9,880 research outputs found

    Lift EVERY Voice and Sing: An Intersectional Qualitative Study Examining the Experiences of Lesbian, Gay, Bisexual, and Queer Faculty and Administrators at Historically Black Colleges and Universities

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    While there is minimal literature that address the experiences of lesbian, gay, bisexual, and trans* identified students at Historically Black Colleges and Universities (HBCUs), the experiences of Black, queer faculty and administrators at HBCUs has not been studied. This intersectional qualitative research study focused on the experiences of lesbian, gay, bisexual, and queer identified faculty and administrators who work at HBCUs. By investigating the intersections of religion, race, gender, and sexuality within a predominantly Black institution, this study aims to enhance diversity, equity, and inclusion efforts at HBCUs by sharing the experiences of the LGBQ faculty and administrators that previously or currently work at an HBCU as a full-time employee. The research questions that guided this study were 1) How have LGBQ faculty and staff negotiated/navigated their careers at HBCUs? and 2) How do LGBQ faculty and staff at HBCUs influence cultural (relating to LGBQ inclusion) change at the organizational level? The main theoretical framework used was intersectionality and it shaped the chosen methodology and methods. The Politics of Respectability was the second theoretical framework used to describe the intra-racial tensions within the Black/African American community. The study included 60-120 minute interviews with 12 participants. Using intersectionality as a guide, the data were coded and utilized for thematic analysis. Then, an ethnodramatic performance engages readers. The goals of this study were to encourage policy changes, promote inclusivity for LGBQ employees at HBCUs, and provide an expansion to the body of literature in the field pertaining to the experiences of LGBQ faculty and administrators in higher education

    Dialogical arts through sustainable communities: acting on the margins, redefining empowerment

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    The Disputation: The Enduring Representations in William Holman Hunt's “The Finding of the Saviour in the Temple,” 1860

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    This interdisciplinary thesis problematizes the Jewish presence in the painting The Finding of the Saviour in the Temple (1860) by William Holman Hunt. This “Jewish presence” refers to characters within the painting, Jews who posed for the picture and the painting’s portrayal of Judaism. The thesis takes a phenomenological and hermeneutical approach to The Finding providing careful description and interpretation of what appears in the painting. It situates the painting within a newly configured genre of disputation paintings depicting the Temple scene from the Gospel of Luke (2:47 – 52). It asks two questions. Why does The Finding look the way it does? And how did Holman Hunt know how to create the picture? Under the rubric of the first question, it explores and challenges customary accounts of the painting, explicitly challenging the over reliance upon F.G. Stephens’s pamphlet. Additionally, it examines Pre-Raphaelite and Victorian religious contexts and bringing hitherto unacknowledged artistic contexts to the fore. The second question examines less apparent influences through an analysis of the originary Lukan narrative in conjunction with the under-examined genre of Temple “disputation” paintings, and a legacy of scholarly and religious disputation. This demonstrates a discourse of disputation informing The Finding over and above the biblical narrative. In showing that this discourse strongly correlates with the painting’s objectifying and spectacular properties, this thesis provides a new way to understand The Finding’s orientalism which is further revealed in its typological critical reworking of two Christian medieval and renaissance paintings. As a demonstration of the discourse, the thesis includes an examination of Jewish artists who addressed the theme of disputation overtly or obliquely thereby engaging with and challenging the assumptions upon which the disputation rests

    The temporality of rhetoric: the spatialization of time in modern criticism

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    Every conception of criticism conceals a notion of time which informs the manner in which the critic conceives of history, representation and criticism itself. This thesis reveals the philosophies of time inherent in certain key modern critical concepts: allegory, irony and the sublime. Each concept opens a breach in time, a disruption of chronology. In each case this gap or aporia is emphatically closed, elided or denied. Taking the philosophy of time elaborated by Giorgio Agamben as an introductory proposition, my argument turns in Chapter One to the allegorical temporality which Walter Benjamin sees as the time of photography. The second chapter examines the aesthetics of the sublime as melancholic or mournful untimeliness. In Chapter Three, Paul de Man's conception of irony provides an exemplary instance of the denial of this troubling temporal predicament. In opposition to the foreclosure of the disturbing temporalities of criticism, history and representation, the thesis proposes a fundamental rethinking of the philosophy of time as it relates to these categories of reflection. In a reading of an inaugural meditation on the nature of time, and in examining certain key contemporary philosophical and critical texts, I argue for a critical attendance to that which eludes those modes of thought that attempt to map time as a recognizable and essentially spatial field. The Confessions of Augustine provide, in the fourth chapter, a model for thinking through the problems set up earlier: Augustine affords us, precisely, a means of conceiving of the gap or the interim. In the final chapter, this concept is developed with reference to the criticism of Arnold and Eliot, the fiction of Virginia Woolf and the philosophy of cinema derived from Deleuze and Lyotard. In conclusion, the philosophical implications of the thesis are placed in relation to a conception of the untimeliness of death

