Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 146-153).

Thesis (Ph. D.)--Virginia Commonwealth University, 2006. / Prepared for: School of Education. Bibliography: leaves 154-166. Also available online.

This exploratory qualitative study describes the criteria that African American Literature professors use in defining what is African American Literature. Maulana Karenga’s black arts framework shaped the debates in the literature review and the interview protocol; furthermore, the presence or absence of the framework’s characteristics were discussed in the data analysis. The population sampled was African American Literature professors in the United States who have no less than five years experience. The primary source of data collection was in-depth interviewing. Data analysis involved open coding and axial coding. General conclusions include: (1) The core of the African American Literature definition is the black writer representing the black experience but the canon is expanding and becoming more inclusive. (2) While African American Literature is often a tool for empowerment, a wide scope is used in defining methods of empowerment. (3) Black writers should balance aesthetic and political concerns in a text.

<p>Forwarding a narrative that, in many ways, runs contrary to `official'/sanctioned accounts which designate the body of the black woman as the principal star of nineteenth-century racial science's empirical investigations and sexual exploitations, I propose instead a vision of our nation's 1800s that marks this era as the moment in American history in which Hottentot Venus turned Hot-to-trot-Penis. Remaining indebted to the works of Sander Gilman and his contemporaries, and paying special attention to the ways in which both the erotic vicissitudes and imperialist vagaries of the European empire effected a fairly fluid cross-Atlantic exchange during this time period, I locate the late 1840s and early 1850s as the seminal moment in which, through a collaboration of scientific, social, and popular texts the black male body specifically first becomes installed in this country, on the mainstages of both our early spectacular culture and the American psychic theater, as a `pornographic body': an indigenous site of sexual taboo upon and through which the dark fantasies of the Whites who had imported these bodies might be projected. Recognizing, in this mid-nineteenth century moment, what should be seen as a distinctive, while as yet unremarked, shift in both the discourse and displays offered by America's peculiar brand of ethnography as well as within our national arena--one which turns to and turns on the conception of the black male as sexual subject--my dissertation hopes to offer a better understanding of the compelling forces, both social and salacious, that might be said to account for this distinctly American, and distinctively perverse, representational refocusing.</p> / Dissertation

<p>National Crimes and Southern Horrors examines the contested meanings of the terms civilization, race, and empire in trans-Atlantic conversations during the last two decades of the nineteenth century. It argues that understanding these dialogues requires us to understand the interplay between regional and transnational definitions of these terms. It further explains both white Southern opposition to empire at the end of the nineteenth century as well as white Southern acceptance of their region as similar to European empires and imperial mission described in Rudyard Kipling's poem, "The White Man's Burden." Reading newspaper US and British articles and editorials, international periodicals, personal papers of activists and politicians in both the US South and Britain, it uncovers the dynamic definitions of race, empire, and civilization at play in the work of constructing the US South as both a part of and distinct from the imperial world. Reading conversations about Irish home rule, the gold standard, international bimetallism, British interactions with white and black Southerners, the disfranchisement of black men in the US South, the construction of Jim Crow, lynching in the US South, Turkish atrocities in Armenia, the Philippine American War and the Boer War, it reveals that to understand the transnational development of white supremacy in imperial sites in Africa, Asia, the West Indies, and the US South requires to look not only at the ways whites within each site defined their right to rule but also in the ways they looked to each other. It also argues that understanding the place of the US South within trans-Atlantic conversations about race and civilization but also regional politics and the ways that regional concerns structured and limited how people in Britain and the US South saw each other. Through comparison and conflict, the US South was an essential part in constructing global color lines, and imperial ideologies worked to prop up white Southern defenses for segregation and Jim Crow.</p> / Dissertation

Thesis (Ed.D.)--University of West Florida, 2007. / Title from title page of source document. Document formatted into pages; contains 125 pages. Includes bibliographical references.

Thesis (Ed.D.)--University of Vermont, 2009. / Includes bibliographical references (leaves 158-160).

Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. Nancy T. Davis, Florida State University, College of Education, Dept. of Middle and Secondary Education. Title and description from dissertation home page (viewed Apr. 06, 2004). Includes bibliographical references.

Thesis (M.A.)--Ohio State University, 1978. / Bibliography: leaves 80-82. Available online via OhioLINK's ETD Center.

Thesis (D. Ed.)--University of Texas at Austin, 2003. / Supervisor: Nolan Estes. Vita. Includes bibliographical references. Available also from UMI Company.