Blue Mosque

https://digital.kenyon.edu/arthistorystudycollection/2716/thumbnail.jp

Süleymaniye Mosque

https://digital.kenyon.edu/arthistorystudycollection/2750/thumbnail.jp

My Life is Red, Yellow And Blue Respectively (Red Series) 我的生活分别是发红，发黄，发蓝的 （红系列）

In the artist\u27s statement, Zhao Shaoruo explained that the My Life is Red, Yellow, And Blue Respectively photographic series documented the artist\u27s personal life (spiritually and materially). It is composed of three independent series: red, yellow, and blue. There are ten photos in each series. In the Red Series , there are five photos of his left-hand holding certificate, silk flag and rewards; there are other five photos of his right-hand holding deposit book, cashier\u27s check and a picture of his dog. In the artist\u27s words, his left hand holds honor and right hand holds wealth. Zhao was one of students at Tiananmen square democracy movement in 1989 while attending the Central Academy of Fine Art. He was arrested shortly after the incident and released the following year and arrested again for 50 days in 1994. This series may express his self-reflection on his economic and academic life under the rule of the Communist party. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhou/1618/thumbnail.jp

THE HARM OF LEGAL PEDAGOGY IN ELITE LAW SCHOOLS

Elite law schools play a critical role in shaping the legal profession, yet they also function as sites of racial exclusion and stratification. The harm of legal pedagogy refers to the ways that law school curricula negatively impact students of color and reinforce racialized structures that impact the legal profession outside of the classroom. While the American Bar Association (ABA) has recently mandated that law schools offer courses on race, it does not require students to take them, leaving racial equity on the periphery of legal education. This thesis explores how elite law schools, particularly Duke, UVA, UCLA, and Harvard, navigate curricular reform related to race and social justice. First through an analysis of Duke Law’s course bulletins from 1970-2024 and then via a comparative study of the four aforementioned schools from 2010-2024, I find that most law school curricula have been slow to incorporate race and, when they do, schools base their reforms on public standards of success rather than an institutional commitment to racial justice. Further, using ABA data, my examination of Black student enrollment at these schools demonstrates that the inclusion of race-related courses does not necessarily correlate with more diverse enrollment, complicating assumptions that curricular reform alone can transform law schools into racially equitable spaces. In the concluding chapter, I unpack how law schools’ resistance to meaningful curricular change reflects their broader positioning in whiteness and elite status, which shapes generations of legal professionals who remain largely unaware of the law’s role in reproducing racial inequality

AP.061 Isa Bey Camii

An image of the courtyard of the Isa Bey Mosque exhibiting the fountain situated in the centre of the courtyard, which was probably also used by worshippers to perform ablution.https://digital.kenyon.edu/baly/1513/thumbnail.jp

Fabricating Femininity: Interwoven Threads of Gender, Race, and Empire in Burney and Brontë

In each interwoven thread, textiles archive the histories of a multitude of disparate yet interconnected people, from those who harvest the raw fibers of cotton and silk to those who buy and wear such fabrics. My thesis asks how the tensions of empire and nation embedded in textiles function within the eighteenth and nineteenth-century British novel to fabricate ideals of white, English womanhood. In my readings of two novels by English women writers, Frances Burney and Charlotte Brontë, I examine the process through which women are metonymically associated with the material qualities and histories in textiles and how the women in these novels actively assert their own agency and identities through their work with and self-fashioning of textiles. My chapter on Burney’s The Wanderer; or, Female Difficulties (1814) looks at the heroine Juliet’s interactions with silk and French textiles alongside the history of England’s small but symbolically important domestic silk industry, stereotypes of French fashion and silk, and the smuggling of fabrics between the two countries to further elucidate the conflicts of nationalism, race, and gender throughout the novel. Reflecting the dominance of cotton as the decades progress, my next chapter on Brontë’s Villette (1853) analyzes the muslin and cambric needlework of a young girl, Paulina, as well as the mass of fabrics in a painting of Cleopatra. I examine the veiled violence of Paulina’s needlework and the commodification of Cleopatra alongside the history of the East India Company’s trade in cotton to understand the shifting image of white British womanhood during the Victorian period