The Neoliberalization of Higher Education: Paradoxing Students\u27 Basic Needs at a Hispanic-Serving Institution

Millions of college students in the United States lack access to adequate food, housing, and other basic human needs. These insecurities have only been exacerbated in recent decades by the country\u27s neoliberal approach to higher education, with disproportionately negative consequences for historically underserved populations (e.g., racial/ethnic minorities, low-income students, and first-generation college students). For each of these reasons, this study explores the organizational paradoxes faced by students attending a public, 4-year Hispanic-Serving Institution (HSI) in southern California. Drawing upon 30 semi-structured interviews with undergraduates who self-identified as historically underserved, our three-stage conceptualization of data analysis revealed three specific paradoxes: (1) provision vs. dependence, (2) sympathy vs. distancing, and (3) bootstrapping vs. unattainability. We conclude with practical and theoretical implications for alleviating the repercussions of neoliberal policies on today\u27s college students

Lessons in Sex and Fascism: Dagmar Herzog\u27s Pedagogy Workshop

On December 4, 2006 Dagmar Herzog, Professor of History at the CUNY Graduate Center, led a lively workshop titled What\u27s So Sexy about Fascism? And Why is it Important to Think About it in the Classroom? as part of the CLAGS/CSGS LGBTQ Plans Pedagogy Workshop

Dean Winchester\u27s Borderlands

This paper examines Dean Winchester\u27s existential character anxiety in the CW\u27s \u27Supernatural.\u27 Dean begins in a binary universe defined by life and death and good and evil. The hunter\u27s world is meant to be black and white, but the series instead crosses and blurs boundaries. Dean\u27s mixed identities reflect the arbitrary nature of the rules around him. This paper combines close reading of \u27Supernatural\u27 episodes with a critical theory framework to explore the rules set up and enforced in \u27Supernatural,\u27 Dean\u27s character arc and repeated deaths, and what happens in the in-between spaces

Direct transformation of maize (Zea mays L.) tissue using electroporation and particle bombardment, and regeneration of plantlets.

Thesis (M.Sc.)-University of Natal, Pietermaritzburg, 1996.Please open electronic version for Abstract

Madness, Sexuality, and Gender in Early Twentieth Century Music Theater Works: Four Interpretive Essays

Diagnoses of madness are inextricably entwined with social and cultural beliefs about gender and sexual behavior. The portrayal of characters in music theater as mad relies on contemporaneous understanding of mental illness, as often resulting from, or expressed in transgression of normative gender roles or heteronormativity, and this may apply either to male or female characters. Such transgressions are explored--with regard to recent reconceptualizations of madness within Disability Studies--in four works: Arnold Schoenberg\u27s monodrama Erwartung (1924); Richard Strauss\u27s opera Salome (1905); Kurt Weill\u27s ballet chanté, Anna-Anna (1933), also known as The Seven Deadly Sins; and Igor Stravinsky\u27s neo-classical opera, The Rake\u27s Progress (1951). Like Lucia di Lammermoor, the nineteenth-century opera with the best-known mad scene, Erwartung features a female lead character overwrought by emotion and driven to extreme behavior. Unlike Lucia, however, Die Frau--the main character in Erwartung--was created at a time when Freudian theory was spreading widely and permeating the consciousness of both its creators and its audiences, thus lending Erwartung wider interpretive possibilities. As the title character of Richard Strauss\u27s 1905 opera, Salome is often regarded as the opera\u27s source of pathological desire and mental disease; however, Herod also displays traits of madness, and these traits can be interpreted through the lens of gender studies as being essentially feminine. Anna-Anna, the protagonist of Weill\u27s ballet chanté embodies, in this reading, the Freudian concepts of schizophrenia, homosexuality, and narcissism, which Freud regarded as being inextricably entwined with one another. Baba the Turk is an essential character in The Rake\u27s Progress because she suggests and embodies a spectral homosexual presence in the opera. She queers Tom Rakewell, thus highlighting his madness as the result not only of a bad bet with Nick Shadow, but also of his inability to live up to the expectations of manhood in post-World War II America