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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 111 to 120 of 121 (0.024 seconds)| 111 |
Patriarchs, pugilists, and peacemakers : interrogating masculinity in Irish filmMoser, Joseph Paul 20 September 2012 (has links)
Examining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists--John Ford, Jim Sheridan, and Paul Greengrass--explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers’ complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order. In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan’s work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass). / text
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The Prison System and the Media: How “Orange Is The New Black” Engages with the Prison as a Normalizing AgentLouis, Eunice 20 March 2015 (has links)
The purpose of this project is to ascertain the ways in which Orange is the New Black uses its platform to either complicate or reify narratives about the prison system, prisoners and their relationship to the state. This research uses the works of Giorgio Agamben, Colin Dayan, Michelle Alexander and Lisa Guenther to situate the ways the state uses the prison and social narratives about the prison to extend its control on certain populations beyond prison walls through police presence, parole, the war on drugs and prison fees.
From that basis, this work argues that while Orange does challenge some narratives about race and sexuality, because of its reliance on “bad choices” as a humanizing trope and its reliance on certain racialized stereotypes for entertainment, the show ultimately does more to reify existing narratives that support state interests.
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In the Tall Grass West of Town: Racial Violence in Denton County during the Rise of the Second Ku Klux KlanCrittenden, Micah Carlson 05 1900 (has links)
The aim of this thesis is to narrate and analyze lynching and atypical violence in Denton County, Texas, between 1920 and 1926. Through this intensive study of a rural county in north Texas, the role of law enforcement in typical and systemic violence is observed and the relationship between Denton County Officials and the Ku Klux Klan is analyzed. Chapter 1 discusses the root of the word lynching and submits a call for academic attention to violence that is unable to be categorized as lynching due to its restrictive definition. Chapter 2 chronicles known instances of lynching in Denton County from its founding through the 1920s including two lynchings perpetrated by Klavern 136, the Denton County Klan. Chapter 3 examines the relationship between Denton County Law Enforcement and the Klan. In Chapter 4, seasons of violence are identified and applied to available historical records. Chapter 5 concludes that non-lynching violence, termed "disappearances," occurred and argues on behalf of its inclusion within the historiography of Jim Crow Era criminal actions against Black Americans. In the Prologue and Epilogue, the development and dissolution of the St. John's Community in Pilot Point, Texas, is narrated.
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Agency, Consolidation, and Consequence: Evaluating Social and Political Change in New Orleans, 1868-1900Cook, Christopher Joseph 01 January 2012 (has links)
In the last twenty years, recent scholarship has opened up fresh inquiry into several aspects of New Orleans society during the late nineteenth century. Much work has been done to reassess the political and cultural involvement, as well as perspective of, the black Creoles of the city; the successful reordering of society under the direction of the Anglo-Protestant elite; and the evolution of New Orleans's social conditions and cultural institutions during the period initiating Jim Crow segregation. Further exploration, however, is necessary to make connections between each of these avenues of study. This thesis relies on a variety of secondary sources, primary legal documents, and contemporary newspaper articles and publications, to provide connections between the above topics, giving each greater context and allowing for the exploration of several themes. These include the direction of black Creole public ambition after the end of that community's last civil rights crusade, the effects of Democratic Party strategy and the Lost Cause of the Confederacy movement on younger generations of white residents, and the effects of changing social expectations and increasing segregation on the city's diverse ethnic immigrant community. In doing so, this thesis will contribute to enhancing the current understanding of New Orleans's complex and changing social order, as well as provide future researchers with a broad based work which will effectively introduce the exploration of a variety of key topics and serve as a bridge to connect them with specific lines of inquiry while highlighting the above themes in order to make new connections between various facets of the city's troubled racial history.
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Actor Alone: Solo Performance in New ZealandParker, George January 2008 (has links)
This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.
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Unity, Justice and Protection: The Colored Trainmen of America's Struggle to End Jim Crow in the American Railroad Industry [and Elsewhere]James, Ervin 2012 August 1900 (has links)
The Colored Trainmen of America (CTA) actively challenged Jim Crow policies on the job and in the public sphere between the 1930s and 1950s. In response to lingering questions concerning the relationship between early black labor activism and civil rights protest, this study goes beyond both local lure and cursory research. This study examines the Colored Trainmen's major contributions to the advancement of African Americans. It also provides context for some of the organization's shortcomings in both realms. On the job the African American railroad workers belonging to the CTA fought valiantly to receive the same opportunities for professional growth and development as whites working in the operating trades of the railroad industry. In the public sphere, these men collectively protested second-class services and accommodations both on and off the clock.
