilege and Discrimination in American Society. As a solo project, I created a polished interactive experience that I intend to turn into a published episodic video game series. This document goes over the methodology choices, technical and artistic difficulties, and challenges faced by in pursuit of this goal.

Although belief in ghosts or analogous concepts is prevalent cross-culturally, including in contemporary Western cultures, social scientific treatments of spirit belief and experience often dismiss such views as superstitious, or overlook this dimension of culture completely. Using mixed methods, we examine ghost belief, experience, and media consumption, as well as the practice of ‘ghost hunting’ in the United States. Results from a national survey demonstrate that these beliefs and practices are common and concentrated strongly among younger generations of Americans, especially moderately religious ‘dabblers.’ Fieldwork with multiple groups centered on ‘hunting’ ghosts reveals several notable themes, including rhetorical appeals to both science and religion, magical rites, the extensive use of technology to mediate evidence and experiences of ghosts, and the narrative construction of hauntings. We argue that the inherent liminality of spirits as cultural constructs accounts for their persistence, power, and continual recurrence.