The dramaturgy written by Cuban American, Puerto Rican, and Dominican American women propels Hispanic-Caribbean theater beyond the geographical borders of their islands, thus creating and nurturing, transnational cultural enclaves that support it while also transforming the cultural theatrical environment of the United States. This dramaturgy, with its themes and arguments, puts into practice the feminist and LGBTQ critical theories with a focus on minority groups in US society. This work analyzes Hispanic-Caribbean theater traditions from their origins to the transformations they undergo in the United States given the influence of the various Caribbean diasporas. The essential characteristics of this drama, written by women, lead to the creation of a new theater characterized by its hybrid and bilingual roots. This dramatic cultural transformation reveals the diversity and inclusion of ethnic, racial, sexual identities, and the myriad intersectionalities found in the diasporic island communities from which it takes flight. / Includes bibliography. / Dissertation (PhD)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

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Master of Arts / This thesis suggests how studying material culture can yield important insight into the lives of 18th-century craftswomen in scholarship and at public history sites, where they have historically been minimally interpreted. Objects and their physical features reveal important insights that go beyond existing written records, especially for populations that have been excluded from or misrepresented in historical records. This research utilizes The Virginia Gazette, a newspaper produced by Clementina Rind before the Revolutionary War, to show her involvement in early American discussions and events. It also addresses how material culture can be used to teach visitors about the 18th-century women who labored in other non-domestic trades, including blacksmiths, bookbinders, silversmiths, and carpenters. Applying these methods can help scholars and public history audiences think more critically about diverse perspectives within and contributions to early American history.

Ce travail s’intéresse à l’esthétique des objets et des choses dans l’oeuvre poétique de Derek Mahon. On constate en effet une véritable prolifération des objets dans ses poèmes, dont l’importance est telle qu’ils monopolisent la parole poétique au point de voler la parole au poète lui-même, et de devenir les sujets lyriques du poème, comme dans « The Apotheosis of Tins » ou « The Drawing Board ». Les objets deviennent la synecdoque du Je poétique, et reflètent les ambiguïtés de leur créateur, notamment vis-à-vis de l’Histoire et du conflit nord-irlandais, conflit qui selon les termes de Mahon lui-même, a eu pour conséquence de provoquer, dans son oeuvre, ce qu’il nomme une « aphasie coloniale ».Les objets seraient-ils alors pour le poète un moyen détourné d’exprimer une parole poétique qu’il se refuse à assumer ? Le recours à la parole des objets aurait alors une vertu thérapeutique, et permettrait au poète de surmonter le traumatisme du conflit nord-irlandais qu’incarnent les Troubles, ainsi que de se libérer de l’emprise de son milieu protestant nord-irlandais, afin d’élaborer une poétique des objets qui lui serait propre. En nous appuyant sur des ouvrages des material culture studies, nous verrons comment Mahon tente de s’extraire d’objets qui lui semblent trop « étiquettés ». Nous étudierons notamment le rapport de Mahon aux déchets ou disjecta, qui représentent la pierre angulaire de sa nouvelle classification poétique des objets. Il faut également distinguer chez Mahon les objets des choses, auxquelles il attribue une valeur différente. Nous tentons d’établir, à travers une perspective à la fois philosophique, esthétique et économique, comment Mahon choisit de ne pas faire coïncider la valeur économique et la valeur esthétique d’un objet, par un double procédé de réévaluation puis de recyclage poétique de l’objet en chose.C’est le statut problématique de l’objet et de la nouvelle dimension que Mahon lui attribue dans son oeuvre poétique que nous nous proposons d’étudier. / This thesis explores the aesthetics of objects and things in the poetic works of Derek Mahon. We cannot but be struck by the impressive array of objects in his poems, where they seem to literally monopolize the poetic voice, and almost steal the poet’s firmly established position. Objects in Mahon’s poetry become the true lyrical “I” of the poem, as in “The Apotheosis of Tins” or “The Drawing Board”. Objects are considered as the mouthpiece for the poet’s own preoccupations and ambiguities, especially apropos his attitude towards History and the Troubles in Northern Ireland (this conflict has even provoked on Mahon’s part what he calls a “colonial aphasia” syndrome).We might then assume that objects represent a disguised opportunity for the poet to express his own thoughts about the conflict, but also about other issues as well, economic as well as environmental. Speaking through objects might then enable the poet to overcome his trauma due to the conflict, as well as liberate himself from his own Protestant Northern Irish milieu, in order to conceive his own aesthetics of objects, and even an Aesthetics of Trash, as Hugh Haughton has called it. Thanks to some recent writings in the field of material culture studies, we will endeavour to study how Mahon is actually trying to escape in his poetry from “(Northern) Irish objects”, and how he finds in beckettian disjecta or rubbish the possibility of freedom, as well as the possibility of a new, post-human world. We will also seek to distinguish between objects and things, which Mahon values differently. We shall try to demonstrate, by using a philosophical, but also an economic and aesthetical perspective, how Mahon chooses to differentiate between the economic and the aesthetical value of an object, by reevaluating it before recycling it, opening the possibility of the transformation of the object into the thing.It is the problematical status of the object and the new dimension that Mahon allows it to take that we intend to study in this thesis.

