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

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 196-203). Also available for download via the World Wide Web; free to University of Oregon users.

The purpose of this project is to explore how the community planning and style of housing of Temple Terrace Estates embodies the socio-economic conflicts inherent to the United States in the 1920s. To account for missing narratives, I will approach this research from a critical cultural perspective. I chose this approach as a way to investigate the power dynamics in the city during the time it was known as Temple Terrace Estates Inc. The Estates attracted investors by encouraging northerners to purchase a Mediterranean Revival or Spanish Colonial style villa in conjunction with a parcel of a large orange grove, which would be tended by paid laborers. The rigorous nostalgia for a colonial past resulted in marginalization of the laboring class and a loss of their voice in history. Thus, my objective is to bring attention to unrepresented experiences that exist within a dominant narrative The following chapters outline the history of Temple Terrace Estates, examine primary sources, and discuss my experience of living in the city. They also explain the theories and methods I use in the analysis such as space/place theory, critical cultural theory, and suburban theory. I tell the story of the conception and construction of The Estates as part of the story of Tampa, Florida, and the United States during the 1920s. Next, I examine the presence of both domestic and agricultural labor in the Estates and discuss the inherent exclusion of laborer's voices in the city's history. I analyze maps, ads, marketing, newspaper thesiss, housing styles, and agricultural practices of the Estates. Knowledge of the city's past provides a way to create meaning in contemporary issues such as historic preservation, crime, and education in the city. Addressing social inequality and implied violence in the history of labor at the Estates might strengthen current accusations of continued racism. However, the omission of the voices of laborers also perpetuates secrecy and mistrust. If Temple Terrace's recent initiative toward historic status is to succeed, there must be support from the community. Scholars and community members of Temple Terrace must acknowledge the continual re-production and re-presentation of the past with a more inclusive narrative. This study demonstrates that the application of critical cultural theory has relevant application today in its ability to diffuse current conflict and aid in historic preservation. Inclusive narratives of the past can help produce safer and more beautiful more beautiful communities for the future.

9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the fear of, but not suppress, the Other. The 21st Century Gothic genre is therefore no longer subversive, but appropriated to educate the unaware public. / published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

Yuan Hongdao was an eminent leader of the Gong'an school in the literary circles during the Wanli Reign of the Ming Dynasty. Inevitably influenced by the trend of thought supported by the Confucian scholars who followed Wang Yangming's (1472-1529) intellectual movement of "learning of the mind" and "innate knowing", which was closely correlated with the reinvention of Chan Buddhism, Yuan Hongdao became an advocate of free expression of innate sensibility and an expert in Chan meditation. The Shan hu lin was an expression of Yuan Hongdao's thoughts on Chan practice and self-cultivation and bore a deep meaning of the integration of Confucianism, Buddhism, and Daoism. This thesis reveals Yuan Hongdao's association with Chan Buddhism, examines the writing of the Shan hu lin, and analyzes its textual content, in order to demonstrate the revival of Chan Buddhism in the literati circle during the late Ming period.

This thesis examines the development of one of the twentieth century’s largest North American faith missions, the dual-organizational combination of the Wycliffe Bible Translators (WBT) and the Summer Institute of Linguistics (SIL) from its founding in 1934 to 1982. WBT-SIL grew out of the distinctive vision of its founder, William Cameron Townsend (1896-1982), a former Central American Mission missionary. The extraordinarily inventive Townsend conceived of an approach to Christian mission that construed Bible translation as a linguistic and quasi-scientific enterprise, thereby permitting the non-sectarian SIL side of the organization to collaborate with anticlerical governments in Latin America, where it undertook pioneer Bible translation for indigenous peoples speaking as-yet unwritten languages. This unique government relations and scientific approach to missions was at many points in conflict with the prevailing missionary ethos of the organization’s North American evangelical constituency. Therefore the WBT side of the mission functioned as the religious arm of the enterprise for the purposes of publicity and recruiting. The dual organization drew sharp critique from nearly every quarter, ranging from North American evangelicals to Latin American Catholics to secular anthropologists. The controversial nature of the organization begs the question: Why did WBT-SIL become the largest faith mission of the twentieth century? This study seeks to answer this question by analysing the development WBT-SIL in both its foreign and domestic settings. The principal argument mounted in this thesis is that WBT-SIL met with success because its leaders and members followed Townsend’s lead in pragmatically adapting the organization to widely varying contexts both at home in North America and abroad as it sought to serve indigenous peoples through Bible translation, literacy and education. By striking a creative balance between maintaining the essentials of a traditional faith mission and imaginative breaking with convention when conditions necessitated a progressive approach, WBT-SIL became one of the largest and yet most unusual of twentieth-century evangelical missions.