Neither their agenda, the scope of their activities, nor their influence was limited to the railroad lines the members of the CTA operated within the Gulf Coast region. The CTA belonged to a progressive coalition comprised of four other powerful independent African American labor unions committed to unyielding labor activism and the toppling of Jim Crow. Together, they all worked to effectuate meaningful social change in partnership with national civil rights attorney Charles H. Houston. Houston's experience and direction, coupled with the CTA's dedicated membership and willingness to challenge authority, created considerable momentum in movements aimed at toppling racial inequality in the workplace and elsewhere.
Like most of their predecessors, the CTA's struggle for advancement fits within a continuum of successive challenges to economic exploitation and racial inequality. No single person or organization can take full credit for ending segregation or achieving equality. Many who remain nameless and faceless contributed and sacrificed. This study not only chronicles the contribution of a relatively unsung African American labor organization that waged war against Jim Crow on two different fronts, it also pays homage to a few more individuals who made a difference in the lives of an entire race of people during the course of a bitterly contested, never-ending struggle for racial equality in the United States of America during the twentieth century.
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Beyond "white supremacy:" white reactions to The Clansman and The Birth of a nation in New South North Carolina and Georgia / 「白人至上主義」の向こう側 : ノースカロライナ州及びジョージア州における劇『クランズマン(1905)』と『國民の創生(1915)』に対する南部白人たちの評価 / ハクジン シジョウ シュギ ノ ムコウガワ : ノースカロライナシュウ オヨビ ジョージアシュウ ニオケル ゲキ クランズマン 1905 ト コクミン ノ ソウセイ 1915 ニタイスル ナンブ ハクジン タチ ノ ヒョウカ / 白人至上主義の向こう側 : ノースカロライナ州及びジョージア州における劇クランズマン1905と國民の創生1915に対する南部白人たちの評価三島(原) 恵実子, 三島 恵実子, 原 恵実子, Emiko Mishima Hara 07 March 2019 (has links)
昨今「白人至上主義」という単語が多用されているが、その定義は不明確なままである。なぜならば、たとえ人々の「白人至上主義」への認識に多少の差異があったとしても、結果がほぼ変わらないという見解が一般的であるからである。しかしながら本研究は、「白人至上主義」とは時代、場所、そして歴史的・社会的背景によって変容するものであると定義付けた。またある特定の「白人至上主義」を強調した演劇『クランズマン』、後の映画『國民の創生』、に対する南部白人の評価を分析することで、その概念を最も享受したであろう彼らが如何にその言葉の意味を定義し、またどのように保持し習慣づけていったのかを解明しようと試みたものである。 / This dissertation hypothesizes that white supremacy is a flexible ideology that changes depending on the location, the period, and historical as well as social conditions in which it is promoted. By examining and comparing the differences between the responses of white North Carolinians and white Georgians towards The Clansman in 1905 and The Birth of a Nation in 1915, this dissertation argues that even though we assume that Radical white supremacy seems to have covered the entire South during the Jim Crow era, and images and stories of supposed “black beast rapists” obscured social differences within the white group, there were a range of variable and sometimes competing ideologies among white supremacists. / 博士(アメリカ研究) / Doctor of Philosophy in American Studies / 同志社大学 / Doshisha University
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Monarch Cheers, Integration Whimpers, and a Loyalty Conflict: Kansas City Call's Coverage of the Black Yankees, 1937-1955Eames, Eric M. 05 December 2008 (has links) (PDF)
Already regarded as one of the top teams in Negro League baseball, the Kansas City Monarchs became known as a powerhouse unit in the 1930s and 40s. They rolled into towns with lights, amazing athletes, and competitive play. They won championship after championship during these years as Kansas City baseball fans strongly supported them. As they became an integral part of the city, the Monarchs' success, open-seating policy, and jazzy home openers fostered a large following of mixed-race fans. The local black newspaper, the Kansas City Call, held them up on a pedestal, while sportswriters for the mainstream Kansas City Star/Times downplayed the Monarchs' accomplishments and influence in the community. This thesis focuses on the relationship the Call had with the best team in black baseball through the context of its treatment of games, players, league officials, and team owners, as well as other patterns and tactics. Analysis of the Star/Times coverage is also considered to show variances in coverage between one city's race-divided newspapers. Negro League baseball and the African American newspapers that covered the teams grew out of and illustrated the segregation laws and prejudices feelings that existed in the United States during most of the twentieth century. Over time, especially when the sports world moved into the post-integration period, the Call's bolstering of the Monarchs deteriorated as the paper's promotion of democracy steered its sportswriters away from a baseball organization that symbolized segregation. The different types of coverage by the Call throughout the twenty-year study can be described as all-out promotion, balance, and abandonment. In the 1950s nostalgia and conflict existed, as the Call's sportswriters became torn on how to cover a team that was once the pride of the black community, but now represented inequality. In an attempt to remedy this torment, the Call tried to convince black baseball officials to remove the “Negro League” stigma by signing players of all races in order to mirror the more democratic Major Leagues. The white press, meanwhile, ignored the bigger issues of black baseball as one Negro League team after another died in the 1950s. The Star/Times peripheral coverage of the Monarchs provides context to the social issues and discriminatory practices at play in Missouri. As this thesis outlines the coverage of the Monarchs through the Black and White newspapers of Kansas City, previous research is substantiated and challenged to provide a fuller account of Jim Crow's effects.
