UMD Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/3
New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a given thesis/dissertation in DRUM.
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Item Performing the New Face of Modernism: Anti-Mimetic Portraiture and the American Avant-Garde, 1912-1927(2010) Walz, Jonathan Frederick; Promey, Sally M.; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)At the Little Galleries of the Photo-Secession in 1912, Alfred Stieglitz received the final proofs for Gertrude Stein's experimental text portraits "Henri Matisse" and "Pablo Picasso" and subsequently published these poems in the journal Camera Work. Soon afterward a number of visual artists working in the United States began grappling with the implications of such hermetic depictions. Entering into a trans-Atlantic conversation, this fledgling modernist community created radical images that bear witness to the evolving nature of subjectivity and to an extensive culture of experimentation in portraying the individual in the first quarter of the twentieth century. One of the most salient aspects of the modernist worldview was the desire to break with the past. Earlier styles, exhibition standards, subject matter, and teaching methods all came under attack, but none more basic - and symbolic - than the ancient Greek (via the Renaissance) idea of mimesis. Freed from the expectation to replicate reality "impartially," painters and sculptors began instead to emphasize more and more their own subjective experiences through expressive color choices or formal exaggerations. Portraiture, previously so closely linked to flattering transcription and bourgeois values, became the genre par excellence for testing modernist ideals and practices. This doctoral thesis examines the small group of artists working in the United States who advanced an extreme, anti-mimetic approach to portraiture through the dissociation of the sitter from his or her likeness. Drawing on performance theory, this dissertation re-imagines the portrait as a series of events within a social nexus. It also aims to reaffirm the agency of the United States avant-garde in the 1910s and 1920s as its members sought to establish, and then maintain, their status on the American cultural scene specifically through the employment of unconventional portraiture. Through the contextualization of particular objects, the consideration of period poetry, and the incorporation of newly available archival sources, the research presented here illuminates the complex intersections of modernity, representation, and subjectivity, and charts the changes in a specific mode of visual production during the fifteen-year span of 1912 - 1927, thereby demonstrating Charles Demuth's dictum that "In portraiture...likeness is a means not an end."Item The National Woman's Party's Militant Campaign for Woman Suffrage: Asserting Citizenship Rights through Political Mimesis(2008-09-05) Stillion Southard, Belinda Ane; Parry-Giles, Shawn J.; Communication; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This project attends to ways in which the National Woman's Party's (NWP) militant woman suffrage campaign empowered U.S. women to assert their political agency and help earn women's fully-enfranchised citizenship rights through rhetorical acts of political mimesis. Specifically, this study examines how the NWP mimicked political rituals and rhetorics to simultaneously earn political legitimacy and expand women's citizenship roles in the nation-state. To this end, this project examines the NWP's suffrage discourse between 1913 and 1920 to demonstrate the ways in which the group's mimetic strategies both reified and challenged progressive and wartime notions of U.S. nationalism promoted by President Woodrow Wilson and members of Congress. These chapters trace the trajectory of the NWP's campaign as it mimicked inaugural parades, third-party strategies, and congressional and presidential politicking to empower NWP members with the political authority that rivaled the nation's political leaders. The NWP's mimetic strategies allowed NWP members to constitute their national citizenship identities as they accessed reserved political spaces, demanded the attention of President Wilson and members of Congress, engaged the U.S. citizenry as political actors, and suffered severe backlash against their militant acts. In so doing, the NWP helped normalize women's presence in the political sphere, nationalize the suffrage movement, attract national media attention, and ultimately, earn widespread recognition and political legitimacy. Finally, this study looks at the empowering and disempowering potential of political mimesis as a strategy for social and political change, particularly as the NWP formed alliances and divisions among women in national and international communities. In the process, the project looks at how the NWP's rhetoric of political mimesis shaped and was shaped by the democratizing exigencies of President Wilson's nationalist vision; in turn, the NWP's militant campaign helped re-envision the gendered nation.