Thesis (Ph. D.)--University of Chicago, Dept. of Romance Languages and Literatures, August 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2007. / Abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 147-165).

Project report (D. Min.)--George W. Truett Theological Seminary, Baylor University, 2002. / Abstract. Includes bibliographical references (leaves 178-183).

San Antonio has the highest percentage of same-sex couples raising children compared to any other major metropolis in the nation. The unlikely emergence of San Antonio as a haven for same-sex parents is tied to many complex issues and themes – it touches on history, religion and race deep in the heart of Texas. Below its seemingly conservative surface, San Antonio has a decidedly liberal undercurrent: Its liberal legal system, a network of Catholic leaders quietly supports the gay families, and the Latino community that presents a tolerant side. The story explores the question: How can San Antonio have such high numbers of gay parents, but still be seen by gay parents as a hostile place to live? That seeming dichotomy speaks to the ongoing tension in the nation where liberals push for civil rights, while conservatives push to preserve traditional family values. The battles in the political, religious and cultural arenas in San Antonio exemplify the longstanding tug of war over family values in this country and might help us understand just what the future holds for same-sex couples in the rest of American society. / text

Chicano cinema is a genre of film that was born out of the Chicano Movement in the late 60’s, however not much has been written about the exhibition of Chicano film. The Chicano Film Festival began in 1976 in San Antonio, Texas to showcase Chicano filmmakers and their work. The Festival, later renamed, the CineFestival is the longest running Latino film festival in the U.S. and for my report I question how the Festival shared the work of Chicanos and promoted a Chicano discursive space. To answer these questions I turned to the Festival film programs and local periodicals. After my research, I found that the CineFestival served a purpose for Chicano cinema because it not only screened Chicano films, but it also promoted a Chicano discourse and therefore a very unique discursive space for Chicano media. However, I found that the Festival’s direction and motivations change year after year. In turn these changes, influence the Festival’s promotion or lack of promotion and screening of Chicano film. The CineFestival, even though promotes itself as a “Latino” film festival, has an obligation to sustain what it cultivated in 1976; Chicano cinema. This genre of film and its history runs the risk of being forgotten. I ask, if our own film community doesn’t screen or talk about Chicano film, then who will? It is in this report that I further explore these questions and CineFestival’s role in Chicano cinema. / text

The initial purpose of this study was to explore how tourism in Guatemala is affecting indigenous weavers, weaving practices, and the transmission of weaving knowledge and experience from the current generation of Guatemalans to the next. Through extended on-site study and interviews with weavers in three towns in Guatemala—San Antonio Aguas Calientes, Antigua, and Santiago Zamora—it was learned that weaving practices in Guatemala are much more culturally and socially complex than what is disclosed on the surface. This study revealed that the transmission of weaving practices between generations is influenced significantly by the growing effects of globalization. Not only is globalization shaping the emerging generation’s participation in weaving in Guatemala, but it was seen in this study that prevalent global ideas and practices are also molding education, clothing styles, entertainment, economics, technology, and social media within the current younger generation of Guatemalans. These growing influences on Guatemalan society contribute to a diminished interest in weaving and perceived need for weavers in this country, and are thus constricting the transmission of local Maya culture from past generations to the next. This research was a combination of the weavers’ stories and my own journey through the cultural complexities found in three Guatemalan towns in order to reveal a rich and purposed view of current cultural practices of weaving in Guatemala. / text

The limestone façade of the Alamo shows several areas of biological growth with black and gray streaks and blotches discoloring the stone. This thesis investigates the identity of the microorganisms on the stone, using two: DNA identification, and lab cultures grown from samples of the biofilm. By using both approaches, a better understanding was gained of the range of organisms present. Through these tests, it was found that the dominant organism on the limestone is cyanobacteria, of the genus Chrooccocus. Lab cultures revealed other organisms, including possibly fungi photobionts and algae. Through analysis and comparison of historic and contemporary photographs, patterns of recolonization are investigated. To further understand the effects of the biocide treatments, cultured samples were treated, and their reactions monitored. To better understand the possible relationship between the Alamo stone and its colonizing organisms, physical properties of the stone were investigated. SEM images, Edax minerology and water absorption were used to characterize the stone. This study is the first of its kind to investigate Native Texas quarried architectural limestone. Although studies have been conducted on historic monuments around the world to identify biological growth, none have focused on Texas limestone. By using both DNA and lab culture identification, this study adds to a wealth of investigations of other conservation professionals, applying it to a subject that has not been studied in this way before. By understanding the colonizing organisms, a sustainable conservation regimen can be determined. / text

As demand for electricity increases, utilities turn to demand-side or supply-side responses in order to reduce demand or add supply to their energy portfolio. CPS Energy, a municipal utility owned by the City of San Antonio, Texas, recently broke ground on a new coal plant to meet rising demand for electricity. This report examines the public debate that accompanied the proposal and investigates the possibilities of other solutions for utilities to meet demand. Two case studies, overviews of the utilities in Austin, Texas, and Sacramento, California, provide insight into the considerations for utilities with renewable energy and demand-side management (DSM) in their energy portfolio. This professional report will evaluate these case studies and apply lessons learned to the case of CPS Energy in San Antonio, and report on the options available to utilities considering conventional supply-side additions and demand-side management. / text

It is a well-known fact that one way to a better life is through education. Individuals who have a college education will earn significantly higher income that those who only have a high school diploma (McGlynn, 2001). Having a college degree is not only beneficial to an individual, but a community with an educated work force can acquire significant economic and social benefits. If there is no access to higher education, individuals and the community generally cannot advance as well economically. Individuals living in South Texas did not have the opportunity to improve their socio-economic status because of the lack of public institutions of higher education in their region. The South Texas Region is comprised mostly of a Hispanic population. It has the “state’s least educated population, the state’s poorest facilities, and the least capacity to generate local taxes to improve educational opportunities” (Hispanic Association of Colleges and Universities, 1993). This study explored predisposing conditions such as racism and examined critical elements such as economic and political power in San Antonio, and the dynamics that empowered a minority group to take the fight of access to a public university to a higher level. According to the legislators interviewed, the move to create a second UT System campus in downtown San Antonio was a community grassroots effort that had a buy-in from members of the Bexar County delegation. The legislators proposed legislation and followed the bill through the approval process in the Texas House and Texas Senate. Before the bill was approved, a lawsuit had been filed by the League of United Latin American Citizens and the American GI Forum against the Texas governor alleging the State had violated the constitutional rights of Mexican Americans by having unequal access to a comprehensive public university. During a time when tuition has skyrocketed and the cost of gasoline has soared, it is amazing how the adage “Build it and they will come” continues to fulfill the dreams of students who may have never had the opportunity to attend a comprehensive institution of higher education had it not been for the UTSA Downtown Campus. / text

Opera is unique among forms of Western classical music and performing arts in that it has always been a popular and accessible form of “cultured” entertainment. As a city with one of the longest and richest histories of opera performance in Texas, San Antonio provides a significant opportunity to survey the relationship between this popular art form and discourses of identity, power, and difference across ethnic, class, and gender divisions. This paper has two aims. First, it investigates the history of opera reception in San Antonio in order to examine changes in the traditional values of its citizens over the past century, focusing on the influence of ethnic identity among German immigrants. Then, it looks at the scholarship on cultural performance in various contemporary situations analogous to that of San Antonio and constructs five key processes of identification that show how individuals contextualize themselves in shared histories and identities through their participation in cultural performance of opera. / text