New Orleans has had a consistently high homicide rate for around twenty years, but limited research has committed to discovering a successful solution to the pre- and post-Katrina crime problem. Prior research has been conducted to analyze whether the Southern “culture of violence,” poverty, income inequality, unemployment, gun ownership and legislation, gangs, and residential segregation affect homicide, but no study applies these factors to New Orleans. Using a case study analysis that applies these variables studied in prior research to New Orleans and information acquired from the 2010 U.S. Census Bureau, American Community Survey, and the Federal Bureau of Investigation’s Uniform Crime Reports, correlations are made between homicide in New Orleans and poverty, income inequality, and residential segregation. Implications show that homicide is affected by multiple factors. All of these factors should be analyzed when homicide is the focus of the research because homicide is not a result of one or two variables.

The failed New Orleans Cultural Center Complex was cultural genocide to an area of the neighborhood known as Treme, where a tribute to the jazz great and native son, Louis Armstrong, was planned as an afterthought. The questions remain, was the planning and building of Louis Armstrong Park responsible for the genocide of the Treme neighborhood, is the park an appropriate use of land, and what are the prospects for the park's future? This thesis examines the cultural gumbo of New Orleans history, explores the early days of Louis Armstrong and the development of jazz, sets the record straight by vindicating the Louis Armstrong Park as the culprit for demolition in Treme, and takes a look at "the Back ‘o Town" as a tribute to him.

The following thesis is a brief view of production of UNO's Spring 2009 production of Shakespeare's classic comedy Much Ado About Nothing. This thesis will include analysis, research, production book, documentation from the production, and an evaluation of the process of bringing the production to life. The play was performed in New Orleans, Louisiana, at the University of New Orleans Performing Arts Center Robert E. Nims Theatre on April 23, 24, 25, and 30 as well as May 1, 2, and 3.

Framed through the standardizations of food and generalizations of people, this research explores the shifting ingredients of migrant identities and the ethnic foodways carried with them as they cross the border into the United States. Using ethnographic observational fieldwork, content analysis of menus, and semi-structured interviews with restaurant staff and migrant workers, this study examines the transnational narratives of the day laborer population and their deterritorialized food culture in post-Katrina New Orleans. Further, this research explores this flow of people and culture through a globalization lens in order to achieve a more holistic understanding of the “migrant experience” and how Latinos are both defined and self-defined within an increasingly global context.

This thesis is a short story collection set primarily New Orleans and focuses on the subject of fathers and sons. It explores the effect that the absence of a father figure or the presence of an unsuitable father may have on boys and men. The stories are literary fiction.

In 1979, New Orleans’ Mardi Gras celebration was disrupted by a police strike. The strike exposed the new political positioning that had resulted from national pressures such as the realization of black political power and the brief surge in public worker unions. New Orleans’ weakening white social elite was forced to assert its remaining power through Mardi Gras, while finding an unexpected ally in Mayor Ernest N. Morial, the first black mayor of New Orleans. This temporary alliance exemplifies an experience that was different than that of other American cities. While strong racial tension persisted, the old establishment’s interests coincided with Mayor Morial’s when Mardi Gras, a powerful cultural and economic institution, was threatened. This temporary alliance managed to defeat the local police union by galvanizing the citizens of the city against the strikers.

Metropolitan New Orleans Neighborhoods were surveyed in order to determine how bird populations responded to distance from the batture, percent canopy cover, stem counts, and understory vegetation. Surveys were conducted in the spring and summer of 2010. It was found that batture birds, urban birds, and pooled birds all had greater species richness and abundance in the spring in areas with more canopy cover, higher stem counts, more understory vegetation, and distances closer to the batture. In the summer, batture birds had greater richness and abundance in areas with more canopy cover, higher stem counts, and more understory cover. This group of birds also had greater richness nearer the batture in the summer, but there were no significant abundance tests. Urban birds showed no preferences for any of the vegetative variables, but showed some tendency to have greater richness further away from the batture. Pooled birds did not significantly respond to any of the variables during the summer. Fifteen individual species of birds were also analyzed to see how they responded to the same variables.

The following thesis is a brief view of the production process of Theatre UNO’s Spring 2014 production of the Tennessee William’s New Orleans Literary Festival One-Act play competition 2013 winner, Father. This thesis will include analysis, production book, documentation from the production, and an evaluation of the process of putting this production on stage. The play was performed in New Orleans, Louisiana at the University of New Orleans, Performing Arts Center Robert E Nims Lab Theatre on February 11th- 16th, 2014.

In The Sins of the Mothers, the main character, Bridgette, suffers a mental breakdown after the death of her three-month-old baby, Celeste, from Sudden Infant Death Syndrome (SIDS). She develops severe obsessive-compulsive disorder with the delusion that the child is trapped in Limbo because she was never baptized. The delusion haunts Bridgette, and she suffers brief dissociative episodes with visual hallucinations. Bridgette hears of a church in Provence where, according to a seventeenth century legend, children who died without baptism returned briefly to life under the intersession of Saint Pantaleon were baptized and gained heaven. She decides to exhume Celeste’s body and bring the corpse to Provence for the ceremony. She plans to find a priest to baptize the baby and bury Celeste in the churchyard. After unsuccessful attempts by her dysfunctional family to thwart her plans, Bridgette smuggles the ancestral christening dress and an attached piece of the baby’s hair to Provence where she fails to bury the dress in the now deconsecrated church. In the remainder of the novel, the reader learns of her attempts to reconcile with the results of her actions and heal from her mental illness.

In 1990, over 3,000 of 4,500 New Orleans public school teachers refused to enter their classrooms over a contract dispute with their employer, the Orleans Parish School Board. For three weeks, teachers picketed while the negotiating team for their union, The United Teachers of New Orleans, worked to reach a contract agreement. Using interviews with striking teachers and union leaders, this paper aims to tell this story from their perspective. The interviews shed light on the ways that minorities and women used UTNO, with the incorporated ideologies and strategies of civil rights and feminism, as a platform to combat economic, political, and social inequalities in New Orleans at the end of the 20th century. An analysis of this strike also aims to complicate the current historiography of the union—filling the gap between its activism in the 1970s to its near dismantling after Hurricane Katrina.