Some of the strongest predictors of voting for Donald Trump in the 2016 presidential election were Christian nationalism and antipathy toward Muslims and immigrants. We examine the interrelated influence of these three factors on Americans’ intentions to vote for Trump in 2020. Consistent with previous research, Christian nationalism and Islamophobia remained strong and significant predictors of intention to vote for Trump; however, the effect of xenophobia was stronger. Further, xenophobia and Islamophobia significantly and substantially mediated the effects of Christian nationalism. Consequently, though Christian nationalism remains theoretically and empirically distinct as a cultural framework, its influence on intending to vote for Trump in 2020 is intimately connected to fears about ethnoracial outsiders. In the penultimate year before Trump’s reelection campaign, the strongest predictors of supporting Trump, in order of magnitude, were political party, xenophobia, identifying as African American (negative), political ideology, Christian nationalism, and Islamophobia.

This thesis deals with the art created at Swedish mental institutions during the 20th century, a medium which generally is found synonymous with outsider art in previous scholarship. The overarching aim is to categorize visual art created under the circumstances of such institutions, exclusively based on its visual expression. Following Wölfflin’s five principles of objective classification, formal analysis is employed. To accomplish the thesis’ aim, differences between recognized outsider artists and institutionalized producers of art are investigated, which in turn sheds light on the definition of outsider art. Focus is put on the actual paintings, and not on the identities of the creators of the works, nor their history as patients at the different institutions. Primary data consist of photographed paintings from the archives of Säter Mental Health Care Museum in Dalarna, Sweden, while additional historical accounts describing 20th century art movements are implemented to justify each painting’s categorical belonging. The results support that a biographical difference, between the two strands of art, is explanative for the current misunderstanding of what outsider art actually is. This fosters further engagements with what variables ought to determine a work of art’s categorization.

M.A. University of the Witwatersrand, Faculty of Humanities (The African Centre for Migration & Society), 2012 / This research is located in the broader body of literature and activity that have sought to comprehend the xenophobic violence of 2008 in South Africa and the persistence of this phenomenon, especially in poor locales of the main urban areas. The primary objective is to explore the perceptions that South Africans have of the rights of those people designated as outsiders and/or foreigners who live in areas that have experienced xenophobic violence targeting foreigners as well as people of South African minority ethnic groups. This study attempts to unpack the discourse of insider versus outsider rights within South African communities in relation to South Africa’s recent history - the xenophobic violence of 2008. Notably, it examines the challenge brought about by the crushing of space and time as an effect of globalization and how this has contributed to the process of multi-culturalism and multi-ethnicity that local communities are largely unprepared to cope with. This study contributes to the understanding of “otherness” as a key issue to design and implement better policies and practices that are necessary to promote the social and spatial inclusion of international migrants in Africa and the world. The empirics of this study give credence to the view that migrants’ rights operate at the rhetorical level, largely due to the lack of political will to translate them into actual benefits. The study specifically looks at two communities affected by xenophobic violence - Tembisa and Alexandra. Focusing on South Africans, the study draws on information gathered through in-depth semi-structured interviews and group discussions carried out from July through October 2011. The findings are examined through thematic content analysis.

The purpose of this study was to determine if individuals who supported denying citizenship to children of foreign parentage and making English the sole language spoken in the United States held the opinion that a sentence length over 15 years was appropriate for non-U.S. individuals. Other purposes were to determine if individuals with high religiosity or who carried a lethal weapon also held the opinion that a sentence length over 15 years was appropriate for non-U.S. individuals. Pearson's Chi-Square was used to determine if a significant relationship existed between the independent variables and the dependent variable. The data indicated that a significant relationship existed between the length of the sentence imposed on non-U.S. individuals by those individuals who supported denying citizenship to children of foreign parentage, who want to make English the sole spoken language, individuals with high religiosity, and individuals who carried a lethal weapon.

This thesis explores the insider/outsider dynamic experienced by individuals as they enter diverse social situations. The shift from insider to outsider is evoked through an art installation of 18 sculptures drawing influence from "goth" subculture, as the viewer enters and interacts with the art space. The subjects of culture and identity are discussed as they pertain to insider/outsider status.

Participatory action research (PAR) methodologies attract researchers both because they open up space to apply the values and principles associated with social justice and because they have the potential to deepen our understanding of an issue by giving us the opportunity to explore contexts and processes through people's experiences. This allows for new insights to emerge and relevant solutions to be discovered and implemented through emancipatory practices. However, choosing to do this type of research for a thesis as a master's of social work student without lived or research experience complicates an already complex endeavor and raises many dilemmas, questions and challenges. Reflecting on my experience of working with a peer-led community organization in Southern Ontario that provides services for people who have experienced mental health or substance use challenges and have interacted with the mental health system, this thesis will explore my journey of joining a research team that set out to use PAR to better understand peer support. Using a narrative inquiry approach, I will explore the tensions that occurred throughout the process of attempting PAR with a community agency within the university framework of completing a thesis. In the spirit of PAR and its intention to disrupt dominant approaches to research processes, I will use an alternative, storytelling format in order to best illustrate my circumstances, perspectives and the difficulties I faced as an outsider, student, university researcher trying to follow PAR principles. The lessons I learned will also be provided in an effort to make this type of undertaking easier for future students. Overall, I learned that we need to find ways to bridge and support the two cultures of graduate students and community groups in working together in PAR. / Thesis / Master of Social Work (MSW)

Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte / This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

In this essay, I employ Judith Butlers theories of gender performativity to examine the construction of the monstrosity in Howard Phillips Lovecraft’s two works The Outsider and The Thing on the Doorstep. Focusing on the character’s monstrous attributes, how they are seen by themselves, by others and not least by the reader, I examine how their monstrosity is created and strengthened by dehumanizing processes. I argue that Lovecraft through his narrative technique complicates the relation between monstrosity and humanity in his characters, the result of which is a reader left to determine how monstrous, or human, the creature really is. I claim that the beings, themselves remaining uncertain about their own human and monstrous sides throughout Lovecraft’s stories, are not in fact monsters for the reader until the very moment that they themselves acquiescein their own exclusion.

Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte / This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

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