Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Helena Woodard. Vita. Includes bibliographical references.

The aim of the study is to investigate how double-consciousness operates through contrastive color imagery in Nella Larsen’s novel Quicksand. A focal point of the analysis is to show how Larsen thematizes the ability to benefit from bright colors and how color choice determines the quality and level of freedom in life. Together with W. E. B. Du Bois’s theory of double-consciousness, a few other literary works by writers of the Harlem Renaissance have been considered in order to further support my arguments. I link these other writers’ perspectives to Quicksand and to the novel’s theme of color as a path to freedom. In Quicksand, a broader path of colors, more bright than dull, leads to freedom, as is made evident through the novel’s connection of bright colors with Harlem’s freedom of expression. Furthermore, a narrow path of colors is contrastively figured as the course towards tragedy, which is clearly seen in the novel through the example of the protagonist Helga’s “sinking” due to an absence of color.

This essay explores early twentieth century African American literature to investigate issues related to identity formation. It uses W.E.B. Du Bois’s The Souls of Black Folk and Frantz Fanon’s Black Skin, White Masks to introduce and define the socio-psychological concept of the moment of knowing, an original component of this work. The concept is composed of two occurrences: alienation and self-alienation, which can be observed and examined in nonictional and fictional texts. Within the framework of multicultural theory, the moment of knowing along with double-consciousness are explored in a close reading of Nella Larsen’s 1929 novel Passing. In conclusion, the moment of knowing is shown to be a significant part of African American identity formation, and the central characters in Larsen’s work are revealed as psychologically and socially scarred as a result of their inability to cope with their African American identity.

Topology Optimization has been proven to be a useful tool in discovering non-intuitive optimal designs subject to certain design constraints. The results of Topology Optimization are either represented as a tessellation object composed of thousands of triangular surfaces, or as a point cloud. In either case, the results of Topology Optimization are not suited for use in subsequent steps of the design process which require 3D parametric CAD (Computer Aided Design) models. Converting Topology Optimization results into parametric CAD geometry by hand is an extremely tedious and time consuming process which is highly subjective. This thesis presents a shape recognition algorithm that uses a feature by feature CAD-centric approach to convert Topology Optimization results into parametric CAD geometry. This is accomplished by fitting 2D cross section geometry to various parts of a given feature through the use of Shape Templates and then constructing 3D surfaces through the set of 2D cross sections. This algorithm aids in measuring the geometric approximation error of the generated geometry as compared to the optimal model, and standardizes the process through automation techniques. It also aids the designer / engineer in managing the direct tradeoff between closeness of geometric approximation (measured by volumetric comparison) and model complexity (measured by the number of parameters required to represent the geometry).

In her 1929 essay "A Room of One's Own," Virginia Woolf famously asserts that "a woman must have money and a room of her own if she is to write fiction" (4). This concept places an immediate importance on the role of the Modernist female subject as an artist and as an architect, constructing the places and spaces that she exists within. With Woolf's argument as its point of departure, this thesis investigates the theme of female space in two Modernist texts: Nella Larsen's Quicksand (1928) and Sylvia Plath's The Bell Jar (1963). The respective protagonists of Quicksand and The Bell Jar, Helga Crane and Esther Greenwood, each undertake journeys to obtain spaces that are purely their own. However, this thesis positions each space that Helga and Esther occupy as both male-constructed and male-dominated in order to address the inherent gendering of space and its impact on the development of feminine identities. This thesis focuses specifically on the roles of the mother, the muse, and the female mentor, tracking the spaces in which Helga and Esther begin to adhere to these roles. Expanding on Lauren Berlant's theory of cruel optimism, this thesis will use the term "cruel femininity" to support its intervening claim that the respective relationships that Helga and Esther each have with their own feminine identities begin to turn cruel as they internalize the male-dominated spatial structures surrounding them. Overall, this thesis argues that there is no space in existence where Helga and Esther can realize their full potential as human beings, as long as the spatial structures within their communities continue to be controlled by hegemonic, patriarchal beliefs.

