This project explores the agricultural heritage and current social landscape of the Stinking Creek community of Knox County, Kentucky, and the legacy of the local nonprofit organization the Lend-A-Hand Center. Through participatory research, this project presents a reflexive account of the Lend-A-Hand Center Grow Appalachia Gardening Program examining the diverse economy of the Stinking Creek watershed and possibilities for new economic imaginings and post-coal futures for central Appalachia. This dissertation includes an oral history project, a theoretical examination, and an ethnographic reflection, bridging several literatures in the fields of agricultural history, Appalachian Studies, Participatory Action Research, research within the diverse economy framework, and feminist political ecology. For three years I coordinated the Grow Appalachia program through the Lend-A-Hand Center, developing agricultural initiatives in Knox County, working to re-localize food systems through home gardens, community gardens, and the establishment of the Knox County Farmers’ Market, and gathering stories through oral histories on the Creek. Problematizing the 1967 book Stinking Creek, by John Fetterman, this account of the community seeks to call attention to the importance of critical analyses of representations of people, processes, and places. In the face of pressing social issues in central Appalachia and renewed interest in the discourses of development, local food, and post-coal transition, this work seeks to intervene in region-wide discussions and suggest avenues for change and possibility. The Lend-A-Hand Center Grow Appalachia Gardening Program illustrates the potentials for community-based agriculture projects in the region to promote a variety of economic processes, foster and preserve agricultural traditions, and impact the conversation about outlooks for the region. This research provides policy and programmatic suggestions regarding the importance of relocalization of food systems and different (re)presentations of community narratives as part of a multifaceted agenda toward a just, sustainable future for eastern Kentucky and the region.

Jook is a spirited collection of historical persona poems situated in the vibrant rent party scene of 1920s Harlem. The Harlem Renaissance of New York was a decade of black innovation, artistry, and cultural expansion spanning 1920-1930. During this post-Emancipation, Great Migration era, black families leaving the South moved north only to encounter new forms of oppression. They were fleeing the lynchings, racism, and segregation that they experienced back home. In Harlem, black families earned disproportionately lower wages and paid much higher rents for subpar housing conditions compared to white families. To supplement their low incomes and to make the rent for the month, tenants hosted house-rent parties, also called social whist parties, in their apartments. They offered southern food, jazz and blues music (often live), and bootlegged liquor. Party guests paid a modest cover fee of 25 or 30 cents to enjoy the amusements, thus helping the hosts to pay their rent. The resistance work of this black joy in the face of economic, environmental, and social racism fascinates me and led me to research and uplift these narratives via persona poetry. The central figure in these poems is a 20-year-old Georgia migrant named Mae Lynne King. Mae has moved north with her older sister Maddy. The daughters of a southern preacher and a seamstress, the women find their footing in New York in very different ways. Mae works as a domestic and takes in laundry and sewing on the side while 24-year-old Maddy Jane becomes a streetwalker. The two young women live together and quickly become immersed in the rent party phenomenon while working to build a life away from the strict religious upbringing they knew back home. Mae and Maddy struggle against racism, sexism, and poverty discovering their roles as lovers, friends, and members of a new black Harlem. Mae’s journey through Harlem is one of revelation and awakening, and Maddy’s is one of self-actualization, autonomy, reclamation. Both women embody the womanist attitudes and practices, blackness, and sexual fluidity that are central to my work overall and that were highly visible during the Renaissance. While swaths of literature celebrate the art, music, and culture of the Harlem Renaissance, no contemporary collections of poetry contend with the oppression that African American people who migrated from the racially segregated South to Harlem faced. Jook is an offering of history, memory, language, and research to bridge that gap. This collection draws from Langston Hughes’ poetry and autobiography The Big Sea, Zora Neale Hurston’s novels and dramas, all of Harlem’s “negro literati,” jazz and swing music, photography, and archival materials from The Schomburg Center for Research in Black Culture and Yale University. Jook traverses free verse and formal boundaries while championing persona and a unique Harlemese vernacular in order to celebrate the fierce subversion that African Americans in 1920s Harlem engaged in via their rent party gatherings. I enter these poems with music and memory at the fore of my creative process and craft employments. I call on forms such as Ruth Ellen Kocher’s Gigan, the jazz sonnet, contrapuntal, and the ghazal to illustrate the simultaneous artistry and travailing that defined the Renaissance for African American people. I also borrow from the narrative elements of fiction to explore a specific arc within the lives of a cadre of imagined personas. The aim of this project is to recover and celebrate the unexplored stories of rent parties and to acknowledge the suffering and striving that these gatherings were born out of.