    Queer spies in British Cold War culture: literature, film, theatre and television

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    This PhD thesis investigates how male homosexuality has been represented in British spy fiction from the 1950s to the 2010s in multiple media: literature, film, television and theatre. Due mainly to the betrayal of the Cambridge Spy ring around the middle of the century, British culture has associated spies with homosexuality, while the wider Anglophone world was in the grip of a homophobic atmosphere created by McCarthy's Red Scare. My thesis explores how this history is reflected in the spy genre from the Cold War to the present, in which male homosexuality and secret agency intersect as “queer”, in so far as they were both considered to be discreet and criminal, existing outside of the heteronormative order. By following multiple texts across media and time, I discuss how some writers, television and film directors and actors update queer identity in spy fiction, creating a shifting image of queer spies through decades. I refer to the findings of adaptation studies and queer studies, along with numerous studies on spy fiction. I conclude that the interrelation of different media has contributed to the re-drawing of queer identity in spy fiction. These developments have enabled the spies' queer identity to transcend its pejorative history in British culture, towards its more flexible and pliant sense which is designated by the term's modern usage. I also discuss that spies’ homosexuality has been represented as a fleeting ghost in most of the texts examined, hovering on the margins of pages and screen. Although homosexuality is not “the love that dare not speak its name” anymore, clandestine queer spies have been preserved as spectral others in the genre for many years. Spy fiction is a cultural repository retaining the memory of violence inflicted against those who have been called “queer” in twentieth century Britain, and the spectral nature of queer spies narrates this history reaching back to the Oscar Wilde trial in 1895, from which point British queer identity as we know now developed. This thesis benefits the study of spy fiction by filling a gap in the investigation of homosexual representation. It also contributes to the field of gender studies of literature, film, television, and theatre by illustrating queer history in a genre which has not received a great deal of focus on its representation of homosexuality. Spy fiction occupies a central position in British popular culture, and by exploring this genre in terms of homosexuality, this research will identify the role which same-sex desire has historically played in the British cultural imagination

    Supernatural crossing in Republican Chinese fiction, 1920s–1940s

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    This dissertation studies supernatural narratives in Chinese fiction from the mid-1920s to the 1940s. The literary works present phenomena or elements that are or appear to be supernatural, many of which remain marginal or overlooked in Sinophone and Anglophone academia. These sources are situated in the May Fourth/New Culture ideological context, where supernatural narratives had to make way for the progressive intellectuals’ literary realism and their allegorical application of supernatural motifs. In the face of realism, supernatural narratives paled, dismissed as impractical fantasies that distract one from facing and tackling real life. Nevertheless, I argue that the supernatural narratives do not probe into another mystical dimension that might co-exist alongside the empirical world. Rather, they imagine various cases of the characters’ crossing to voice their discontent with contemporary society or to reflect on the notion of reality. “Crossing” relates to characters’ acts or processes of trespassing the boundary that separates the supernatural from the conventional natural world, thus entailing encounters and interaction between the natural and the supernatural. The dissertation examines how crossing, as a narrative device, disturbs accustomed and mundane situations, releases hidden tensions, and discloses repressed truths in Republican fiction. There are five types of crossing in the supernatural narratives. Type 1 is the crossing into “haunted” houses. This includes (intangible) human agency crossing into domestic spaces and revealing secrets and truths concealed by the scary, feigned ‘haunting’, thus exposing the hidden evil and the other house occupiers’ silenced, suffocated state. Type 2 is men crossing into female ghosts’ apparitional residences. The female ghosts allude to heart-breaking, traumatic experiences in socio-historical reality, evoking sympathetic concern for suffering individuals who are caught in social upheavals. Type 3 is the crossing from reality into the characters’ delusional/hallucinatory realities. While they physically remain in the empirical world, the characters’ abnormal perceptions lead them to exclusive, delirious, and quasi-supernatural experiences of reality. Their crossings blur the concrete boundaries between the real and the unreal on the mental level: their abnormal perceptions construct a significant, meaningful reality for them, which may be as real as the commonly regarded objective reality. Type 4 is the crossing into the netherworld modelled on the real world in the authors’ observation and bears a spectrum of satirised objects of the Republican society. The last type is immortal visitors crossing into the human world. This type satirises humanity’s vices and destructive potential. The primary sources demonstrate their writers’ witty passion to play with super--natural notions and imagery (such as ghosts, demons, and immortals) and stitch them into vivid, engaging scenes using techniques such as the gothic, the grotesque, and the satirical, in order to evoke sentiments such as terror, horror, disgust, dis--orientation, or awe, all in service of their insights into realist issues. The works also creatively tailor traditional Chinese modes and motifs, which exemplifies the revival of Republican interest in traditional cultural heritage. The supernatural narratives may amaze or disturb the reader at first, but what is more shocking, unpleasantly nudging, or thought-provoking is the problematic society and people’s lives that the supernatural (misunderstandings) eventually reveals. They present a more compre--hensive treatment of reality than Republican literature with its revolutionary consciousness surrounding class struggle. The critical perspectives of the supernatural narratives include domestic space, unacknowledged history and marginal individuals, abnormal mentality, and pervasive weaknesses in humanity. The crossing and supernatural narratives function as a means of better understanding the lived reality. This study gathers diverse primary sources written by Republican writers from various educational and political backgrounds and interprets them from a rare perspective, thus filling a research gap. It promotes a fuller view of supernatural narratives in twentieth-century Chinese literature. In terms of reflecting the social and personal reality of the Republican era, the supernatural narratives supplement the realist fiction of the time

