abstract: This research examines four stateswomen fashion icons—Jacqueline Kennedy Onassis, Diana, Princess of Wales, Michelle Obama, and Catherine, the Duchess of Cambridge—and the way these stateswomen used clothing and personal style to create a public identity. Dress is a powerful tool of personal expression and identity creation and when we look at stateswoman style, we see the ways that dress gives them agency to negotiate the “official” identity that’s being placed on them. Personal style is the way we use personal adornments (clothing, jewelry, cosmetics, etc.) to form messages about who we are, who we dream we could be, and what our personal values are. It is a system of communication with rhetorical influence on others that, in return, offers a way to embrace, challenge, or subvert societal expectations and cultural norms. The choice to embrace, challenge, or subvert to the expectations is fluid, and the women continuously move back and forth between these states. I argue for the ways the selected women in this analysis make choices and negotiate such expectations on the national stage through their clothing choices. While personal style does not construct our identities on its own, our dress is often the first indicator of our identity and personality. Dress, therefore, becomes one way to express our identity, even in situations where we are otherwise silenced. Stateswomen are “not body as advertisement”—as celebrities are—but “body as a source of agency.” For every woman, stateswomen included, clothing is a rhetorical statement that they make every day. These women exemplify the way choices can be made powerfully—because they are “like us” more than fashion icons. These stateswomen icons show the public evolving negotiations between personal and public style and identity. They demonstrate the ways that clothing choices can be empowering ways to construct identity and use clothing as an identity statement. This is instrumental in helping average women of the public learn how they can use clothing as a rhetorical statement that creates agency and identity. / Dissertation/Thesis / Doctoral Dissertation English 2018

Submitted by NAOR FRANCO DE CARVALHO null (naor.franco@yahoo.com.br) on 2017-01-20T13:26:58Z No. of bitstreams: 1 Dissertação - Naor Franco repositório.pdf: 4004801 bytes, checksum: 4f56501c59141c81d3268969db3a1c58 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-01-23T12:31:33Z (GMT) No. of bitstreams: 1 carvalho_nf_me_assis.pdf: 4004801 bytes, checksum: 4f56501c59141c81d3268969db3a1c58 (MD5) / Made available in DSpace on 2017-01-23T12:31:33Z (GMT). No. of bitstreams: 1 carvalho_nf_me_assis.pdf: 4004801 bytes, checksum: 4f56501c59141c81d3268969db3a1c58 (MD5) Previous issue date: 2016-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente dissertação visa a análise das construções identitárias e de memória de Michael Traumann e sua família, por meio da Biblioteca Traumann, a observar as práticas culturais e visões de mundo que ela manifesta. Essas questões são problematizadas a partir de seu enquadramento social e histórico, no qual desenvolveu o conjunto das vivências da família. Por meio de seu microcosmo, foi observado o esforço e a tentativa de (re)construir, em seu exílio, uma cultura alemã e europeia juntamente com a brasileira. Portanto, esta pesquisa apoia-se na análise da materialidade da Biblioteca, entendendo-a como expressão do contexto social em que ela foi formada. Dessa forma, a enquadramos como produto e produtora de cultura, e como lugar de memória. A partir dos livros presentes em sua composição, problematizamos o relacionamento entre suas leituras e seu contexto social. Além disso, por meio da investigação da Biblioteca Cidadã e de algumas produções textuais serão questionados os posicionamentos de Michael Traumann como guardião de uma cultura que temia a decadência e de uma memória familiar voltada ao elitismo cultural. / This research tries to analyze the identity and memorie constructions of Michael Traumann and his family, through the Traumann’s Library, and to observe the cultural practice and world visions that it shows. These questions will be problematized from his social and historical place, in which he has developed his family context. Through his microcosm, we will be observe his effort and his try to (re)build, in his volunteer exile, a German, European and Brazilian culture. Therefore, we will consider as acculturated/acculturatingand as a memory place. Next, will be questioned Michael Traumann’s positions as a keeper of a culture that was afraid of a decadency and of a family memory turned to the culture elitism.

