Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.

It is my belief that theatre is the telling of stories, and that playwrighting is the creation of those stories. Regardless of the underlying motives (to make the audience think, to make them feel, to offend them or to draw them in,) the core of the theatre world is the storyline. Some critics write of the importance of audience effect and audience reception; after all, a performance can only be so named if at least one person is there to witness it. So much of audience effect is based the storyline itself - that structure of which is created by the power characters have over others. Theatre generalists learn of Aristotle's well-made play structure. Playwrights quickly learn to distinguish between protagonists and antagonists. Actors are routinely taught physicalizations of creating "status" onstage. A plotline is driven by the power that people, circumstances, and even fate exercise over protagonists. Most audience members naturally sympathize with the underdog or victim in a given storyline, and so the submissive or oppressed character becomes (largely) the most integral. By what process, then, is this sense of oppression created in a play? How can oppression/victimization be analyzed with regard to character development? With emerging criticism suggesting that the concept of character is dying, what portrayals of victim have we seen in the late 20th century? What framework can we use to fully understand this complex concept? What are we to see in the future, and how will the concept evolve? In my attempt to answer these questions, I first analyze the definition of "victim" and what categories of victimization exist - the victim of a crime, for example, or the victim of psychological oppression. "Victim" is a word with an extraordinarily complex definition, and so for the purposes of this study, I focus entirely on social victimization - that is, oppression or harm inflicted on a character by their peers or society. I focus on three major elements of this sort of victimization: harm inflicted on a character by another (not by their own actions), harm inflicted despite struggle or protest, and a power or authority endowed on the victimizer by the victim. After defining these elements, I analyze the literary methods by which playwrights can represent or create victimization - blurred lines of authority, expressive text, and the creation of emotion through visual and auditory means. Once the concept of victim is defined and a framework established for viewing it in the theatre, I analyze the victimization of one of American theatre's most famous sufferers - Eugene O'Neill's Yank in The Hairy Ape. To best contextualize this character, I explore the theories of theatre in this time period - reflections of social struggles, the concept of hierarchy, and clearly drawn class lines. I also position The Hairy Ape in its immediate historical and theoretical time period, to understand if O'Neill created a reflection on or of his contemporaries. Finally, I look at the concept of victim through the nonrealistic and nonlinear plays of the 20th century - how it has changed, evolved, or even (as Eleanor Fuchs may suggest) died. I found that my previously established framework for "making victim" has change dramatically to apply to contemporary nonlinear theatre pieces. Through this study, I have found that the lines of victimization and authority are as blurred today in nonrealistic and nonlinear theatre as they were in the seemingly "black and white" dramas of the 1920s and 30s. In my research, I have found the very beginnings of an extraordinarily complex definition of "victim".

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In “Documents of Revolution” I compare various non-fiction prose genres with incipient journalistic media, including scrapbooks, photographs, films and radio poems, to explore the new internationalisms that emerged during the Spanish Civil War. Many studies of the war have prioritized visiting authors and their experience of travelling Spain. By contrast, I show how local critics, writers, and poets, such as the anarchist filmmaker Mateo Santos, the memoirist María Teresa León, and the poet Miguel Hernández, were crucial intermediaries between Spanish working-class oral cultures and foreign visiting authors, such as George Orwell, Nancy Cunard, Langston Hughes and Nicolás Guillén. I describe three modes of relation between intellectual elites and the working class: occupying, broadcasting, and archiving. By reading for the living internationalism of the working-class, I unearth various internationalisms (anarchist, Black Hispanophone, and feminist-humanitarian) that have not received due attention. These overlapping networks and diasporas ensured that the revolutionary and multimedia documentary poetics of the war disseminated far beyond Spain’s borders.