    Songs without borders: complex interpretative song worlds and the audiences that inhabit them

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    The genre of music commonly referred to as art song often elicits emotionally charged responses in accounts of audience experiences. However, scholarship has largely neglected the object of inquiry where these responses and experiences materialise: the live art song event. The principal research task in this study is to investigate audience experience of live art song events in the UK. The audiences and events at the centre of this inquiry coalesce around the work of the art song promoter Oxford Lieder. Using a mixed method approach (questionnaire, diary methods and guided interviews), statistical and thematic analysis, and Interpretative Phenomenological Analysis, is applied to a dataset that utilises 82 individual participants’ experiences of live art song events, including regular attendees and those experiencing live art song for the first time. To frame the findings of this inquiry, this study establishes the concept of complex interpretative song worlds: defined as a collection of interactions that audience members draw upon to construct their experience of live art song events, through a dynamic and multi-faceted interplay with the system of possibilities afforded by live art song environments. In this study, complex interpretative song world theorising takes place across three levels of audiencing: (1) Interactions with the live art song domain (the norms, behaviours, and conventions of live art song environments) are gathered under three themes. Collecting activity sees a desire for participants to scrutinise song objects, embrace familiar artists and repertoire, and adopt a connoisseur-like approach to knowledge acquisition. Connecting activity reveals a prized sense of close psycho-social resonance, which takes place between songs, performers, spaces and everyday experiences. Venerating activity foregrounds a view of songs as inviolable objects, where perceived changes to songs are deemed heretical by some, examined through the (re)introduction of sung English translations into the live art song corpus. (2) Interactions with live art song objects (the lexical and musical features that make up songs) reveal the ways audience members process words and music, and prioritise either, or both features during live art song events. The presentation of these materials in ways that blur senses (sights and sounds), and time (before, during, and after performances), are shown to be as additive to audience member conceptualisations of the nature of lexical-musical relationships as they are disruptive. (3) Interactions with live art song actors (performers, producers, and audiences) reveal processes of role formation at work, where vocal acts, non-vocal acts, and fixed and non-fixed traits complicate the way audience members derive impressions of performers. Art song’s hybridity as a genre, which is not a dramatic form, yet ‘not not’ a dramatic form, reveals the imbricated way audience members construct identities of performers: as professional musicians; as human beings; and as inhabitants of roles defined textually through a song’s poetic content. This interdisciplinary study draws predominantly on three overlapping areas of scholarship, and makes new contributions to knowledge in all three. For musicology, this inquiry develops deeper understandings of live art song objects to complement the hegemony of hermeneutic, musico-analytical and historiographical research that typifies much of the existing art song literature. For audience studies, these findings provide new audiencing insights, by examining an art form not yet analysed by empirical audience research methods, and one that simultaneously combines both words and music as a mode of expression. For translation theory, this inquiry responds to calls within the existing literature for more research to understand the reception of translation in music. This study also generates dividends outside of the academy, providing new insights for performers and promoters of art song to inform approaches to programming, presentation, production, marketing and audience development

