Theses and Dissertations from UMD

Permanent URI for this communityhttp://hdl.handle.net/1903/2

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 give thesis/dissertation in DRUM

More information is available at Theses and Dissertations at University of Maryland Libraries.

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Now showing 1 - 3 of 3
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    Quiet Country
    (2021) Hensley, Alannah; Arnold, Elizabeth; Creative Writing; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Quiet Country is a collection of poetry exploring love, violence, and grief. These poems examine the way poverty, addiction, and inter-generational cycles of abuse shape the landscape of rural Arkansas, and address patterns of violence toward children, animals, and women. The collection also includes a six-poem, Queer reimagining of the myth of Cassandra of Troy.
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    Terminus and Other Stories
    (2013) Hennessee, Alison Emilia; Casey, Maud; Creative Writing; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    This collection of short fiction includes four stories. Though the situations and characters in each are unrelated, the collection as a whole treats recurring thematic interests: individual and shared origins; tension between loving one's home and needing to leave it; childhood and parenthood; and the American South. The stories are ordered to create a chronological arc from wild uncertainty of childhood to the measured acceptance of late middle age.
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    DIXIE'S LAST STAND: OLE MISS, THE BODY, AND THE SPECTACLE OF DIXIE SOUTH WHITENESS
    (2005-12-06) Newman, Joshua Isaac; Andrews, David L; Kinesiology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    The interrelated studies within this dissertation provide new insights into the problematic nature of identity and the political disposition of the performative body in the contemporary American South. In particular, this research project will expand upon an emergent critical sociology of the South, particularly by interrogating the sporting and physical cultures of the University of Mississippi ('Ole Miss')--an institution which has historically functioned to discipline and authorize a preferred culture of the segregated body and the segregation of physical cultures. By investigating the genealogical ascendancy of whiteness at the University, as well as the more contemporaneous materializations of iniquitous social hierarchies, this dissertation disrupts 'traditional' notions of representation, subjectivity, and identity at Ole Miss. Looking beyond black and white, past the conventions of modern identity theory, this study interrupts the binaries of race and gender and reconsiders the dominant subject positions which actively shape the social experience on the Ole Miss campus. Through analysis of local cultural physicalities, namely the celebrity discourses of sporting icons Archie and Eli Manning and Confederate Civil War heroes such as the 'University Greys,' the symbolic embodiments of the Ole Miss brand (from the waving of the Confederate flag to the caricatured physicalities of the sporting mascot, Colonel Rebel), the complex relations between the student body and the campus space, and the spectacular practices of corporeal whiteness, this dissertation empirically identifies and theoretically criticizes the disciplinary regimes of power which normalize and marginalize the cultural experiences of the Ole Miss student subject. Engaging a qualitatively-grounded, multimethod analysis of the multifarious ways in which whiteness is encoded and decoded through discourses of the corporeal, this project is intended to begin the formulation of a broader interpretive framework from which the cultures of the body and the discourses of overt Southern whiteness can be understood as: 1) intersecting planes of postmodern subjectivity; and 2) the return of a conservative American 'ethnocentric monoculturalism.'