1999 Dozier Award Winner / This paper examines critically several key assumptions that have guided many archaeological interpretations of prehistoric mortuary assemblages. It is argued that more sophisticated models of mortuary deposition need to be incorporated into research that attempts to reconstruct community structure and other sociological variables from variation in grave assemblages. To illustrate this point, and to begin to build such models, a study of artifacts deposited in mortuary contexts was conducted by the author in a major urban center in Arizona in 1996. Several different behavioral pathways through which objects enter mortuary contexts are identified in this study, and some general material correlates for each are specified. This study also provides a vehicle for exploring preliminarily how, and to what extent, various forms of mortuary depostion are related to the social identities of the deceased. Finally, a synthetic model is developed which seeks to explain variation in mortuary deposition in terms of behavioral interactions between the living, on the one hand, and the deceased and various classes of material culture, on the other. It is hoped that the general models and material correlates developed through this study can be elaborated by prehistorians to bolster inferences drawn from specific mortuary populations and to explore previously-uncharted realms of mortuary behavior in the past.

The thesis addresses the reception and consumption of Japanese fashion in the U.K. between 1980 and 2006 and concomitant constructions of Japanese identity in the critical discourses surrounding fashion. It examines the impacts of the sartorial traffic emanating from the Japanese fashion system, the creative outputs of which are polarised in Western critical thought as either unreflective cultural borrowings (Japanisation, appropriation) or as embodying an unfathomable Eastern aesthetic (zen, wabi/sabi, wa). Building on a substantive account of the cultural impacts of the initial encounters with the West, the investigation identifies sites where Japanese sartorial culture is consumed in the form of text, image and artefact. A variety of methodological approaches are mobilised in the analysis of data from retail outlets, cultural institutions and media publications. Material pertaining to "high-concept designers" whose outputs are largely consumed within visual and intellectual contexts is balanced by that from "high street apparel makers" operating in a more commercially-oriented manner. Findings regarding the role of an "intermediate matrix" of designers/brands employing creative approaches and retail strategies that supersede issues of culture, race and historicity are presented in order to map a creative continuum in contemporary Japanese fashion design. In addressing the imbrications of Japanese identity and contemporary sartorial practice, the thesis interrogates research findings from creative, commercial, critical, curatorial and mass media sources within a framework of existing academic accounts of the construction of Japan in the Western mind. The conclusion articulates new readings of the nature of "Japanese-ness" available to a globally connected audience and identifies a gendered differentiation between visual representations of Japanese-designed fashion mediated through the gatekeepers of sartorial culture in the United Kingdom.

This project seeks to trace the power of social media in serving as a virtual civil society in the Arab world, focusing on Egypt as a case study. This study aims to explore the role of social media in mobilising Egyptian activists across generations, and particularly in reaching out to people under the age of 35 who constitute around 50 per cent of the population. Studies preceding the 2011 uprising reported that young Egyptians were politically apathetic and were perceived as incapable of bringing about genuine political changes. Drawing on a range of methods and data collected from focus groups of young people under the age of 35, interviews with activists (across generations and gender), and via a descriptive web feature analysis, it is argued that online action has not been translated into offline activism. The role of trust in forming online networks is demonstrated, and how strong ties can play a pivotal role in spreading messages via social media sites. Activists relied on social media as a medium of visibility; for those who were not active in the political sphere, social media have been instrumental in raising their awareness about diverse political movements and educating them about the political process, after decades of political apathy under Mubarak’s regime. The most important benefit of using social media is the increased political knowledge and information available regarding the political situation in Egypt, despite many young people still confining their political activities to passive acts of ‘share’, ‘like’ or ‘post’ on social media. Activists have used social media to ensure visibility of their actions, not only nationally, but also regionally and internationally. There remains a strong need for offline organization and activism by using social media as a communication avenue, not necessarily as a catalyst for changing the political process. A number of problems associated with the use of such media in political deliberations concerning Egypt are highlighted, notwithstanding the positive effects of social media on the political socialisation of young Egyptians. One such problem is the lack of sustainability in online campaigns which should ideally convert into offline collective action. It can be argued that a sustainable civil society and a truly diverse public sphere rests on more sustainable, offline action, which can indeed bring about significant changes in the Egyptian political sphere.