Dans cette thèse, on considère plusieurs problèmes issus de la modélisation macroscopique des mouvements de foule. Le premier modèle consiste en une loi de conservation avec un flux discontinu, le second est un système mixte hyperbolique-elliptique et le dernier est une équation non-locale. D'abord, on utilise le modèle de Hughes une dimension pour décrire l'évacuation d'un couloir avec deux sorties. Ce modèle couple une loi de conservation avec un flux discontinu à une équation eikonale. On implémente la méthode de suivi de fronts, qui traite explicitement le comportement de la solution non-classique au point de rebroussement, afin d'obtenir des solutions de référence. Elles serviront à tester numériquement la convergence de schémas aux volumes finis classiques. Ensuite, on modélise le croisement de deux groupes marchant dans des directions opposées avec un système de lois de conservation mixte hyperbolique-elliptique dont le flux dépend des deux densités. Le système perd son hyperbolicité pour certainement valeurs de densité. On assiste à l'apparition d'oscillations persistantes mais bornées, ce qui conduit à la reformulation du problème associé dans le cadre des mesures de probabilités. Finalement, on étudie un modèle non-local de trafic piétonnier en deux dimensions. Le modèle consiste en une loi de conservation dont le flux dépend d'une convolution de la densité. Avec ce modèle, on résout un problème d'optimisation pour une évacuation d'une salle avec une méthode de descente, évaluant l'impact du calcul explicite du gradient de la fonction coût avec la méthode de l'état adjoint plutôt que son approximation par différences finies. / In this thesis, we consider nonclassical problems brought out by the macroscopic modeling of pedestrian flow. The first model consists of a conservation law with a discontinuous flux, the second is a mixed hyperbolic-elliptic system of conservation laws and the last one is a nonlocal equation. In the first chapter, we use the Hughes model in one space-dimension to represent the evacuation of a corridor with two exits. The model couples a conservation law with discontinuous flux to an eikonal equation. We implement the wave front tracking scheme, treating explicitly the solution nonclassical behavior at the turning point, to provide a reference solution, which is used to numerically test the convergence of classical finite volume schemes. In the second chapter, we model the crossing of two groups of pedestrians walking in opposite directions with a system of conservation laws whose flux depends on the two densities. This system loses its hyperbolicity for certain density values. We assist to the rising of persistent but bounded oscillations, that lead us to the recast of the problem in the framework of measure-valued solutions. Finally we study a nonlocal model of pedestrian flow in two space-dimensions. The model consists of a conservation law whose flux depends on a convolution of the density. With this model, we solve an optimization problem for a room evacuation with a descent method, evaluating the impact of the explicit computation of the cost function gradient with the adjoint state method rather than approximating it with finite differences.

<i> History Will Be My Judge: A Cultural Examination of America's Racial Tensions Presented Through the Symbolization of Booker T. Washington</i> is an interdisciplinary study about the emergence of Booker T. Washington as a black cultural hero. By the turn of the twentieth century, Washington had become the most prominent African American educator, economic reformer, entrepreneur, and race leader in the United States. He is most recognized as the founder of Tuskegee Institute (now University) and his highly acclaimed autobiography, <i>Up From Slavery</i>, which recounts his life growing up enslaved to becoming an international icon. Since his death in 1915, several monuments, memorials, landmarks, and commemorative tributes have been established in his honor. During the 1940s, Washington became the first African American pictured on the United States postage stamp and minted silver half-dollar. Additionally, he was spotlighted in a series of media campaigns called "Famous American Firsts," and was the first African American inducted into the Hall of Fame for Great Americans. Moreover, amidst the presidential transition between Barack Obama and Donald Trump, black popular media has alluded to Washington's economic philosophy through music videos, documentaries, and television programs. I argue that each of these posthumous commemorations belong to larger social justice movements, namely, the Civil Rights movement and Black Lives Matter movement. Throughout these eras, Washington's legacy has served to counter white supremacy and symbolize the rise of integration, the black middle class, economic justice, black self-made, black education, and the legacy of slavery.<div> The purpose of this study is to examine how during periods of racial unrest, African Americans leverage Booker T. Washington's image to counter racist stereotypes and reaffirm black citizenship. The primary framework applied in this study is William L. Van Deburg's theory of the <i>black cultural hero. </i>Two emergent theories from this research are my developing frameworks called <i>Black Hustle Theory</i> and <i>nostalgic tension</i>. Using literary and visual analysis, I assess historical archives from popular press, black literature, American memorabilia, and black popular culture to examine Washington's commemorative legacy through a black radical lens. Specifically, I explore how the following four people have connected Washington's legacy to the Civil Rights movement and Black Lives Matter movement: Major Richard Robert Wright, Sr., founder of Savannah State University; Langston Hughes, famed Harlem Renaissance poet and author; Stanley Nelson, award-winning producer; and, Beyonce Knowles-Carter, singer and pop mogul. I put Washington's legacy in conversation with each of these cultural producers to simulate a call-and-response between his lifework and the generations after him.<br><div><br></div></div>

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