Theses and Dissertations from UMD
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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
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Item The Unhealed Wound: Contemporary Black Diasporic Literature and the Continuing Memory of the Duvalier Dictatorship(2019) Edwards, Norrell F; Orlando, Valerie K; Mallios, Peter; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)In the 1990s, as Haiti continued to withstand the aftershocks of the end of a 29 year father-son dictatorship, the United States and France hovered in the periphery to “help” Haiti’s transition to democracy. World systems theory dictates that a country like Haiti would be relegated to the periphery while countries like the United States and France inhabit the core. The Unhealed Wound: Contemporary Black Diasporic Literature and the Continuing Memory of the Duvalier Dictatorship inverts this dynamic. This work places Port-au-Prince at the core, while New York and Paris—secondary homes to Haitian exiles and emigres—becomes the periphery. Traversing national borders, politics and disciplines, this study investigates how memory, history and literature shape the physical and imagined cityscapes of New York, Port-au-Prince and Paris. Bringing together authors such as Edwidge Danticat, Lyonel Trouillot and Shay Youngblood, Edwards questions and explores dynamics of the Black immigrant body and Haitian body in these cities in the 1980’s, 1990’s and early 2000’sItem STORIES OF A TAIWANESE DIASPORA: A NARRATIVE INQUIRY ON THE EXPERIENCES OF TAIWANESE AMERICAN STUDENTS(2018) Chang, Stephanie Hsiao-Sho; Park, Julie J; Counseling and Personnel Services; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)There is a growing emphasis on students’ cultural experiences on campus. As such, the purpose of this study was to explore Taiwanese American students and their connection to Taiwanese culture. As a critical-cultural narrative inquiry this study (a) brought attention to Taiwanese American students and their engagement with Taiwanese culture, (b) expanded upon notions of home and experiences of bicultural integration, and (c) utilized diaspora as a theoretical perspective in a student development and higher education context. Research questions guiding this exploration included the following: (1) What do Taiwanese American students identify as significant and meaningful components of Taiwanese culture? (2) How and where do Taiwanese American students connect to Taiwanese culture on campus? (3) In what ways do the experiences of Taiwanese American students contribute to the existence of Taiwanese diaspora? Eight Taiwanese American students from a Mid-Atlantic University participated in this study. Each participant engaged in two interviews. The outcome of this study included individual participant narratives and a grand narrative encompassing four themes: recognizing their parents’ influence, navigating multiple cultural contexts, finding meaningful connections in non-Taiwanese American settings, and making decisions to move closer to Taiwanese culture. This study explored the importance of Taiwanese American students’ connectedness to their ethnic cultural background.Item TRANSATLANTIC DISBELONGINGS: LOCATING LIBERATORY WORLDMAKING PRACTICES IN NIGERIAN DIASPORIC WOMEN’S ART(2018) Akinbola, Patricia; Sies, Mary Cobin; Ater, Renée; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)“Transatlantic Disbelongings: Locating Liberatory Worldmaking Practices in Nigerian Diasporic Women’s Art” examines how women artists of the Nigerian diaspora use contemporary visual art, performance, film, and literature to contest and redefine their familial, cultural, and national belonging in Nigeria and its diasporas. Foregrounding the work of five women artists: Wura-Natasha Ogunji, Njideka Akunyili Crosby, Zina Saro-Wiwa, ruby onyinyechi amanze, and Nnedi Okorafor, who straddle multiple geographies, identities, and allegiances, this project analyzes how they resist popular understandings of what has been deemed proper conduct for women in Nigeria and its diaspora—a process I call “disbelonging.” My use of disbelonging refers to the process by which female diasporic artists embrace and employ anti-respectability and queerness to recode, remix, and resist oppressive colonial legacies surrounding gender, sexuality, and national belonging in a Nigerian context. Their works depict visual and literary landscapes where women move freely through time and space, engage playfully with one another, prioritize their own desires, and unapologetically embody contradiction and taboo. This dissertation argues that their artmaking is worldmaking, which creates opportunities to reconfigure understandings of transnational flows and unsettles oppressive conceptualizations of community and family to embrace a range of affiliational tensions.Item PROTEAN GODS: A RETELLING OF HISPANIOLA’S STORY THROUGH THE MAROON(2018) Rivera, Ines Pastora; Ontiveros, Randy; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation argues that an exploration of the maroon, or the runaway slave, in literature can be a means to acknowledging the too-often-repressed historical, political, and cultural connections between Haiti and