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The Rebellious Mirror,Before and after 1984:Community-based theatre in AotearoaMaunder, Paul Allan January 2010 (has links)
In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
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Summerhill school is it possible in Aotearoa ??????? New Zealand ???????: Challenging the neo-liberal ideologies in our hegemonic schooling systemPeck, Mikaere Michelle S. January 2009 (has links)
The original purpose of this thesis is to explore the possibility of setting up a school in Aotearoa (New Zealand) that operates according to the principles and philosophies of Summerhill School in Suffolk, England. An examination of Summerhill School is therefore the purpose of this study, particularly because of its commitment to self-regulation and direct democracy for children. My argument within this study is that Summerhill presents precisely the type of model Māori as Tangata Whenua (Indigenous people of Aotearoa) need in our design of an alternative schooling programme, given that self-regulation and direct democracy are traits conducive to achieving Tino Rangitiratanga (Self-government, autonomy and control). In claiming this however, not only would Tangata Whenua benefit from this model of schooling; indeed it has the potential to serve the purpose of all people regardless of age race or gender. At present, no school in Aotearoa has replicated Summerhill's principles and philosophies in their entirety. Given the constraints of a Master's thesis, this piece of work is therefore only intended as a theoretical background study for a much larger kaupapa (purpose). It is my intention to produce a further and more comprehensive study in the future using Summerhill as a vehicle to initiate a model school in Aotearoa that is completely antithetical to the dominant neo-liberal philosophy of our age. To this end, my study intends to demonstrate how neo-liberal schooling is universally dictated by global money market trends, and how it is an ideology fueled by the indifferent acceptance of the general population. In other words, neo-liberal theory is a theory of capitalist colonisation. In order to address the long term vision, this project will be comprised of two major components. The first will be a study of the principal philosophies that govern Summerhill School. As I will argue, Summerhill creates an environment that is uniquely successful and fulfilling for the children who attend. At the same time, it will also be shown how it is a philosophy that is entirely contrary to a neo-liberal 3 mindset; an antidote, to a certain extent, to the ills of contemporary schooling. The second component will address the historical movement of schooling in Aotearoa since the Labour Party's landslide victory in 1984, and how the New Zealand Curriculum has been affected by these changes. I intend to trace the importation of neo-liberal methodologies into Aotearoa such as the 'Picot Taskforce,' 'Tomorrows Schools' and 'Bulk Funding,' to name but a few. The neo-liberal ideologies that have swept through this country in the last two decades have relentlessly metamorphosised departments into businesses and forced ministries into the marketplace, hence causing the 'ideological reduction of education' and confining it to the parameters of schooling. The purpose of this research project is to act as a catalyst for the ultimate materialization of an original vision; the implementation of a school like Summerhill in Aotearoa. A study of the neo-liberal ideologies that currently dominate this country is imperative in order to understand the current schooling situation in Aotearoa and create an informed comparison between the 'learning for freedom' style of Summerhill and the 'learning to earn' style of our status quo schools. It is my hope to strengthen the argument in favour of Summerhill philosophy by offering an understanding of the difference between the two completely opposing methods of learning.
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