Global ETD Search

691	Versions of America: Reading American Literature for Identity and Difference Chetty, Raj G. 02 August 2006 (has links) (PDF) My paper examines how American authors of the South Asian Diaspora (Indian-American or South Asian American) can be read 1) as simply American and 2) without regard to ethnicity. I develop this argument using American authors Jhumpa Lahiri, a first generation American of Bengali-Indian descent, and Bharati Mukherjee, an American of Bengali-Indian origin. I borrow from Deepika Bahri's materialist aesthetics in postcolonialism (in turn borrowed from members of the Frankfurt School of Critical Theory) and include theoretical insights from Rey Chow, Graham Huggan, and R. Radhakrishnan regarding multiculturalism, identity politics, and diaspora studies. Huggan and Radhakrishnan's insights are especially useful because their work deals with the South Asian diaspora, in England and the United States, respectively. After setting up a theoretical framework, I critique reviews and essays that privilege hyphenated, "Indian," or "South Asian" identity, and the resultant reading paradigm that fixes these authors into an ethnic minority category. I then trace aesthetic and thematic content of short stories from both Lahiri's Interpreter of Maladies and Mukherjee's The Middleman and Other Stories to demonstrate how these stories resist this ethno-cultural pigeonholing. My analysis exposes how ethnic and multicultural identity politics supplant aesthetic criticism and transform ethno-cultural identity into an aesthetic object, even if done as a celebration of hybridity or liminality as a putatively liberating space (hyphenated identity as embodying that space). Though my purpose is not to undermine the meaningful artwork and criticism instantiated in or about the "in-between" spaces of American culture, I demonstrate that an over-emphasis on ethnicity and culture (culture "other" than the majority culture in the U.S.) in fact stifles the opening of the American literary canon. Ethnicity and culture become ways of limiting the hermeneutics available to literary criticism because they become the only ways of reading, instead of one lens through which American literature is read. South Asian Indian-American minority literature Jhumpa Lahiri Bharati Mukherjee Interpreter of Maladies Middleman and Other Stories identity politics contemporary American literature diaspora race ethnicity culture aesthetics formalism Marxist dialectics American literary canon postcolonial theory canonicity R. Radhakrishnan Rey Chow Graham Huggan Deepika Bahri orientalism exoticism English Language and Literature
692	Madama Butterfly: The Mythology; or How Imperialism and the Patriarchy Crushed Butterfly's Wings Nieves, Adriana 01 December 2014 (has links) As a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the opera's libretto, the libretto sources, and the opera's score. I unravel the Orientalist assumptions that make up the foundation of the Butterfly narrative, and trace them as they make their way into Puccini's opera. I re-read Madama Butterfly as a metaphor for imperialism, and its effects on the colonized psyche. I examine Lieutenant Pinkerton and Butterfly's characters with specific attention to the power dynamics of their relationship in the context of colonization. I emphasize gender, race, and class tensions evident within the white male and white female gazes on the bodies of third world women of color. I present Puccini's musical choices in the operatic score as supplementary to my postcolonial-feminist reading. Puccini's use of pentatonic scales to evoke "Oriental" sounds, as well as his appropriation of Japanese folk tunes and "The Star Spangled Banner" into the score serve to supplement my basic contentions that Madama Butterfly is a product of Oriental discourse and a metaphor for imperialism and its effect on the colonized psyche. Music Music Performance
693	Dis-Orienting Interactions: Agatha Christie, Imperial Tourists, and the Other Linares, Trinidad 17 April 2018 (has links) No description available. British and Irish Literature Comparative Literature Ethnic Studies Gender Studies Gender Literature Minority and Ethnic Groups Modern Literature Orientalism Agatha Christie cultural and literary tourism The Man in the Brown Suit Caribbean Mystery They Came to Baghdad Death on the Nile Appointment with Death imperial feminism postcolonial feminism race gender mystery popular culture
694	Juxtaposing Sonare and Videre Midst Curricular Spaces: Negotiating Muslim, Female Identities in the Discursive Spaces of Schooling and Visual Media Cultures Watt, Diane P. 09 May 2011 (has links) Muslims have the starring role in the mass media’s curriculum on otherness, which circulates in-between local and global contexts to powerfully constitute subjectivities. This study inquires into what it is like to be a female, Muslim student in Ontario, in this post 9/11 discursive context. Seven young Muslim women share stories of their high schooling experiences and their sense of identity in interviews and focus group sessions. They also respond to images of Muslim females in the print media, offering perspectives on the intersections of visual media discourses with their lived experience. This interdisciplinary project draws from cultural studies, postcolonial feminist theory, and post-reconceptualist curriculum theorizing. Working with