Thesis (Ph.D.)--Tufts University, 1994. / Submitted to the Dept. of English. Adviser: Elizabeth Ammons. Includes bibliographical references (leaves [198]-209). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 29, 2007) Vita. Includes bibliographical references.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 158-165). Also available in electronic format on the Internet.

Thesis (M. Phil.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Thesis (Ph. D.)--University of California, Santa Cruz, 1995. / Typescript. Includes bibliographical references (leaves 194-207).

In Creating the Language of Peace: Peace, War, and Art in the Works of Maxine Hong Kingston, I explore how this Chinese American writer pursues the creation of peace in her writings and life. These chapters explore Kingston's discussion of war and her determination to create a language of peace through creative non-fiction, fiction, and poetry. Her works draw our attention to the ubiquity of war in our lives and furthers her endeavor to highlight this as well as her struggle for peace against the backdrop of an American pro-war political landscape. Creating the Language of Peace will be the first book length treatment of these topics across Kingston's career. It also considers Kingston's oft-expressed intention to create peace through artistic means, in her case, through writing. This dissertation will fill the gap in research and analysis, refocusing the discussion on the themes and issues Kingston has repeatedly indicated are vital to understanding her work: peace, war, art, and the creation of a language of peace. Throughout, I consider Kingston's development of a language of peace, her explorations of war and its consequences, the influence of her Buddhist philosophies, the close compatibility of her works with contemporary peace theory, and the possibility for peace poetics within her poetry. The Woman Warrior (1976) and China Men (1980) are the focus of chapter one, an investigation into Kingston's first analyses of war and its consequences for all who are touched by its violence. Chapter two takes the novel Tripmaster Monkey (1989) and compares Kingston's pacifist choices with Johan Galtung's peace theory. Thich Nhat Hanh's version of engaged Buddhism and its influence on both Kingston's The Fifth Book of Peace (2003) and her peace activism is explored in chapter three. The final chapter turns to her two books of poetry, To Be the Poet (2002) and I Love a Broad Margin to My Life (2011), exploring how the role of the American poet as a political voice develops in her poetry.

An arts equity gap exists in K–12 grade education. African American and Latinx students have fewer opportunities for access to arts education than do White students. In California, charter schools have an opportunity to address the equity gap for students in those demographic groups. The goal of this qualitative case study was to observe how Kahlo Charter Elementary School, an urban charter elementary school in Los Angeles County, implemented an arts integrated curriculum and to identify benefits and challenges for fourth and fifth grade students of color enrolled at the school. Aesthetic learning (Bose, 2008; Denaway, 2013; Greene, 1978, 1995, 2001; Holzer, 2009), arts integration (Silverstein & Layne, 2010), and Different Ways of Knowing (DwoK) (Johannesen, 1997, 2004) formed the conceptual framework for this study. Participants included fourth- and fifth-grade Latinx and African American students, one 12th-grade student, one parent each, grade level teachers, and arts specialist teachers, and administrators. Data sources included semi-structured interviews, a focus group, observation of classes and observations of school events. Inductive analysis was used to identify themes in the data. The approach at the school was primarily a constructivist, arts-integrated curriculum. Teachers created units from primary source materials and discipline specific visual and performing arts courses complimented the arts-integrated curriculum. Students evidenced increased self confidence, ease of self expression, development of imagination, engagement with school, and empathy of others. However, challenges included uneven implementation across classrooms. The study serves as an example for charter school leaders interested in planning an arts integrated curriculum and provides school leaders with a model program to analyze.

This autoethnographic study explores a space for aesthetic education in a Western classical music conservatory setting. It examines my own teaching of a graduate-level elective course called Modernism: Art and Music over the span of three years under the zero-Covid policy in China. Through my own attending as a teacher, I explore areas of wide-awakeness, imagination, and pluralism found within the framework of Maxine Greene’s aesthetic education philosophy. By documenting my transformative and reflexive journey, I hope to shed light on the possibilities for educators and policymakers to consider a wider implementation of aesthetic education approaches in the conservatory to better support students’ personal, musical, and career developments.

No description available.

University of Macau / Faculty of Social Sciences and Humanities / Department of English