In this case study I document a group of youth, ages thirteen to fifteen, as they investigate and explore social justice issues and personal beliefs in order to create a community service learning project. Ideas are presented through the introduction of activist art and also by the viewing of recordings of a variety of perspectives on social justice issues and community involvement from a diverse population. The vehicle of inquiry in the study is the production of a visual journal in which thoughts, feelings, perceptions, and ideas will be examined and considered through art making. A review of literature related to the benefits of artmaking and individual storytelling, teaching social justice issues, and the influence of visual culture provide insight and foundation for the study. Qualitative research methods are incorporated to determine the effectiveness of connecting the making of art to the instigation of community involvement. The data collected and interpreted to inform the conclusions are interviews, discussions, and visual and written responses by the participants in the study. The conclusions may be used in either a classroom or community art forum and contribute to the foundational body of knowledge that asserts that art making and critical thinking are necessary components of contributing to today's society.

The blurred lines between the domains of art, education and art education create tensions that impact how art educators negotiate their identities (Baxter, Ortega López, Serig & Sullivan, 2008) within themselves and through a myriad of complex relationships with society and the natural world. I reflect upon the profound transformations of my theoretical and methodological framework of pedagogy emerging from my academic, artistic and professional experiences, particularly my exposure to twentieth century philosophy, post-modernism, critical pedagogy, democratic education, feminist theory and queer studies, each through the lens of social justice. I draw from the ideas of thinkers—Goodman, Lorde, Deleuze, Freire and Zolla, amongst many—who, in one way or another, embraced an integrative dialectic of difference rather than fearing or rejecting conflict, opposites and contradictions. In the twenty-first century, this exploration of the interspace has resulted in arts-based theoretical and methodological approaches to inquiry (Rolling, 2013) such as studio art as research practice (Sullivan, 2004), a/r/tography (Springgay, Irwin & Kind, 2005), and productive ambiguity (Shipe, 2015). This thesis is an arts-based autoethnography, intended to embody the dual nature of the identities and practices of artists/teachers through the creation of an artistic product. Carolyn Ellis and Arthur P. Bochner pointed to the three axes of autoethnography: the self (auto), culture (ethno) and the research process (graphy); modes of autoethnography fall along different places within these continua (Ellis & Bochner, 2000). While I place the strongest focus on my experience and culture, I also stress the relevance and rigor of the research process. Drawing inspiration from the amazing work of Nick Sousanis and Rachel Branham, I include extensive notes and references at the end of the thesis. The prologue is formatted as an illustrated novel—a blueprint for a full graphic novel version of this thesis. The rest of the manuscript is a literary autoethnography, by which I assume the identity of an autobiographical writer foremost.

The disciplinary anxiety that has emerged between art history and visual culture studies increasingly dominates academic research and institutional practice both in global and South African contexts. The research posed here explores the contested relationship between the discipline of art history and the newly-emerging field of visual culture studies. For, despite the fact that art history has already transformed itself due to ideological pressures, this transformation is evidently no longer sufficient to ward off the visual cultural onslaught. Since the disciplinary boundaries between art history and visual culture studies intersect - or, more aptly, collide - this research examines whether these two fields are complementary or antagonistic endeavours. The proliferation of multitudes of ambiguous visual images, perpetuated by the rise of new media technologies, has complicated image production and consumption. As a result, a critique of all image-making technologies - including art - has gained momentum in light of the increasing entanglement of images with human existence. In particular, this research argues that art history can no longer maintain its allegiance to hierarchical distinctions between images, nor can it rely on traditional art historical methodologies only in its analysis and interpretation of images. This research proposes that art history visual culture studies can critically analyse the ideological functions of images in our postmodern era more appropriately than traditional art history is able to do. / Dissertation (MA (Visual Arts))--University of Pretoria, 2007. / Visual Arts / unrestricted

Mujeres de papel examines the representation of female same-sex desire in Spanish literature and culture between 1868 and 1936, drawing on novels, popular sex manuals, sexological treatises, postcards, and illustrations. While scholars have productively attended to Post-Francoist literary and cinematographic expressions of non-normative sexualities, my dissertation sheds new light on its rich yet discontinuous prehistories. I argue that the figure of the “lesbian” is a convergence point for the ideas, beliefs and anxieties of Spanish modernity. From the will to know and categorize to erotic fantasies, the “lesbian” constitutes a pervasive yet unstable trope, which resists and at the same time motivates its definition and control. Chapter one analyzes Francisco de Sales Mayo’s 1869 La Condesita (Memorias de una doncella), a work halfway between a private diary, an erotic novel, and a medical treatise, which features a provocative case of female homosexuality. The next two chapters grapple with literary, (pseudo)scientific, and visual artifacts of the so-called “sicalipsis,” or erotic wave that inundated Spanish culture between the late 19th century and the 1930s. Works studied in these sections include novels by Rafael Cansinos-Assens, Álvaro Retana, Artemio Precioso, and Felipe Trigo, popular sex manuals by Vicente Suárez Casañ and Ángel Martín de Lucenay, and visual erotica. Chapter four turns to the fiction of Feminist writer Carmen de Burgos in conjunction with the theories on “intersexuality” formulated by Gregorio Marañon, Spain’s most renowned scientist and public intellectual of the 1920s. / Romance Languages and Literatures