auto/ethno/graphy, my own subjectivity is also brought into the study to trouble researcher-as-knower and acknowledge that personal histories are implicated in larger social, cultural, and historical processes. Using bricolage, I compose a hybrid text with multiple layers of meaning by juxtapositing theory, image, and narrative, leaving spaces for the reader’s own biography to become entangled with what is emerging in the text. Issues raised include veiling obsession, Islamophobia, absences in the school curriculum, and mass media as curriculum. Muslim females navigate a complex discursive terrain and their identity negotiations are varied. These include creating Muslim spaces in their schools, wearing hijab to assert their Muslim identity, and downplaying their religious identity at school. I argue for the need to engage students and teacher candidates in complicated conversations on difference via auto/ethno/graphy, pedagogies of tension, and epistemologies of doubt. Educators and researchers might also consider the possibilities of linking visual media literacy with social justice issues. border epistemologies bricolage autoethnography cultural studies curriculum theory epistemologies of doubt feminist postcolonial theory high schooling experiences post 9/11 mass media as educator media literacy and social justice issues Muslim female student identities visual media literacy media representations of Muslim women decolonizing methodology experimental ethnography intercultural education in-between sonare and videre currere hybrid consciousness deconstructive pedagogies complicating readings of self and other entanglement in veiling discourses disrupting Orientalism photographs, culture, and memory relational theories of learning feminist poststructural critique personal narratives
695	Juxtaposing Sonare and Videre Midst Curricular Spaces: Negotiating Muslim, Female Identities in the Discursive Spaces of Schooling and Visual Media Cultures Watt, Diane P. 09 May 2011 (has links) Muslims have the starring role in the mass media’s curriculum on otherness, which circulates in-between local and global contexts to powerfully constitute subjectivities. This study inquires into what it is like to be a female, Muslim student in Ontario, in this post 9/11 discursive context. Seven young Muslim women share stories of their high schooling experiences and their sense of identity in interviews and focus group sessions. They also respond to images of Muslim females in the print media, offering perspectives on the intersections of visual media discourses with their lived experience. This interdisciplinary project draws from cultural studies, postcolonial feminist theory, and post-reconceptualist curriculum theorizing. Working with auto/ethno/graphy, my own subjectivity is also brought into the study to trouble researcher-as-knower and acknowledge that personal histories are implicated in larger social, cultural, and historical processes. Using bricolage, I compose a hybrid text with multiple layers of meaning by juxtapositing theory, image, and narrative, leaving spaces for the reader’s own biography to become entangled with what is emerging in the text. Issues raised include veiling obsession, Islamophobia, absences in the school curriculum, and mass media as curriculum. Muslim females navigate a complex discursive terrain and their identity negotiations are varied. These include creating Muslim spaces in their schools, wearing hijab to assert their Muslim identity, and downplaying their religious identity at school. I argue for the need to engage students and teacher candidates in complicated conversations on difference via auto/ethno/graphy, pedagogies of tension, and epistemologies of doubt. Educators and researchers might also consider the possibilities of linking visual media literacy with social justice issues. border epistemologies bricolage autoethnography cultural studies curriculum theory epistemologies of doubt feminist postcolonial theory high schooling experiences post 9/11 mass media as educator media literacy and social justice issues Muslim female student identities visual media literacy media representations of Muslim women decolonizing methodology experimental ethnography intercultural education in-between sonare and videre currere hybrid consciousness deconstructive pedagogies complicating readings of self and other entanglement in veiling discourses disrupting Orientalism photographs, culture, and memory relational theories of learning feminist poststructural critique personal narratives
696	Juxtaposing Sonare and Videre Midst Curricular Spaces: Negotiating Muslim, Female Identities in the Discursive Spaces of Schooling and Visual Media Cultures Watt, Diane P. 09 May 2011 (has links) Muslims have the starring role in the mass media’s curriculum on otherness, which circulates in-between local and global contexts to powerfully constitute subjectivities. This study inquires into what it is like to be a female, Muslim student in Ontario, in this post 9/11 discursive context. Seven young Muslim women share stories of their high schooling experiences and their sense of identity in interviews and focus group sessions. They also respond to images of Muslim females in the print media, offering perspectives on the intersections of visual media discourses with their lived experience. This interdisciplinary project draws from cultural studies, postcolonial