This research project was a mixed method of both a quantitative and qualitative design to examine the perception of 38 gay male’s life satisfaction post coming out. In the past few years, laws affecting the gay community have been at the forefront of policies and debates, given all communities an insight into the specific challenges that are endured. As the gay community starts to openly live their lives as a gay man, there has been a need to accept and understand not only the challenges, but to give acceptance. Additionally, this project sought out to determine if the gay community feels that their life satisfaction has increased post coming out to their family, friends, and coworkers, furthermore to be able to live a life not of shame, but of pride and acceptance of themselves.

This thesis examines the traditions of textual interaction that impact the forms of reading engaged in with fanfiction. This thesis continues by exploring how self-insertion fanfiction functions as a medium through which authors express their reading of the text primary through the emotional impact of the text through wish fulfillment, and the interaction of their cultural moment and the text. Furthermore, it argues that self-insertion fanfiction is a mode of literary critique in which the author acknowledges the effect of a mediated world on their perception of self and reality. Through this recognition of a constructed self, the author rejects the attractiveness of objective analysis, allowing them to critique the work from their subject position influenced by the text.

This work explores soundscape and histories of sound technologies as they relate to the formation of subjectivity. It proposes voice as a cultural practice and a means for theorizing one’s own subjectivity. What is modernity in sonic terms? What does it mean to listen deeply in an industrialized society? What does it mean to be a socialized listener, a revolutionized listener? How might voice be taken as an avatar of the self? How does the auditory realm allow for embodied theorizing that responds to systems of power and oppressed subjectivities?

This thesis describes how the experimental process of exploring ritual as a foundation for creating contemporary theater can be applied to staging a classical European play, in this case, Molière’s The Imaginary Invalid, adapted by Constance Congdon. Based on research into the influences of Commedia Dell’ Arte in Molière’s plays, the directorial concept of “Mask and Duplicity” influenced all the artistic areas of the production and design (costume, sound, lighting and set). The process described includes the development of a physical vocabulary with the actors, exploring animal movements based on “The Dance of the Deer” (a hunting ritual from the Mayo and Yaqui traditions in Mexico), and Commedia Dell’ Arte character archetypes. In addition, this thesis supports character analysis with research on the phases of Carnival and the structure of rites of passage (separation, transition and reintegration), and how these ritual elements were applied to the blocking and choreography of the play. As a result of the exploration and the use of ritualistic structures, The Imaginary Invalid had two stories happening at the same time: the public story, what the audience gets from the flow of the text; and the private story, a rite of passage that happens within the narrative of The Imaginary Invalid.

This thesis paper explores some of the cultural phenomena that influence my conceptual framework and describes the logic behind the formal decision-making that defines my work. Beginning with a description of the nature of the materials and environments I appropriate, this thesis aims to deconstruct the layered system of binaries that build the logic behind my work. The concerns in my work circulate around domestic consumption and the objects detritus, a term coined in the paper, that are produced as a result. However, rather than allow the objects detritus to remain cast-aways of a culture of excess, my work reincorporates these objects as materials in conglomerate sculptures. This thesis depicts the complex of ideas that help delegate how these conglomerate works come into being.

Salvation-themed art environments are a roadside rarity, built out of a strong visionary dedication to God, but the sites are disappearing simply because the work is misunderstood. The historiography on the subject is sparse, trending more toward coffee table books with big glossy pictures than real scholarly endeavors, but the consensus among all has been clear. The sites are a valuable part of the recent American cultural landscape, crossing several scholarly fields - art, architecture, and history - and uniting them into a cohesive preservation movement. On a series of trips to visit, see, and experience five of these sites, I began to understand the massive scale that each site required to assemble and exactly what it would take to restore and preserve each site. The preservation goal is not small, but it is not unattainable. There are federal grants, nonprofit groups and localized support committees from which to gather support so that the site may continue to be a piece of history.