Esta pesquisa trata da representação de gênero nos anúncios publicitários da loja Mappin veiculados entre os anos de 1931 e 1945. Ao circularem pela sociedade, os anúncios divulgavam produtos ao mesmo tempo em que difundiam as noções de feminilidade e de masculinidade do período. Partindo do pressuposto de que as identidades não são constituídas previamente no âmbito do abstrato e posteriormente materializadas em imagens e outros artefatos, mas que estes participam ativamente de sua construção, serão analisadas as características, as posturas e os hábitos associados às mulheres e aos homens do período. / This research deals with the representation of gender in the advertisements of the Mappin store published between the years of 1931 and 1945. As they moved through society, the ads spread products while imparting insights into what would constitute the femininity and masculinity of the period. Assuming that identities are not previously constituted within the abstract and subsequently materialized in images and other artifacts, but that they actively participate in their construction; the characteristics, postures, and habits associated with women and men of the period will be analyzed.

This dissertation examines material cultural productions as meaning-making practices that memorialize migrant lives within a context that creates and sustains the conditions for migrant deaths. I explore the Migrant Quilt Project to understand the rhetorical force and function of memorializing quilts in neoliberal contexts where migrant lives are devalued and migrant deaths appear insignificant. Since the US Border Patrol first implemented the tactic of Prevention Through Deterrence, migrant deaths have increased, totaling almost 3,000 migrant deaths in the Sonoran Desert of Southern Arizona since 2000. As a response, activist quilters with The Migrant Quilt Project carefully craft quilts from clothing left behind by migrants crossing the desert. Each quilt documents migrant deaths from a specific year, as recorded by the Pima County Office of the Medical Examiner, and includes the name of each migrant or "unknown" or "desconocido" for unidentified migrants that died that year. The quilts memorialize and humanize migrants to bring awareness to migrant deaths in the Southern Arizona community. I examine the quilts of the migrant quilt project and incorporate insights from interviews with quilters. This analysis reveals that the quilters carefully compose their quilts and employ particular rhetorical strategies to accomplish three goals: to humanize migrant lives through (counter) narrative, to memorialize migrant lives to resist erasure, and to raise awareness of what the quilters term the "reality" human migration. I argue that these three goals ultimately function to challenge dominant narratives of migrants and teach viewers about the ill effects of immigration policy. To theorize quilting as a method, this dissertation also focuses on my experience creating a quilt for the Migrant Quilt Project and explores the value of composing text(iles) as contributing to scholarly inquiry. Quilting as a method challenges traditional concepts of research and rigor to expand those concepts, which allows my particular project the opportunity to consider myself implicit in the plight of migrants. Quilting as method also facilitates a dialectical research process, which promotes an always changing perspective and research trajectory. This dialectical process expands understanding of the migrant experience and facilitates a thoughtful awareness when composing data representation. I argue that quilting as a feminist qualitative research method facilitates a nuanced understanding of the research questions about migrants and migrant representation. Ultimately this dissertation considers the productive possibilities of studying text(iles) and also of making text(iles). In completing this research, I argue that studying and composing quilts promotes tactile research methods to value various literacies and qualitative data representation. This research also provides pedagogical tools for rhetoric and composition scholars to value various ways of knowing and to study overlooked histories in their classrooms. Lastly, this research provides the possibilities for people to learn about the experiences of migration and the ill effects of immigration policies on fellow humans.

The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound. / Arts, Faculty of / Music, School of / Graduate

As an academic discipline, the earth sciences generate, use, and retain vast quantities of objects. This ‘material archive’ exists, first and foremost, as a functional scientific resource; the objects that it contains were never intended to express culture. Since the earth sciences rely heavily on claims that its objects of study remain the same as they were in nature, it follows that the specimens contained in university earth science collections are treated as objective scientific evidence. In this sense, the material that is collected, used and retained by earth scientists may appear to be devoid of culture – passive, inert and neutral.This thesis sets out to challenge these assumptions by treating university earth science objects and collections as material culture. In material culture studies, geological materials appear in a variety of different forms and contexts, however, such work has tended to focus on either their occurrence in the landscape, or their use as raw materials from which objects are made. Thus, while the earth sciences provide an abundant source of ‘material’ for material culture studies, rarely (if at all) do they seem to provide the culture. Furthermore, while the treatment of ‘natural’ objects as cultural artefacts has become increasingly popular in museology, much of this work has concentrated on the processes and practices that are enacted on these things in museums. Museology has therefore tended to consider these things in what effectively corresponds to their retirement, meaning that with few exceptions, little attention has been paid to their active use as functional scientific objects. This research explores the implications of treating university earth science objects and collections as material culture through the empirical investigation of contemporary object-related practices in UK earth science departments and university museums. As such this thesis addresses questions surrounding the relevance of existing theories and methods, in both material culture studies and museology, for exploring natural scientific objects and collections. These questions are approached through four thematic chapters concerned with the coming into being of earth science objects, their transformation into collection items, their functions, and their mobility.