feminist theory, and post-reconceptualist curriculum theorizing. Working with auto/ethno/graphy, my own subjectivity is also brought into the study to trouble researcher-as-knower and acknowledge that personal histories are implicated in larger social, cultural, and historical processes. Using bricolage, I compose a hybrid text with multiple layers of meaning by juxtapositing theory, image, and narrative, leaving spaces for the reader’s own biography to become entangled with what is emerging in the text. Issues raised include veiling obsession, Islamophobia, absences in the school curriculum, and mass media as curriculum. Muslim females navigate a complex discursive terrain and their identity negotiations are varied. These include creating Muslim spaces in their schools, wearing hijab to assert their Muslim identity, and downplaying their religious identity at school. I argue for the need to engage students and teacher candidates in complicated conversations on difference via auto/ethno/graphy, pedagogies of tension, and epistemologies of doubt. Educators and researchers might also consider the possibilities of linking visual media literacy with social justice issues. border epistemologies bricolage autoethnography cultural studies curriculum theory epistemologies of doubt feminist postcolonial theory high schooling experiences post 9/11 mass media as educator media literacy and social justice issues Muslim female student identities visual media literacy media representations of Muslim women decolonizing methodology experimental ethnography intercultural education in-between sonare and videre currere hybrid consciousness deconstructive pedagogies complicating readings of self and other entanglement in veiling discourses disrupting Orientalism photographs, culture, and memory relational theories of learning feminist poststructural critique personal narratives
697	Juxtaposing Sonare and Videre Midst Curricular Spaces: Negotiating Muslim, Female Identities in the Discursive Spaces of Schooling and Visual Media Cultures Watt, Diane P. January 2011 (has links) Muslims have the starring role in the mass media’s curriculum on otherness, which circulates in-between local and global contexts to powerfully constitute subjectivities. This study inquires into what it is like to be a female, Muslim student in Ontario, in this post 9/11 discursive context. Seven young Muslim women share stories of their high schooling experiences and their sense of identity in interviews and focus group sessions. They also respond to images of Muslim females in the print media, offering perspectives on the intersections of visual media discourses with their lived experience. This interdisciplinary project draws from cultural studies, postcolonial feminist theory, and post-reconceptualist curriculum theorizing. Working with auto/ethno/graphy, my own subjectivity is also brought into the study to trouble researcher-as-knower and acknowledge that personal histories are implicated in larger social, cultural, and historical processes. Using bricolage, I compose a hybrid text with multiple layers of meaning by juxtapositing theory, image, and narrative, leaving spaces for the reader’s own biography to become entangled with what is emerging in the text. Issues raised include veiling obsession, Islamophobia, absences in the school curriculum, and mass media as curriculum. Muslim females navigate a complex discursive terrain and their identity negotiations are varied. These include creating Muslim spaces in their schools, wearing hijab to assert their Muslim identity, and downplaying their religious identity at school. I argue for the need to engage students and teacher candidates in complicated conversations on difference via auto/ethno/graphy, pedagogies of tension, and epistemologies of doubt. Educators and researchers might also consider the possibilities of linking visual media literacy with social justice issues. border epistemologies bricolage autoethnography cultural studies curriculum theory epistemologies of doubt feminist postcolonial theory high schooling experiences post 9/11 mass media as educator media literacy and social justice issues Muslim female student identities visual media literacy media representations of Muslim women decolonizing methodology experimental ethnography intercultural education in-between sonare and videre currere hybrid consciousness deconstructive pedagogies complicating readings of self and other entanglement in veiling discourses disrupting Orientalism photographs, culture, and memory relational theories of learning feminist poststructural critique personal narratives