the Dominican Republic, and can also help us uncover more accurate and less restrictive versions of Hispaniola’s story. Hispaniola’s story is often told through the fatal-conflict narrative, reducing Haitian-Dominican relations to an unending cockfight. The fatal-conflict narrative paints the Dominican Republic and Haiti as two nations fated to regard one another as ultimate, foreign archenemies,destined to be in total conflict. It also paints the Dominican Republic and Haiti as two nations whose fight for Hispaniola and for the preservation of their respective cultures is fatal. The formation of the border between the Dominican Republic and Haiti has bolstered the fatal-conflict narrative, silencing a shared history of resistance and cross-pollination. My work extends and contributes to existing scholarship by uncovering instances of cooperation and collaboration that suggest alternative views of a united island and that complicate contemporary political and social realities in the Dominican Republic. Rather than reaffirming a discourse of national difference through a focus on the border, I focus on the maroon as a protean figure who undoes the fatal-conflict narrative. I argue that these change agents, the maroons, anchor the island in what Cedric Robinson calls the Black Radical Tradition, the evolving resistance of African people to oppression. Maroon figures also reveal different angles to Hispaniola’s story through their forms of resistance and penchant for metamorphoses. I also examine twentieth and twenty-first century maroons found in Dominican and Dominican American literature. Like their counterparts from the past, modern-day maroons take flight, resist forms of enslavement and oppression, and undergo transformations that challenge conventional ways of thinking about Haitian-Dominican relations and the island of Hispaniola. Writers from the Dominican diaspora—among them Angie Cruz, Junot Díaz, and Nelly Rosario—have played a pivotal role in interrogating history, and more specifically, memories of violence and the repercussions associated with migration. Not only does this interrogation rewrite history, but it offers a means of forging a new, fuller story that erodes the border and expands the island’s boundaries, all the while magnifying the role of the Black Freedom struggle in the making of a whole Hispaniola.Item 'Irishness' in Caribbean and Latin American Literature: The Diasporic and Liminal(2017) Glynn, Douglas Michael; Cypess, Sandra M; Spanish Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)My dissertation examines representations of the diasporic Irish within the varied literary imaginaries of the Caribbean and Latin America and argues that these representations create a literary paradigm surrounding ‘Irishness’. The project begins by offering a racialized historical overview of the Irish commencing with the conquest of Ireland and following up to the modern day. I then relate observations elucidated by this overview to current conceptions of Irish identity while specifying many of the diaspora spaces to which the transatlantic Irish arrived. I utilize a transamerican approach to literature which permits cross-cultural and multilingual readings of texts that would otherwise remain in isolation to each other. Putting my study into dialogue with scholars like Robin Cohen, William Safran, Avtar Brah and Laura Zuntini de Izarra, I define the terms ‘diaspora’ and ‘diaspora space’ while seeking to underscore the corollaries between these concepts and representations of the Irish in diaspora. After establishing the ways in which I understand and use these terms, I employ the works of Victor Turner and Sandor Klapcsik, among others, to lay down my theoretical framework of the liminal and liminality. In doing so I directly interconnect theories of diaspora and liminality which provides a unique theoretical perspective, and later interject my own nascent theory of the ‘figure’ to better deconstruct the Irish characters under study. Reading a selected corpus of literature from writers such as American-Guatemalan Francisco Goldman, Cuban Zoé Valdés, Jamaican Erna Brodber, Mexican Patricia Cox, American Carl Krueger, and Argentines Rodolfo Walsh and Juan José Delaney, through the liminal process allows me to analyze literature from multiple perspectives while decentering previous literary criticism that has not recognized this multiplicity embedded in liminal readings of narratives. Over the breadth of the project I look to these and other scholars in my efforts to (re)define, dissect, work and wield the terms ‘diaspora’, ‘liminal’ and ‘liminality’ in a variety of fashions, adding to them my own ideas of perpetual liminality, while extracting and examining the representations of ‘Irishness’ found through each of my textual analyses.Item Meena's Dream: Theatrical Process and Production(2013) Yadav, Anupama Singh; Smith, Ashley H; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Meena's Dream is a one-woman play that portrays a young girl's epic conversation with God through the archetypal hero's journey, a metaphor for the universal battle to act with courage while coming face-to-face with our deepest fears. During the day, nine-year-old Meena wishes that her mother