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The images and interpretations of characters of ethnic culture (singers of sutartinės, musicians playing international instruments, kanklės players, skudučiai players, Mardi Grass and personages of the festival), relevant for members of the Lithuanian folklore ensembles in the 21st century are analysed in the dissertation. On the basis of interviews with members and leaders of folklore ensembles, specialists and visitors of events, a questionnaire survey of members of folklore ensembles, observations of events, analysis of audio and video records and texts of members of folklore ensembles, specialists and scholars, scholars’ attitudes about these characters in the old ethnic culture is discussed, the history of the related practices in the folklore ensemble movement is reviewed and interpretations and expressions of the characters in folklore ensembles are analysed. The research of several images of characters of ethnic culture, their interpretations and expressions reveals that many features described by scholars can be noticed in one, quite seamless movement of revival of ethnic music – in the Lithuanian movement of folklore ensembles. Despite available sources, members of folklore ensembles consider their personal experience of the countryside as the most valuable source for construction of their vision of ethnic culture. This can be regarded as the most important feature of the vision of ethnic culture relevant for the movement of folklore ensembles. / Disertacijoje nagrinėjami Lietuvos folkloro ansamblių nariams aktualūs etninės kultūros veikėjų – sutartinių giedotojų, bendratautiniais instrumentais grojančių muzikantų, kanklininkų skudutininkų, Užgavėnių ir jų personažų – įvaizdžiai bei jų XXI a. pr. interpretacijos. Remiantis interviu su folkloro ansamblių nariais, vadovais, specialistais ir renginių lankytojais, anketine folkloro ansamblių narių apklausa, renginių stebėjimais, folkloro ansamblių narių, specialistų ir mokslininkų tekstų, garso ir vaizdo įrašų analize pristatomos mokslininkų nuomonės apie nagrinėjamus veikėjus senojoje etninėje kultūroje, gilinamasi, kada folkloro ansambliai atkreipė dėmesį į konkrečią muzikinę praktiką bei su ja susijusį veikėją, ir analizuojama jo vaizdinių interpretacijos ir raiška. Kelių etninės kultūros veikėjų įvaizdžių, jų interpretacijų ir raiškos tyrimas parodė, kad viename, sąlyginai vientisame etninės muzikos gaivinimo judėjime, koks yra Lietuvos folkloro ansamblių judėjimas, galima pastebėti daugybę mokslininkų išskirtų šiems judėjimams būdingų bruožų. Nepaisant prieinamų šaltinių, konstruodami savą etninės kultūros viziją ansambliečiai vertingiausiu šaltiniu laiko asmeninę kaimo patirtį. Tai galima laikyti svarbiausiu folkloro ansamblių judėjimui aktualios etninės kultūros vizijos aspektu.

Disertacijoje nagrinėjami Lietuvos folkloro ansamblių nariams aktualūs etninės kultūros veikėjų – sutartinių giedotojų, bendratautiniais instrumentais grojančių muzikantų, kanklininkų skudutininkų, Užgavėnių ir jų personažų – įvaizdžiai bei jų XXI a. pr. interpretacijos. Remiantis interviu su folkloro ansamblių nariais, vadovais, specialistais ir renginių lankytojais, anketine folkloro ansamblių narių apklausa, renginių stebėjimais, folkloro ansamblių narių, specialistų ir mokslininkų tekstų, garso ir vaizdo įrašų analize pristatomos mokslininkų nuomonės apie nagrinėjamus veikėjus senojoje etninėje kultūroje, gilinamasi, kada folkloro ansambliai atkreipė dėmesį į konkrečią muzikinę praktiką bei su ja susijusį veikėją, ir analizuojama jo vaizdinių interpretacijos ir raiška. Kelių etninės kultūros veikėjų įvaizdžių, jų interpretacijų ir raiškos tyrimas parodė, kad viename, sąlyginai vientisame etninės muzikos gaivinimo judėjime, koks yra Lietuvos folkloro ansamblių judėjimas, galima pastebėti daugybę mokslininkų išskirtų šiems judėjimams būdingų bruožų. Nepaisant prieinamų šaltinių, konstruodami savą etninės kultūros viziją ansambliečiai vertingiausiu šaltiniu laiko asmeninę kaimo patirtį. Tai galima laikyti svarbiausiu folkloro ansamblių judėjimui aktualios etninės kultūros vizijos aspektu. / The images and interpretations of characters of ethnic culture (singers of sutartinės, musicians playing international instruments, kanklės players, skudučiai players, Mardi Grass and personages of the festival), relevant for members of the Lithuanian folklore ensembles in the 21st century are analysed in the dissertation. On the basis of interviews with members and leaders of folklore ensembles, specialists and visitors of events, a questionnaire survey of members of folklore ensembles, observations of events, analysis of audio and video records and texts of members of folklore ensembles, specialists and scholars, scholars’ attitudes about these characters in the old ethnic culture is discussed, the history of the related practices in the folklore ensemble movement is reviewed and interpretations and expressions of the characters in folklore ensembles are analysed. The research of several images of characters of ethnic culture, their interpretations and expressions reveals that many features described by scholars can be noticed in one, quite seamless movement of revival of ethnic music – in the Lithuanian movement of folklore ensembles. Despite available sources, members of folklore ensembles consider their personal experience of the countryside as the most valuable source for construction of their vision of ethnic culture. This can be regarded as the most important feature of the vision of ethnic culture relevant for the movement of folklore ensembles.