In the western culture, historically speaking, there are different ideas of what gives an individual authority or power. There is also historical evidence of an unequal balance between men and women and throughout this thesis I will argue that this is still the case in contemporary society. This unbalance is evident in the ways in which women make use of their bodies in acts such as dieting and pregnancy, how women take on the role of caregivers, and the view of women in leadership positions. I maintain that one of the biggest concerns and contributors to this problem is the subject/object relationship in which women find themselves. In this dichotomy, women find themselves to be a subject and autonomous person while at the same time cognizant of the way they are viewed by others as objects. Within this subject/object dynamic, women become non-subjects and lose their autonomy. A large part of this ongoing relationship is due to the ways in which women use and are expected to use their bodies as well as minds due to social norms that have been passed down through the culture. This can stem from the way women physically maneuver their bodies as well as how others perceive their bodies typically in an inferior or sexualized way. The duality for women as objects is illustrated not only in the way men view women but in how women view other women as well. I will argue that many of the issues surrounding the subject/object dualism can be related back to the ways in which women, throughout their lives, use their bodies. I will illustrate how through the social education of women regarding how to utilize and experience their bodies, women often times lack both in physical ability as well as in leadership roles. I will illustrate how this takes place with young girls and how they maneuver their bodies in regards to physical capabilities. I will then examine the pregnancy process and the ways in which the subject/object relationship manifests due to the female body being seen as a human incubator and a thing that needs medical attention. Finally, I will look at the workplace and the different leadership styles that women are assumed to take as well as the potential resistance that accompanies the challenges to these norms. The types of barriers that are constructed for women to traverse and how those affect the abilities of women to function in a position of power within a university illustrate issues of gender equality for all women. Throughout the thesis, I will explore in detail some of the different barriers that have an impact on women. I argue that barriers have been constructed to hinder women and their perceived abilities within several contexts.

In this paper I attempt to formulate the Christianity-based ecocentric ethics, to answer the ecofeminists' quest to spiritually ground such ethics; I use the living example of the practices of the Catholic ''green sisters''.

This research analyzed three Latina social media celebrities’ self-presentations on Instagram and focused on whether or not the content they published potentially challenges or simply perpetuates stereotypical tropes of Latinas found in mainstream media. This qualitative study took an Ideological Critical approach through a textual analysis that was informed by Feminist Theory. More specifically the research focused on: What were Latina social media celebrities self-presentations on Instagram that characterize what a Latina is? How were Latina social media celebrities self-presentations different from or similar to, mainstream stereotypical tropes for Latinas? Lastly, how do the Latina social media celebrities’ self-presentations compare and contrast, what type of themes emerged?

While a growing body of literature exists examining how intersecting social identities and structural organizations shape the on-campus hookup script, research examining the impact of technology on the hookup culture has been virtually nonexistent. Addressing this gap, this study adds to a current body of literature on the hookup culture and online dating by exploring how a diverse sample of young women and non-binary, femme individuals understand and negotiate interpersonal sexual scripts through the mobile dating app Tinder. Ultimately, findings from 25 in-depth interviews reveal how Tinder has shaped the sexual scripts of young adult dating into a "hybrid hookup script." Unlike the traditional college hookup culture, which centers the hookup script on fraternity parties, sexual dancing, and drinking, the hybrid hookup script reintroduces traditional dating practices, such as formal dates, into the modern sexual scripts of young adults. Specifically, the hybrid hookup script maintains the traditional gendered expectation that men initiate conversations and dates, while incorporating the patterns of drinking and the expectation of non-relational sex central to the on-campus hookup culture. Nearly all participants engaged in the hybrid hookup script to some extent; yet, women of color were overrepresented among those who eventually opted out of Tinder altogether. In particular, experiences of sexual and racial harassment created an environment in which women of color felt racially objectified and fetishized. As a result, the majority of women of color indicated that they deleted the app and did not intend to go back. Overall, results underscore how the Tinder app may be operating to rearticulate existing hierarchies of gender and race.