A travers l’évolution du costume de scène et de sa représentation dans les arts graphiques, la thèse explore les éclairages croisés que jettent l’un sur l’autre le développement du costume de scène historique et la construction d’une pensée et d’une culture historique en Grande-Bretagne, entre 1776 et 1834. L'histoire du costume de scène historique, avant les mises en scène érudites du milieu du XIXème siècle, est généralement évoquée en termes de costumes "Van Dyck" stéréotypés. C'est pourtant dans la deuxième moitié du XVIIIème siècle que se développent l'engouement pour l’étude des antiquités et pour les collections de portraits gravés, l'esthétique du pittoresque et celle du néo-gothique. La période se caractérise également par le succès des romans historiques et le désir général de la part du public d'en savoir plus sur les coutumes – et les costumes – du passé. Cette analyse interdisciplinaire replace le costume de scène dans le contexte plus large de la culture visuelle et historique de la fin du XVIIIème siècle et du début du XIXème. L’étude de documents liés aux théâtres londoniens ainsi que de tableaux, gravures, illustrations, spectacles et expositions a permis de montrer que la représentation du costume de scène historique dans les arts visuels reflète de nouvelles manières de concevoir et de représenter l'histoire, profondément marquées par l'intérêt pour la vie quotidienne des époques passées et l'attention portée à la matérialité du costume. Cette thèse suggère que le costume historique au théâtre et sa représentation dans le portrait d'acteur sous ses nombreuses formes (tableaux, estampes, illustrations…) participèrent au processus plus large de définition de l'art et de l'identité britannique dans la période 1776-1834. / This thesis explores the relationships between stage costume and British historical culture in the period 1776-1834. Until the painstakingly researched antiquarian stagings of the mid-nineteenth century, the history of historical stage costume has typically been described in terms of a stereotyped ‘Van Dyck dress’. Yet the period witnessed the expansion of antiquarianism and portrait print collecting, the development of the Picturesque and Neo-Gothic aesthetics, the success of historical novels and a general desire to know more about the habits and costumes of the past. This interdisciplinary analysis situates stage costume within the wider visual and historical culture of the late eighteenth and early nineteenth centuries. Drawing on theatrical material related to the London theatres as well as paintings, engravings, book illustrations, shows and exhibitions, this study argues that the representation of historical stage costume in the visual arts reflects new ways of conceiving and depicting history, in which interest in the everyday life of past periods and a focus on the material and the visual were fundamental. This thesis suggests that ht historical costume in the theatre and its representation in theatrical portraiture played a role in a broader process that sought to define British art and identity.

Indiana University-Purdue University Indianapolis (IUPUI) / American cities are rampant with structural inequities, or “unfreedoms,” which manifest in the forms of poverty, housing instability, low life expectancy, low economic mobility, and other infringements on people’s abilities to do things they value in their lives and meet their full potential. These unfreedoms affect historically and systemically disenfranchised communities of color more than others. Too often, economic development that is supposed to remediate these issues leads to disproportionate economic growth for people who already have access to opportunity, without adequately creating conditions that equitably remove barriers, extend opportunities, and advance freedoms to all people. This dissertation investigates why this pattern persists. In this work, I describe the significance of the differing ways in which economic development is perceived by people living and working in an historically and systemically disinvested urban neighborhood facing socioeconomic transformation near downtown Indianapolis, Indiana, and city decision-makers in governmental, nonprofit, and quasi-governmental organizations. The ethnographic research methods I used in this study revealed that: many residents described economic development as a process that takes real and perceived neighborhood ownership away from the established community to transform the place for the benefit of outsiders and newcomers, who are, more often than not, white people; and city decision-makers contend that displacement is not a problem in Indianapolis but residents consistently see economic development leading to displacement. I contend that the type of disconnect that persists between the perceptions of people who live and work in the neighborhood and those of city decision-makers is the result of exclusionary development practices and helps perpetuate inequities. This work concludes with a solution for rebalancing the power between well-networked and well-resourced decision-makers and residents facing inequitable and exclusionary development.

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This dissertation employs concepts of sense of place, consumption, and terroir (a French term often translated “taste of place”) to evaluate the ways that nineteenth, twentieth, and twenty-first century representations of southern agriculture – advertisements, art, events, landscapes, and material culture – jointly promote produce and place in and beyond the American South. Reconceiving terroir as a perception of place associated with various senses (including, but not limited to, taste) that circulates via non-edible forms, the project examines how Southern promoters used representations of agricultural goods, landscapes, and workers to market four specific products from their region—North Carolina tobacco, Virginia peanuts, Florida oranges, and South Carolina rice—to consumers across the United States. I explore how various groups and individuals developed advertisements, art, events, and material culture that evoked elements of southern terroir to sell consumers fantasies of the region’s produce and attractions. By analyzing the ways that companies used visual and material representations to convey place-specific sensory qualities of food to national buyers, this project models a new approach toward understanding the localized meanings of Southern foodstuffs and expands on work in foodways studies that has focused on the material qualities of comestibles themselves. I connect the South to post-Civil War and twentieth century national advertising trends, particularly the widespread use of racist caricatures and evocations of social class, and I illustrate the pervasiveness of regional imaginings within the visual and material worlds of commodified agriculture. I also consider how representations of tobacco, peanuts, oranges, and rice created by members of the localized communities in which these products were grown creatively contributed to, reclaimed, or contested place-based identities and memories as intertwined with agricultural output. Addressing creators and consumers who have come to these products from a variety of geographic, financial, cultural, and racial backgrounds, my project demonstrates that twentieth century promotional representations of Southern produce functioned on local, regional, and national scales. Ultimately the dissertation shows that southern agricultural promotions and commemorations have long revolved around the consumption of place itself. / 2024-11-02T00:00:00Z

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