Coast Salish coiled basketry has been a much-neglected area of research. Previous investigations into this topic have been primarily concerned with geo-cultural distributions, and discussions pertaining to stylistic attributes. In recent years several scholars have turned their attention to the topic of Salish weavings, but they have focused their efforts quite narrowly on textiles made from wool and other similar fibres to the exclusion of weaving techniques such as basketry which utilise local roots and barks. This thesis will focus exclusively on one type of Salish basketry - coiled basketry. In this thesis I explore different ways of identifying, or "knowing", Coast Salish coiled cedar root basketry. I specifically focus on Sto:lo basketry and identify three ways in which Sto:lo basket makers "know" these objects. First I discuss the Halkomelem terminology and what insights it provides to indigenous classification systems. Secondly, I situate coiled basketry in a broader Coast Salish weaving complex in order to discuss how basketry is influenced by other textile arts. This also enables me to explore how Sto:lo weavers identify a well-made object. In the final section I discuss ownership of designs by individuals and their families. This research draws primarily from interviews conducted with Sto:lo basket makers between May and September 2000 in their communities and at the Museum of Anthropology at UBC. It is supplemented by interviews with basket makers from other Salish communities and by the ethnographic literature on this topic. / Arts, Faculty of / Anthropology, Department of / Graduate

The earth home, in its many varieties and styles, played an important role in the development of the American Great Plains during the mid-nineteenth century. However, the lack of further study into the material culture of these homes has allowed many of these homes to be misrepresented in the historical record as temporary shelters. Not all of the earth homes constructed during this period were temporary. Further study of the materials used, the locations in which they were built, and their construction methods suggest that many of these homes were built to last. The three case studies used in this thesis represent a large number of earth homes still standing today. The findings of this study enhance the history of the region and open up new avenues for further research on earth homes as well as the possibilities and the importance of their preservation.

This essay concerns with ways in which is childhood in the relatively small and isolated village commodificated. The research focuses on the way how do local women during pregnancy and in the period after the birth make a layette for their infants. It explores which objects or attitudes are for these women during making the layette important and how these things later enter the interaction of local inhabitans. It shows, that objects socially work mainly on three degrees: during negotiating of own social status, dignity and during the manifestation of love, in the sense of care and concern. Objects are not only the way how to confirm or improve one's social position, but it is also a public manifestation of love. The essay later explores ways, how these factors work in a social life of the village and also the role, which objects play in this proces.

Traditionally, academic narratives on Irish immigration to the Americas have focused on experiences of dislocation caused by changes in geography. Settlers, they argue, clung to Old World identities, adapted to new cultural habits or mixed the two. This dissertation explores the social and cultural transitions of Irish immigrants who arrived in New Orleans between 1780 and 1820, or during the city’s late Spanish colonial and early national period. Employing an object-focused perspective, it shows that these persons inhabited a transoceanic setting that linked Ireland and the Gulf Coast together in their shared investments in commerce and conscious consumerism. This resulted in a significant overlap between travelers’ Old and New World lives, and it suggests a new migratory model focused on continuity across the Atlantic Ocean. Referencing the examples of foods, linens and enslaved persons, this dissertation shows that Irishmen and women had ample contact with the non-local, even before they moved overseas. This prepared them, in many ways, for their lives abroad. Some goods, like the South American potato, were so ingrained in island culture by the late 1700s that consumers forgot its foreign provenance. Others, like textiles, had values that changed between Ireland and Louisiana. The example of slaveholding, in particular, points to the ways that immigrants encountered human-commodities common to their visual culture but unrecognizable in practice. The many Irish immigrants who became slave-owners, ultimately, adapted material languages concerning wealth and status they brought from Europe to these new consumerism. They thus made sense of the exotic in familiar terms. By examining the growth of commercial webs and the market availabilities of early New Orleans, this project offers an intimate look at experiences of movement, materiality and cosmopolitanism in the late eighteenth and early nineteenth centuries. / acase@tulane.edu