698	Arab hip-hop and politics of identity : intellectuals, identity and inquilab D'Souza, Ryan Arron January 2014 (has links) Indiana University-Purdue University Indianapolis (IUPUI) / Opposing the culture of différance created through American cultural media, this thesis argues, Arab hip-hop artists revive the politically conscious sub-genre of hip-hop with the purpose of normalising their Arab existence. Appropriating hip-hop for a cultural protest, Arab artists create for themselves a sub-genre of conscious hip-hop – Arab-conscious hip-hop and function as Gramsci’s organic intellectuals, involved in better representation of Arabs in the mainstream. Critiquing power dynamics, Arab hip-hop artists are counter-hegemonic in challenging popular identity constructions of Arabs and revealing to audiences biases in media production and opportunities for progress towards social justice. Their identity (re)constructions maintain difference while avoiding Otherness. The intersection of Arab-consciousness through hip-hop and politics of identity necessitates a needed cultural protest, which in the case of Arabs has been severely limited. This thesis progresses by reviewing literature on politics of identity, Arabs in American cultural media, Gramsci’s organic intellectuals and conscious hip-hop. Employing criticism, this thesis presents an argument for Arab hip-hop group, The Arab Summit, as organic intellectuals involved in mainstream representation of the Arab community. Arab conscious hip-hop Arab identity Gramsci Organic intellectuals Arab Americans -- Music Arabs -- Politics and government Other (Philosophy) Arab Summit (Musical group) Music -- Political aspects Arabs in popular culture Hegemony -- Social aspects Identity (Psychology) International relations -- Philosophy Orientalism Critical pedagogy -- Research Group identity Islamophobia
699	George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art. Cuthbert, Nancy Marie 20 August 2012 (has links) Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories. / Graduate George Tsutakawa American modernism modern design silicon bronze sculpture welded sheet metal sculpture West Coast modernism Pacific Northwest Seattle public art Century 21 Fulton Mall postwar shopping center design Asian American art World War II Japanese internment Nisei Kibei machine aesthetic abstract art spirituality in art Lawrence Halprin environmentalism in art International Style architecture postwar urban planning Ala Moana Center Northgate Shopping Center Zen in America Bauhaus in America Walter Gropius Victor Gruen Mark Tobey Japanese American Henry Moore Sigfried Giedion Lewis Mumford Alexander Archipenko Paul Horiuchi Johsel Namkung Dudley Carter Freeway Park, Seattle Bentall Centre, Vancouver Seattle Public Library secondary Orientalism organicism in art modernist architecture
700	Academic life under occupation : the impact on educationalists at Gaza's universities Jebril, Mona A. S. January 2018 (has links) This sociological study explores the past and current higher education (HE) experience of educationalists at Gaza’s universities and how this experience may be evolving in the shifting socio-political context in the Arab World. The thesis is motivated by three questions: 1. What are the perspectives of academic staff in the Faculties of Education at Gaza’s universities on their own past HE experiences? 2. What are the perspectives of students and their lecturers (academic staff) in the Faculties of Education at Gaza’s universities on students’ current HE experiences? 3. How do educationalists in the Faculties of Education at Gaza’s universities perceive the shifting socio-political context in the Arab World, and what current or future impact do they think it will have on the education context at Gaza’s universities? To examine these questions, I conducted an inductive qualitative study. Using 36 in-depth, semi- structured interviews which lasted between (90-300 min), I collected data from educationalists (15 academic staff; 21 students) at two of Gaza’s universities. Due to difficulties of access to the Gaza Strip, the participants were interviewed via Skype from Cambridge. Informed by the literature review, and triangulated with other research activities, such as reviewing participants’ CVs, browsing universities websites, and keeping a reflective journal, a thematic analysis was conducted on the interview data. Theoretically, although this study has benefited from conceptual insights, such as those found in Paulo Freire’s Pedagogy of the Oppressed and in Pierre Bourdieu’s work on symbolic violence, it is a micro-level study, which is mainly data driven. The findings of this research show that in the past, educationalists were relatively more passive in terms of shaping their HE experiences, despite efforts to become resilient. In the present, students and their lecturers continue to face challenges that impact negatively on their participation and everyday life at Gaza’s universities. However, how the HE experience will evolve out of this context in the future is uncertain. The Arab Spring revolutions have had an influence on Gaza HE institutions’ campuses as they have triggered more awareness of students’ grievances and discontent. Because of some political and educational barriers, however, students’ voices are a cacophony; they remain split between “compliance” and resistance (Bourdieu, 1984, p. 471; Swartz, 2013, p. 39). Previously, Sara Roy (1995) rightly indicated a structure of “de-development” in the Gaza Strip (p.110). The findings from this research show that the impact of occupation and of the changes in the Arab World on the educational context in Gaza are more complex than previously thought. There is a simultaneous process of construction and destruction that is both external and internal to educationalists and which undermines academic work at Gaza’s universities. Based on this, the study concludes by explaining six implications of this complex structure for academic practice at Gaza’s universities, offering nine policy recommendations for HE reform, and highlighting six areas for future research.

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