Of the Crickets imagines the overlapping worlds of ethical ecological solutions to climate changed sustenance and the potential for collective excellence in female exclusive environments. Using garments, furniture, site-specific installation and directed performance, the project harnesses social and material sensitivity to mine solutions for idealized living.

The subject of my thesis project is black nonfiction, namely the essay, memoir, and autobiography, written by black authors about and during the Post-Civil Rights Era. The central goals of this work are to briefly investigate the role of genre analysis within the various subsets of nonfiction and also to exemplify the ways that black writers have taken key genre models and evolved them. Secondly, I aim to understand the historical, political, and cultural contributions of the Post-Civil Rights Era, which I mark as hitting its stride in 1968. It is not my desire to create a definitive historical framework for the Post-Civil Rights Era, but instead to understand it as a period of transition, revolt, and transformation which asked many important questions that have remained unanswered. I apply multiple theoretical frameworks to my research — like queer theory, Afro-pessimism, fugitivity, and more — to offer insights into the nonfiction works of writers such as James Baldwin, Audre Lorde, Angela Davis, Alice Walker, Larry Neale, and Toni Cade Bambara. It is my hope to continue the work of such scholars as Hortense Spillers, Angela Ards, and Margo V. Perkins, by illustrating not only how these authors offered literary and aesthetic innovations, but also, through the archiving of their life experiences in print, create theories and practices for survival, forged in the past, which impact our current moment, and inspire us as scholars and activists to do the same.

THROUGH THE FIGURE OF FICTIONAL CHARACTER KATNISS EVERDEEN, THIS DISSERTATION STUDIES HOW THE FILM INDUSTRY SIMULTANEOUSLY ENTRENCHES AND DISRUPTS GENDER, SEXUAL, AND RACIAL NORMATIVITIES. THE PROJECT USES TEXTUAL ANALYSIS AND PARTICIPANT RESEARCH TO ANALYZE HOW THE FILMS AND NOVELS OF THE HUNGER GAMES SAGA ENCAPSULATE BOTH DOMINANT AND ALTERNATIVE CONCEPTIONS RELATED TO FEMININITY, MASCULINITY, WOMANHOOD, AND MOTHERHOOD. IT ALSO EXPLORES IF AND HOW THE FEMALE HEROINE CAN BE READ AS FEMINIST AND PRODUCES A SENSE OF EMPOWERMENT. I CONCLUDE THAT ALTHOUGH THE INDUSTRY IS PRODUCING NEW MODELS OF WOMANHOOD THAT CHALLENGE TRADITIONAL GENDER ROLES, IT STILL PERPETUATES ROMANTIC IDEALS AND IDEALIZES THE HETEROSEXUAL NUCLEAR FAMILY AS THE ULTIMATE PATH TO FULFILLMENT FOR WOMEN. THE RESULTS OF THE PARTICIPANT RESEARCH SHOW THAT WHILE YOUNG WOMEN ARE CRITICAL OF CERTAIN ASPECTS OF THE SAGA, OVERALL THEY VALUE HAVING STRONG FEMALE CHARACTERS IN FICTION TO WHOM THEY CAN RELATE.

Embedded In These Walls uses photographic imagery, archival ephemera, and written text to examine a specific history of generational trauma through the lens of a singular family of a southern tradition to point to a larger systemic breakdown of accountability and truthfulness regarding abuse