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The cultural and historical construction of African American identity in the United States has been closely tied to the dialectical relationship formed between sound and silence. This thesis examines the modernist and postmodernist representation of sound and silence in the African American novels Passing (1929), by Nella Larsen, and Jazz (1992), by Toni Morrison, as indicators of African American identity and racial oppression during the Harlem Renaissance. I analyze the soundscapes of both texts to expose the mobility of language, power, and space, especially as these soundscapes relate to the production of sound (both musical and non-musical) by African Americans, and the surveillance of these sounds by white audiences. Through my analysis of repetitive sound-images and embodied silence in Passing and Jazz, as well as textual representations of oral performance, I argue that there is harm in restricting African American voices to approved modes of audibility and/or limiting African American voices to one a singular narrative. This thesis introduces critics and theories from the disciplines of sound studies and African American studies, and applies the widely known theory of double consciousness, established by critic and author W.E.B. Du Bois, as the foundation for my literary and cultural analysis of sound in print. / Graduation date: 2013

This thesis explores the citation of documents in the modernist novel. From contracts to newspaper articles, telegrams to reports, documents are invoked as interleaved texts in ways that, to date, have not been critically interrogated. I consider a range of novels, including works by Ford Madox Ford, Virginia Woolf, Nella Larsen, and Willa Cather, which are selected, in part, as a litmus of Anglo-American modernism, though they can more productively also be understood as coalescing around the example set by Joseph Conrad. Replete with allusions to documents, Conrad’s oeuvre is developed across the thesis as a meta-commentary on the document in modernist literature. In placing the document at the centre of analysis, and in using Conrad as a diagnostic of the document in modernity, the manifold ways in which authors use interpolated texts to perform denotative and connotative “work” in their narratives emerge, with the effect of revising our understanding of documents. These authors reveal the power of mass produced documents to lay claim to novelistic language; the historical role of documents in reifying inequality; on the level of narrative, the thematic potential of the document as a reiterable text; and finally, the capacity of the document, in its most depersonalized form, to realize social collectivity and community. This project therefore asks us to rethink and relocate the document as central to the modernist novel.

Texts such as Harriet Beecher Stowe’s Uncle Tom’s Cabin, Harriet Jacobs’ Incidents in the Life of a Slave Girl, and Nella Larsen’s Quicksand each present a different understanding and perspective of relationships based on their time periods and social statures. The type of relationship Stowe focuses on in her novel is that of friendship. Friends, defined as people with whom have a bond of mutual affection, and friendships, the state of mutual trust and support (Merriam-Webster), anchor the relationships that Eva and Eliza create with members on the plantation. These female protagonists turn to friendship as a way to live each day more normally – that is, to somehow alleviate the brutal cruelty of living through slavery. Despite varying odds, trials, and tribulations, seeking friendships that had preservative and supportive qualities allowed the female protagonists in Stowe’s novel to survive their own lives. The friendships Eva and Eliza formed discredit what many paternalist pro-slavery authors used as evidence to justify the institution of slavery. In the paternalist proslavery mindset, slave-owner and slave friendships revealed the benefits of slavery – that the two groups would be happier together rather than apart. Stowe discredits this mentality by relating to her 19th century reader’s emotions, representative of the sentimental genre in which she writes. However, in writing about slavery from a white woman’s perspective, Stowe isn’t fully exempt from the paternalist genre. As I will examine later, many of her statements about slavery and the friendships she narrates embody implicitly racist stereotypes and caricatures that complicate the abolitionist approach to her novel. In this way, she falls under the category of paternalist abolitionism, rather than paternalist proslavery. Stowe also highlights the fleeting nature of these friendships. Many, if not all, of the friendships Eva and Eliza form are not able to last, which is one way Stowe argues against the institution of slavery. Following Stowe, my discussion of Jacobs will introduce a slave’s perspective to female relationships in slavery. The relationships in Jacobs’ narrative are centered on family, and the power of relying on one’s own blood or close-knit community to survive slavery. Writing also within the sentimental mode, Jacobs focuses on her reader’s emotions in order to propel her anti-slavery argument. The female relationships Jacobs details are grounded in literal and metaphorical motherhood. She highlights these relationships as an emotional and familial, particularly motherly, survival method. Jacobs’ text showcases the importance of family, rather the relationships or friendships formed with strangers– thereby differentiating her argument from Stowe’s. Nella Larsen’s Quicksand draws on the emotional and social difficulties one biracial woman faced in a world affected by the legacy of slavery and World War I. As a biracial woman, Helga develops relationships with men and women she hopes will support her progressive way of thinking and sense of selfhood. Helga’s relationships are more aptly defined as partnerships – given that “partners” may involve sexual, non-sexual, and business-like dynamics between two people. Helga must find authentic, or non-hypocritical, people to assist in her journey for selfhood and kin. But similarly to the relationships in Stowe and Jacobs, the friendships Helga creates often fail her. The question of why they fail in Quicksand connects directly to the question the novel itself is asking: is the search for selfhood more important than the search for kin? The argument all three works make with these failures represents a call to action – not just for the time period in which their novels were written, but also for future American communities. The continuing consequences of racial and gender discrimination exposed by Stowe, Jacobs, and Larsen show us that real social change must come from people – from the relationships we form.