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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Item Re-Visioning Violence: How Black Youth Advance Critical Understandings of Violence in Climates of Criminalization(2009) McCants, Johonna Rachelle; Struna, Nancy; Woods, Clyde A.; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)While Black youth are often framed as the perpetrators of violence in the mainstream media and other sites, they are rarely consulted for their views on violence. This dissertation examines how Black youth and other young people of color have used hip hop music and community organizing to publicly articulate their analysis of violence and shape public discourses, ideologies and policies. The project is principally framed by Black feminist theory and Critical Race Theory, and uses discourse analysis, cultural criticism, and historical analysis as its primary methods of analysis. I examine hip hop lyrics and materials produced during community organizing campaigns, alongside a range of sources that reflect dominant frameworks on youth and violence such as television programs and sociological scholarship. This study argues firstly, that there is a discourse of "youth violence"; secondly, that this discourse is central to the criminalization of young people of color; and thirdly, that criminalization facilitates epistemic violence, harm and injury that results from the production of hegemonic knowledge. Finally, I draw on youths' perspectives and social change practices to theorize the concept of epistemic resistance, and show how youth have engaged in epistemic resistance in various ways. Youth have used hip hop music to redefine what counts as violence, who is involved in violence, and why violence among youth occurs; conducted participatory action research projects to influence and change the content of mainstream media; and developed and promoted the discourse of a "war on youth" in organizing campaigns that challenge punitive policy proposals introduced as solutions to "youth violence." This dissertation provides a re-theorized framing of and knowledge about the intellect and agency of marginalized youth. It also provides youth studies scholars with conceptual and methodological approaches for future scholarship on youth, violence, and safety. Lastly, this dissertation informs urban youth policy and grassroots organizing for transformative justice, a vision and practice of attaining safety and justice through personal and social transformation, rather than reliance on the criminal legal system.Item "Don't Believe the Hype": The Polemics of Hip Hop and the Poetics of Resistance and Resilience in Black Girlhood(2009) Oliver, Chyann Latrel; Parks, Sheri L; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)At a time when Hip Hop is mired in masculinity, and scholars are "struggling for the soul of this movement" through excavating legacies in a black nationalist past, black girls and women continue to be bombarded with incessant, one-dimensional, images of black women who are reduced solely to sum of their sexual parts. Without the presence of a counter narrative on black womanhood and femininity in Hip Hop, black girls who are growing up encountering Hip Hop are left to define and negotiate their identities as emerging black women within a sexualized context. This dissertation asks: how can black girls, and more specifically, working class black girls, who are faced with inequities because of their race, class, and gender find new ways to define themselves, and name their experiences, in their own words and on their own terms? How can black girls develop ways of being resistant and resilient in the face of adversity, and in the midst of this Hip Hop "attack on black womanhood?" Using myriad forms of writing and fusing genres of critical essay, poetry, prose, ethnography, and life history, this dissertation, as a feminist, artistic, cultural, and political Hip Hop intervention, seeks to address the aforementioned issues by demonstrating the importance of black women's vocality in Hip Hop. It examines how black women in Hip Hop have negotiated race, class, gender, and sexuality from 1979 to the present. It addresses the disappearance or hiatus of the black female rapper and the subsequent rise and reign of the video vixen, and the implications this has for black girls coming of age during this hyper-commercialization of Hip Hop. It discusses how creative writing workshops, which teach black girls between the ages of 12-17 about the importance of vocality and feminist resistance through poetry/spoken word, can become a new method for investigating black girlhood and exploring issues of resistance and resilience.Item Peace, Love, Unity & Having Fun: Storying the life histories and pedagogical beliefs of African American male teachers from the Hip Hop generation.(2009) Bridges, III, Thurman LeVar; Brown, Tara M.; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation study is motivated by a desire to address the diminishing presence of African American male teachers in U.S. schools and the significance of this dissertation is multifold. First, through an examination of the life histories of African American teachers from the Hip Hop Generation and their pedagogical beliefs, it sheds light on cultural contexts in which their experiences with Hip Hop culture, their motivations to teach, and their pedagogical approaches emerged. In doing so, this study expands upon the existing literature on teacher beliefs, which all but excludes the ontologies, epistemologies, and pedagogies of African American male educators. This study focuses on nine African American male K-12 teachers who were born between 1965 and 1984 and feel closely connected to Hip Hop music and culture. It examines their social, political, educational and cultural experiences (e.g. coming of age during the crack epidemic, their connections to political movements like Civil Rights and Black Nationalism, their schooling experiences, and their involvement with Hip Hop culture) and how these experiences have influenced their pedagogical beliefs. This study revealed that the nine participants embraced non-traditional pedagogies, relied on Hip Hop culture to support their daily instruction, and viewed the intersections of Hip Hop culture and traditional curriculum as powerful sites through which to address the achievement challenges facing students of color, while producing positive academic outcomes for, particularly, African American boys.