Aisha could get well; and by night, Hindu God Lord Krishna appears, entreating Meena's help in his war against the Worry Machine. Meena's Dream creates a fantastical world through storytelling and live music, from South Indian classical to indie folk, as Meena wrestles with life's unanswerable questions of mortality, suffering, and God's own existence.Item Nou La, We Here: Remembrance and Power in the Arts of Haitian Vodou(2007-11-27) Brice, Leslie Anne; Promey, Sally M.; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Haitian Vodou is vast, accumulative, and constantly in flux, drawing from many sources and traditions as it adapts to changes in the world, as well as to the needs and imaginations of its adherents. With its origins in west and central Africa, along with the strategies for transformation that are at the heart of many religions there, Vodou developed into its current form as a response to forced transatlantic migration, enslavement, encounters with Amerindian traditions, Catholicism, Freemasonry, the complications that emerged in the quest for liberty, the consequences of a successful slave revolt, and the establishment of an independent state. It is largely the last three points that contribute to Vodou's strong military ethos, and with that, Vodou's focus on liberation. Based on field research between 2000 and 2004, in Washington, D.C. and in Haiti, this dissertation examines Vodou visual arts in relation to Haiti's revolutionary history, and how the arts articulate related themes of militarism, liberation, and resistance. Central to this study is remembrance, or the active and purposeful remembering of diverse lived experiences that practitioners evoke, express, and promote through visual and performing arts. Remembrance includes the historical, socioeconomic, political, and sacred realities that shape Vodou practice today and thereby provides a larger context for interpreting visual expressions. Equally important to this interpretation is the sacred world, which includes the spirits, the ancestors, and Vodou cosmological principles. Along the lines of remembrance and the sacred world, this dissertation examines the sacred spaces, altars, and power objects that practitioners create with their own aesthetic sensibilities and cosmological interpretations. It considers how practitioners actively remember and engage the past to empower themselves and their communities in the present. By weaving together the historical, social, the political, and the cosmological, along with an emphasis on practitioner agency, this dissertation underscores the transatlantic scope of Vodou visual creations. In doing so, it brings into focus just how pragmatic this religion and its objects are, and suggests how visuality offers people a sense of self-determinism in their lives.Item Music, Ritual, and Diasporic Identity: A Case Study of the Armenian Apostolic Church(2004-04-26) McCollum, Jonathan Ray; Pacholczyk, Jozef; MusicThis study examines the relationships between music, music-making, and ritual performance in the Armenian Apostolic Church. By looking at music-making as a ritual liturgical symbol of faith, I explain the meaning of liturgical music practice and its function in teaching the fundamentals of faith. Drawing upon the fields of ethnomusicology, theology, and ritual studies, I explore the theoretical orientations and methodological strategies that assist in the interpretation of music in ritual contexts. By examining various theories of symbol and ritual combined with fieldwork, I interpret Armenian Apostolic liturgical music using a theoretical methodology that investigates the operation of liturgical music within ritual contexts. Because "faith" is not empirically observable, I focus on "the conception of faith" as it is performed by participants in the Divine Liturgy. In addition to looking at these aspects, I also extend my search past that of the "official" Christian Armenian community by asking what purpose the Armenian Apostolic Church serves in the community as a whole, even amongst non-Christians or non-practicing Armenian Christians. There is a discourse that runs through Armenian literature and politics that to be "Armenian" is to be "Christian." Is this the reality of the situation? Is Armenian Christianity perceived as faith, heritage, or both, and to what extent does the Divine Liturgy play a role in realizing Armenian identity? The purposes of this study are to interpret ritual in light of our physical, social, political, moral, aesthetic, and religious existence, to analyze and interpret liturgical music, to contribute to the development of a critical theory of music as a ritual symbol, and to address issues of identity. I conclude that if the symbolic activity of ritual performance evokes participation that is empirically observable, as an outward performance and transformation or "rite of intensification" of a deeper display of the conception of faith, liturgical music-making becomes integral to the liturgical rite itself. Also, in terms of Armenian identity, the Armenian Apostolic Church is essential to the negotiation of cultural identity outside of their historic homeland of Armenia, even amongst Armenians who do not actively perform the Divine Liturgy.