A blended education program combines online and classroom learning in a brick-and-mortar setting in order to improve the quality of instruction and provide more engaging student-to-student and student-to-teacher interactions. The blended model reduces tuition costs while boosting student performance levels. This business plan proposes a blended model for Chicago Public Schools (CPS) using the Khan Academy’s online learning platform, and specifically targeting elementary school students at the 4th grade level and above.

Thesis (Ph. D.)--University of Chicago, Dept. of Anthropology, August 2003. / Includes bibliographical references. Also available on the Internet.

Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 2001. / Abstract. Includes bibliographical references (leaves 169-177).

Thesis (Ph. D.)--University of Chicago, 2000. / Includes bibliographical references (leaves 354-372). Also available on the Internet.

Rethinking the monumental suggests not only a reconsideration of Judy Chicago’s controversial installation The Dinner Party (1979)-- as displayed in the group feminist art exhibition, Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History --but also refers to an unfixing of the monumental position of power afforded the museum and a re-invigoration of the debate in feminist visual art regarding the use of the female body. I use the Sexual Politics exhibition, curated by Amelia Jones for the University of California at Los Angeles Armand Hammer Museum and Cultural Center (1996) as an indicator of the museum as feminist space. Sexual Politics’ controversial reception by both the feminist community and mainstream critics provokes discussion for how the exhibition’s contradictions are part of the exhibition’s success. I uncover that the museum has always been an important factor in the validity of The Dinner Party. Nevertheless, neither the curator nor critic (exemplified by the Christopher Knight’s 1996 review) of Sexual Politics goes far enough to exploit the museum factor as part of their re-readings of The Dinner Party . I note that the exhibition backdrop, the contemporary art museum, is experiencing a crisis in representation in regards to its audience. Guiding institutional models originally identified by Duncan Cameron (1971) in essay Museum: Temple or Forum? prove suspect as the museum embarks toward a more self-reflexive sense of power in the postmodern museum. Janet Wolff’s essay Reinstating Corporeality serves as a point of departure from which to explore the action of museum exhibition as the site suitable for corporeal reinstatement for feminism. Exhibition elements of artwork, audience and environment act as partners in a metaphoric postmodern dance. This view supposes foreclosure on the debate of essentialism in regards to the corporeal in the feminist visual arts through themes and criticisms associated with The Dinner Party. Jones sets out in her exhibition to contribute to the historicization of feminist art. This thesis looks at that initiative and suggests the museum exhibition, as the medium for this historicization, is an integral element to the success of the process.

The Ida B. Wells Homes, the first black-occupied housing project built in Chicago, were completed in 1941. Throughout their construction and inhabitation, the black community in Chicago worked to create a self-contained space which would control the visibility/invisibility of its black inhabitants and, symbolically, the black community as a whole. Taking as theoretical grounding Katherine McKittrick’s work on garreting and Susan Lepselter’s work on license, this essay argues that the Ida B. Wells Homes were a South Side garret for the black community, a space in which freedom became defined by its own boundaries and wherein this freedom could work in tandem with dominant geographies of oppression to construct a “different” geographic story. This “different” geography intended to alter perceptions of black life by working against dominant geographic narratives that were prevalent at the time, such as those put forth by the Chicago School of Sociology. / text

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By employing the theory of Imagology, this work examines four literature workswritten in overseas study movements in modern Chinese history: Wang Tao's shortstories in Songyin Manlu, Lao She's The Two Mas, Bai Xianyong's A Death in Chicagoand Zhou Li's Manhattan's Chinese Lady. While tracing how Chinese intellectuals workthrough the dichotomy of China/West and Tradition /Modernity, this study alsoendeavors to reveal theoretical issues arising from inter-cultural communication andrepresentation. It argues that the literary projection of the west manifests a complex senseof the Chinese self primarily due to the portrayals of western cities and westerners as anembodiment of Chinese understandings of western modernity at different periods. In theLate Qing, the depiction of London in Songyin Manlu only focuses on gunboats, cannons,museums, and factories, because western modernity for the Chinese at the time wassignified by the mighty weaponry of British navy and advanced technology. In the 1920s,however, the portrayal of London in The Two Mas shifts to reveal how Londoners'lifestyle and culture make Britain the most powerful nation in the world, as the Chineseintellectuals advocated the westernization of Chinese culture in order to strengthen China.In the 1960s, the Chinese protagonist Wu Hanhun in A Death of Chicago feels estrangedand sexually seduced in Chicago, subsequently loses his sense of purpose in life andeventually commits suicide, the depiction of which is consistent with similar themes inwestern modernist literature. This is due to the fact that the modernist movement thrivedin Taiwan in the 1960s, and as such, had a large impact on Taiwanese writers. The 1990seraManhattan's Chinese Lady displays spectacles of America's wealth on the FifthAvenue in Manhattan, as common Chinese strive for becoming rich in contemporaryChina owing to the Chinese government's promotion of market reform after 40 years ofpoverty in socialist China. The study concludes that regardless of whether or not theimages of the west presented in Chinese discourse are idealizations, demonizations, orother related cultural determinations, they all manifest a type of anxiety in regard to theChinese Self.

In this thesis, I consider the emergence of a new generation of food trucks and question their popularity, narration and representation. I examine the economic and cultural discourses that have valorized these food trucks, and pay attention to the everyday material and embodied practices that constitute them. This research is situated in Chicago, where proposed changes to the existing mobile food vending ordinance spurred contentious debates about food safety, regulations, rights to the city and livelihoods. I follow the myriad actors involved in the food truck movement to understand the strategies employed to change the mobile food vending ordinance on behalf of these food trucks. As part of this, I raise questions about what interests are prioritized, and what interests are marginalized especially in light of Chicago’s long history of policing Latino street vendors. I conclude by considering what food trucks can elucidate about the city, the changing economy, and the molding of laboring and consuming subjects.

The purposes of this study were (1) to identify through the Teacher Problem Inventory the perceived problems of selected teachers of two different types of Catholic elementary inner-city schools in Chicago and (2) to compare through the California F-Scale the perceived problems of open and closed-minded inner-city teachers of selected Catholic elementary schools in Chicago. Responses of the teachers to the Teacher Problem Inventory were considered in relation to the teachers': age, sex, race, number of years taught in the inner-city, type of schools, open or closed-minded and religious or lay teachers provided the basis for data analysis.