    Strung pieces: on the aesthetics of television fiction series

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    As layered and long works, television fiction series have aesthetic properties that are built over time, bit by bit. This thesis develops a group of concepts that enable the study of these properties, It argues that a series is made of strung pieces, a system of related elements. The text begins by considering this sequential form within the fields of film and television. This opening chapter defines the object and methodology of research, arguing for a non-essentialist distinction between cinema and television and against the adequacy of textual and contextual analyses as approaches to the aesthetics of these shows. It proposes instead that these programmes should be described as televisual works that can be scrutinised through aesthetic analysis. The next chapters propose a sequence of interrelated concepts. The second chapter contends that series are composed of building blocks that can be either units into which series are divided or motifs that unify series and are dispersed across their pans. These blocks are patterned according to four kinds of relations or principles of composition. Repetition and variation are treated in tandem in the third chapter because of their close connection, given that variation emerges from established repetition. Exception and progression are also discussed together in the fourth chapter since they both require a long view of these serial works. The former, in order to be recognised as a deviation from the patterns of repetition and variation. The latter, In order to be understood in Its many dimensions as the series advances. Each of these concepts is further detailed with additional distinctions between types of units, motifs, repetitions, variations, and exceptions, using illustrative examples from numerous shows. In contrast, the section on progression uses a single series as case study, CarnivĂ le (2003-05), because this is the overarching principle that encompasses all the others. The conclusion considers the findings of the research and suggests avenues for their application

    The empty space in abstract photography: a psychoanalytical perspective

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    The aim of the research that this thesis is based on is to explore the theoretical problems raised by the concept of photographic abstraction. These consist in the tension between the two aspects of the photographic sign, the indexical and iconic, and are examined in the context of the particular exploration of the empty space in abstract photography which I have pursued through my practice. The investigation draws mainly upon the psychoanalytic theory of transitional phenomena as proposed by Winnicott, as well as other art theories (Deleuze & Guattari, Ehrenzweig, Fer, Fuller, Greenberg, Joselit, Kuspit, Leider, Worringer) of abstraction. It explores the relationship of the abstract photographic image to notions of exteriority and interiority as these relate to the transition from the unconscious to conscious reality. The development of this research suggests the psychoanalytical concept of potential space as a contribution to an aesthetic model of abstraction. This concept is employed as a methodological tool in the development of the practical work and creates a framework for its interpretation. The concept of potential space is based on Winnicott's ideas around "playing with the real" in an intermediate area of experience between the internal and external reality, where creativity originates as a zone of fictive play that facilitates the subject's journey from "what is subjectively conceived of' to "what is objectively perceived. " The outcome of this investigation constitutes the production of a series of photographs describing an empty abstract space, one that is invested with a psychic dimension that produces the effect of ambiguity between its representational and abstract readings. It provides a redefinition of abstraction in a space of tension between the iconic and indexical aspects of the sign and opens up the space of abstraction in photography as one in which the relationship between inner and outer reality can be performed and can become a space of action and intervention

    Pontus in Antiquity: aspects of identity

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    The purpose of this thesis is the presentation of the interaction between the successive inhabitants of Pontus in antiquity, indigenous Anatolians, Greeks, Persians and Romans. Limited archaeological evidence cannot determine the precise extent of interaction, although the available information substantiates the notion of a slow, but steady amalgamation. Initially, the intermingling was based on mutual trading links. Although the Hellenic cultural element tended to surface, Eastern factors remained visible. The Mithridatic dynasty was established around the vicinity of Pontus, creating the 'Kingdom of Pontus' which reached its height under Mithridates VI. His administrative and military policy appears to have placed the foundations for the later, Roman corresponding structures. His policies-propaganda reflected the GraecoEastern image of a king, which appealed to the Greek and Persian-Eastern inhabitants of his kingdom, Asia Minor and, to a lesser extent, mainland Greece. This GraecoEastern image might have nourished the concept of a shared history among the inhabitants of Pontus. Their interactions appear to have given rise to an unnamed, local culture, which was enriched with the relevant Roman practices. Around the third century A.D., the Roman administrative patterns might have established an externally defined appellation. During Roman times, Christianity started to be established in Pontus. Although it was not yet a socio-political factor, its non-racial nature prevailed in later centuries. The influence of the Roman-Christian elements can still be observed in the modern Ponti an identity. In antiquity, (lack of) evidence indicates that no group defined themselves as 'Pontics' or 'Pontians' and an internally defined Pontic identity is unlikely to have existed. However, people associated themselves with the geographical area of Pont us, cultural and religious concepts were frequently amalgamated, while the notion of a common descent and a shared history might have been unconsciously fostered. These factors can assist in the understanding of the 'Pontians' today
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