Celebrities have historically served a variety of roles in society ranging from the inspirational to the cautionary, utilizing their platforms of visibility to promote themselves, their work, as well as their social and political causes. This study focuses on celebrities as activists engaging with global health issues, with particular attention to the form this engagement takes, the publicity it receives in the mass media, and the types of global health issues that receive the most celebrity attention. An interdisciplinary approach drawing from theories of power, social movement theory, agenda-setting, and cultural studies is used to achieve greater understanding of underlying components of the framework within which this activism exists. Guiding this research is the primary question, “How do cultural elites prominent in U.S. media impact global health security?”, where the specific subset of cultural elites examined are the most influential Hollywood celebrity actors in film. A series of secondary research questions provide insight on the multiple dimensions of celebrity influence and impact in the context of global health security. Specifically, how does celebrity activism affect global health security discourses? What “truths” are created by celebrity activism in global health? Finally, are the issues these celebrities are advocating for, the most pressing global health concerns? Utilizing a mixed-methods approach (quantitative-qualitative-quantitative), I demonstrate the most frequent forms of celebrity engagement with their affiliated global health organizations, as well as the media attention devoted to this engagement in the most prominent U.S. newspapers. Furthermore, I offer empirical evidence of how global health engagement of the most influential celebrities compares to the most pressing global health concerns, as expressed through an analysis of the global health issues that claim the most lives globally. Results demonstrate the most effective application of celebrity resources, and determine whether celebrities can be differently situated for greater impact in global health security overall.

The role of national cinema in shaping, reflecting and contesting a complex national identity that is the site of conflict and struggle is the central interest of this study of contemporary Peruvian cinema, 1988-2004. This project examines the relationship between cinema, state and identity in Peru, with a specific focus on the representation of the political violence between the state and Sendero Luminoso (Shining Path) that began in 1980. It looks in particular at portrayals of important events, characters and consequences of the bloody conflict that for a time threatened to destabilize the nation entirely. It considers these representations in the context of a time of great change for Peruvian society and of transition for Peruvian national cinema, and addresses the relationship between developments in film policy and the formation of Peruvian national identity in cinema. As such, it draws on debates about the nature and function of national cinemas, as well as on discussions between artists, cultural theorists and sociologists about the evolution of peruanidad since the declaration of independence from Spain in the early nineteenth century. Once the main elements of the cinematic and social crises have been explored and established in Chapters Two and Three, the remainder of the project consists of three sets of chronologically ordered analyses of individual films that somehow defied the national cinema crisis, and that provoked debate on both the conflict itself, and on broader questions pertaining to the relationship between national identity and violence. The conclusion considers these films as an interlinked body of cinematic works that share similar themes and concerns. It summarises the issues they tackle, the ideological and formal approaches they take to those issues, the potential social and cultural impact, and their contribution to the crystallization of a Peruvian national identity at the start of the twenty-first century.

This thesis seeks to explain the development and implementation of a new model, methods and process of practice required for the rejuvenation of hand crafted woolfelted textile making customs and practices of the Anatolian region of Turkey, which mediates tradition in a contemporary context. In progressing the aims of the research project underpinning the thesis it was necessary to undertake both field work, learning the felt makers' practices, and to undertake empirical design-based product trials which provided insights into the culture and creative potential of the felt making activity thus facilitating the development of the new model of practice. Therefore the thesis examines not only the nature and context, both historical and contemporary, of felt makers and felt making practice in Anatolia but also presents ethnographic and theoretical discourse intended to argue and justify the approaches adopted in the development of the new model of practice and a verification process of its effectiveness. The thesis interrelates strands of changing contexts; research record and theory discourse and argues that the new model of practice enables sustainability and displays ethical responsibility appropriate to, and commensurate with, the felt making culture of Anatolia and its traditions. The thesis argues by demonstration that the perception of an object is determined by location and level of consciousness, which can be reflected upon and, through redesign involving aggregation of qualities and values, purposefully represent an object and recreate its lost aura's root from tradition, transposed into a new diversity of perceptual responses. The thesis concludes that mediatory actions implicit in the new model of practice need not adversely impact upon the traditional culture of the makers in terms of lifestyle choices, since reciprocal exchange is a local transaction, which proffers evolving tradition as cultural values to a diversity of external locations and levels of consciousness. This open-ended mediatory action of anonymous hybridisations will continue by the intervention of other designers through evolutionary integration to elevate the status of the culture object and its related craft activity.