<p>Intensively industrialized animal agriculture, or factory farming, poses many challenges for our notions of “life” and how it should be treated. Factory farming’s mass instrumentalization and exploitation of animals potentially unsettles both our most basic notions regarding the justice of sacrificing certain lives in order to improve other lives, and our decisions about which lives belong to each category. This thesis examines the factory farm as a site that relies upon and produces particular lessons about life. The first chapter explores factory farming’s insistence that economically useful features of animals can be endlessly manipulated and optimized, summarily rendering disposable all other aspects of their lives. Recent work on “neoliberal” economic ideology identifies the emergence of similar conclusions about <em>human</em> life under neoliberalism, yet animal life remains largely un-theorized in this context. Meanwhile, the field of critical animal studies is generating a rich body of work theorizing our exclusion of animals from full ethical and political consideration, but has yet to grapple with how the factory farm brings to bear its own economizing logic that intensifies the “othering” of animal life. The resulting pedagogy of life reverberates throughout the range of cultural responses to factory farming. Chapter Two discusses factory farm designer Temple Grandin’s work in order to illustrate how attempts to situate the site within ostensibly non-economic narratives of life such as ecology, comparative epistemology, and spirituality reveal ways that those narratives can become complicit with the factory farm’s neoliberal pedagogy. Chapter Three examines current representations of vegetarian identity, demonstrating that even resistant responses can reinscribe the factory farm’s sacrificial economy. The thesis concludes that alternative futures for critical resistance to the factory farm depend upon a more thorough apprehension of its conceptual reach, and concerted pedagogical and ethical work through and beyond its framing of both human and animal life.</p> / Doctor of Philosophy (PhD)

Sweat Stones is a story collection and a novel excerpt. All of its parts are set in the American South, and are concerned with the intersection between class and geography. The majority of the characters are a part of underrepresented portions of their local population—they are trapped within cycles of poverty, in turns longing for escape and wearing their mixed brands of anguish like badges. The longer stories have firm roots in Realism, while the shorter ones, which serve as breaks between the collection’s major sections, are tinged with degrees of Absurdism or Magical Realism. Through these stories I hope to have translated what can be translated about a place—its rhythms and personalities, the images and logics that distinguish it from anywhere else. It’s a kind of language-made hallucination. As the characters buckle under the weight of their rigors, their stories push against the limits of plausibility. Most share these stylistic concerns, especially those written in first-person. But even when the voice and tone shift into what seems like a different narrative realm, what holds them together are the dire situations of the characters. A poor family suffers the death of a child and the father has to leave them for work. A marginalized group of stage riggers use up all of their energy for nothing. A man feeds into his self-loathing as a series of capricious relationships unravel. Sweat Stones, which takes its name from the flat slates that heat the contemplative atmosphere of a sweat lodge, is a reflection on the mutual burdens borne of laborious life. It’s a gesture of solidarity for a particular kind of struggle, in which I have participated in one form or another. Along the way I met the people, grew up around the places that would become the subjects of this fiction.

Movement and storytelling are the links between past and present; both dance and literature have the same artistic and primal origins. We began to dance to express and communicate, to worship and feel. We tell stories for the same reasons: to learn from the past and to be able to communicate in the present. This work explores the many connections between literature and dance through examinations of six dance forms: Native American, Bharatanatyam, West African, Ballet, Modern, and Post-Modern dance.

Digital forms of media are monopolizing individuals' attention spans, utilizing visual strategies that demand our interactions. Throughout the history of media technology, mediums have become increasingly immersive, presenting more information than ever before. The user interface designs of digital platforms can damage our ability to focus and distribute attention in meaningful ways. Through analysis of our digital media consumption, this capstone project ultimately proposes mindful practices that help us lead more balanced lives and thrive in the digital age. The second half of this capstone project is a digital zine with digital illustrations, animations, and editorial-style articles. The digital zine emphasizes and subverts the elements of digital platforms that are specifically damaging to users’ patterns of behavior.