In over three decades since their 1993 debut, the hip-hop artists known as RZA and Wu-Tang Clan created a world whose significance (for them) transcends the local contingencies of time, place, race, and religion. Whether it is by their creating a world based on filmic myths, by their conquering the world via hip-hop and finding their destiny in a Chinese sacred landscape, by their making themselves symbolic of a perennial worldview, or by their reimagining of their possibilities against the historical terrors of racism, in each case we find an ongoing quest for transcendence that at least for their leader, RZA, demonstrates the meaning of the Wu-Tang Clan. This study sets out to demonstrate this latter point. Framing its discussion in terms of world and worldmaking, I argue that the fundamental thread of significance that ties together the mythical world of the Wu, especially from the perspective of RZA, is a quest for transcendence, a project that is replete with stylistic, spiritual, existential, cross-cultural, and racial implications. While this is no biography of the Wu-Tang Clan, each chapter, starting with Chapter 2, asks how and why this quest takes shape in a sequentially ordered discussion of Wu’s worldmaking career. In arguing my point, I mainly take a phenomenological approach to RZA and the Wu-Tang Clan’s cultural productions, describing and interpreting various forms of Wu-associated media (songs, compact discs, album concepts and graphic designs, films, books, and more) from 1993 to the early 2020s. Between the practices of cultural criticism and interpretation, the study also draws from and contributes to Afro-Asian studies and Religious Studies. / Dissertation / Doctor of Philosophy (PhD) / This is a study of the Wu-Tang Clan, a hip-hop group from Staten Island, New York. It argues that for over two decades since their 1993 debut, the Wu-Tang Clan has come to produce not only a long resume of music and other media but a mythic world. Furthermore, for the purpose of maintaining this world across time, Wu’s leader, RZA (pronounced “Rizah’), has aimed to make the Wu-Tang Clan symbolic of a universal worldview that transcends their local culture, history, place of origin, religion, and race.

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The maternal mortality rate in the USA is the highest in the industrialized world. Black women in the USA are three times more likely to die due to pregnancy and childbirth-related health issues than their white counterparts. According to 2017–2019 data from the CDC, 80% of these deaths are preventable.The purpose of this thesis is to understand how women’s bodily autonomy is both racialized and politicized. Key questions here are: What is the relationship between access to healthcare and reproductive rights? How are reproductive rights racialized? How is bodily autonomy racialized and politicized?This research is based on a literature review and a case study of the documentary Aftershock, released in July 2022. Aftershock charts the deaths of two young Black American women after they gave birth and shows how their partners and families stood together and became effective activists determined to fight the Black maternal mortality epidemic in the US, and thereby increase awareness and bring about change in society.

<p dir="ltr">This dissertation analyzes the sixty-four (64) page handwritten ledger of Mrs. Goldleana Harris (also known as Mrs. Mosley Abraham Gibbs, 1920–1986), kept between 1944 and 1960. Harris is a Black woman born in Longstreet, Louisiana DeSoto Parish. She lived in Shreveport, Louisiana from 1949–1986. Using a case study approach and close reading analysis of Mrs. Goldleana’s writings, I document a Black woman’s lived experience and the historical significance of Hollywood, a segregated Black neighborhood in Shreveport, Louisiana and related gathering spaces within the Deep South region of the United States between 1944 and 1960. These spaces include five areas of significant and overlapping importance: The Family House, The School House, The Church House, The Labor (Work) House, & The Play (Leisure) House. </p>

<p dir="ltr">Disability and Deaf Studies scholars have documented how United States Deaf culture developed in the nineteenth century partially through Deaf schools teaching a common sign language, American Sign Language (ASL). These scholars focus on the development of a broader United States Deaf culture and its long-term struggle against teaching oralism (lip reading), without much discussion about the variability of cultural identities within the Deaf community. This paper fills that gap by examining two historical Deaf subcultures, the Deaf community founded around hereditary Deafness and isolated on Martha’s Vineyard, and Black Deaf communities formed in racially segregated Deaf schools in the nineteenth and twentieth centuries. It shows how each case differed from the broader Deaf experience, resulting in diverse experiences from which Deaf subcultures with distinct ASL dialects emerged. Through comparative analysis, this paper argues that separation from the broader Deaf community resulted in the development of each community as unique Deaf subcultures that resisted oppression through cultural, community, and language development. By understanding how these groups lived, this paper further shows that there is diversity within Deaf experiences rather than one shared experience.</p>