College of Arts & Humanities
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The collections in this community comprise faculty research works, as well as graduate theses and dissertations.
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Item Drawn from the Well of the People: The Living Stage Theatre Company and their Groundbreaking Community-Based Practice(2020) Crowley, Patrick Abram; Harding, James M; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Drawn from the Well of the People is the first full-length history of the Living Stage Theatre Company. Founded in 1966 by Robert Alexander, Living Stage was the education and outreach arm of Arena Stage in Washington D.C. until their closing in 2002. A multi-racial, improvisational, and community-based company, Living Stage broke ground with many socially engaged theatre practices, and through their process-based approach they created theatrical engagements with, not just for their constituents. Famous for engaging the “forgotten” people of D.C. and beyond, Living Stage worked with young people besieged by poverty and segregation, seniors, the deaf and hard of hearing, disabled students, and inmates at correctional facilities like Lorton Prison and D.C. Jail. This project relies on the Living Stage Records at George Mason University Library’s Special Collections Research Center and is the first major work to do so. Additionally, long-tenured company member Jennifer Nelson donated her personal archive, which was gifted to her by Robert Alexander, to aid in the completion of this project. Oral histories from five company members were collected to supplement and enliven the written records. The dissertation also addresses the work of Haedicke and Biggs, the only extant scholarship on the group. Living Stage’s contributions force us to reconsider the intellectual history of socially engaged theatre in the United States, as they devised similar strategies to those found in Theatre of the Oppressed but did so before Augusto Boal created and published on his system. Similarly, how they obliterated the fourth wall and troubled the hierarchy between artists and audiences by engaging participants as co-creators expands the canon of radical and experimental theatre in the U.S. While their participatory approaches and commitment to marginalized communities radically democratized theatre practice, their institutional practices replicated systems of domination in important ways. For scholars and practitioners alike, Drawn from the Well of the People, offers potent models and philosophies of socially engaged theatre, case studies to illustrate the work in action, and some cautionary tales about failing to apply the ethos of the work to the internal workings of the company.Item Pink Survival Porn and its Malcontents: Visual Breast Cancer Narratives in Contemporary American Media(2020) Flanigan, Lauren Nicole; Walter, Christina; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The biggest problem with American depictions of breast cancer survivors in contemporary media is that they’re too pink, i.e. they represent the cheerful image of a white, heteronormative, cis-gendered woman of upper-to-middle-class means who easily overcomes her disease. Such patient depictions in photographic portraits, graphic novels, and television (ad campaigns or fictional episodes) suggest that only women who adhere to white feminine gender codes and sexual aesthetics can achieve survival. Meanwhile, BIPOC, LGBTQIA, and poor patients disproportionately die from breast cancer due to inaccessible or unequal care related to their lack of media representation as bodies that matter. Their truths are glossed over in the fantasy of what I call survival porn, which coopts and genericizes individual cancer experiences into a pink consumer kumbaya that benefits corporations rather than their disease-ridden constituents. This dissertation therefore examines the historical origins of pink ribbon culture, feminist health movements, and their visual entanglement with optimistic, white media metanarratives to determine why and how certain “survivors” become indoctrinated into sheroic narratives of overcoming the disease while “others” are written out of the picture altogether. Successful survivors are shown self-fashioning their personas in accordance with white, heteronormative standards of femininity judged appropriated by patriarchal medicine and cosmetic magnates. Counternarratives focusing on gender-bending these disease expectations, however, begin to chip away at the veneer of aesthetic survival, rescripting illness identities to be more inclusive of those on the fringes, for example: men, lesbians, and women of color; individuals whose inclusion within survival narratives help uncover causal determinants of breast cancer, like environmental toxins. My analysis of these personal, more plural narratives create space in the dominant, pink visual discourse for non-white and gender-fluid folx who likewise deserve to live a considered life, as defined by Audre Lorde in her Cancer Journals. Whether living with or meeting their ends from breast cancer, my academic inquiry into survival ultimately calls for an ethic of pragmatic optimism and authentic corporeal representation to allow patients with various diseases and disabilities, regardless of age, class, gender, race, or sexual orientation, to ensure greater health equity and quality of care in the United States.Item Troublesome Properties: Race, Disability, and Slavery's Haunting of the Still Image(2019) Mobley, Izetta Autumn; Corbin Sies, Mary; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Troublesome Properties: Race, Disability, and Slavery’s Haunting of the Still Image interrogates race, disability, slavery, and the visual, arguing for a reorientation of disability studies toward a comprehensive analysis of how Atlantic slavery structured the West’s conceptualization of the abled body. Slavery haunts the aesthetic impulses, discursive engagements, and visual formations that construct both disability and race. Slavery and disability have been historically mutually constitutive, establishing a network of power relations that define how the United States understands citizenship, sovereignty of the body, capital, labor, and bodily integrity. Troublesome Properties’ intervention places photography – specifically nineteenth-century daguerreotypes, cartes de visites, and portraiture –in conversation with race, disability and slavery, inviting a critical look at the social resonance of photographic production. This interdisciplinary project is deeply invested in the nineteenth century and critically considers how visual imagery establishes concepts of disabled and abled bodies. The visual and material analysis of visual culture and photography links my discussion of disability to racially marked bodies, explicitly illustrating how slavery haunts how we see and tie Blackness to disability. The illustrations, photographs, medical records, biographies, and ephemera of conjoined African American twins Millie and Christine McKoy serve as evidence of the troubled definitions of consent, care, property, and exploitation inherent in enslavement, disability, and display. Octavia Butler’s 1979 speculative novel, Kindred, anchors my discussion of the impact of disability on Black disabled women. Black scholars, artists, and historians have consistently employed photography as a visual tool to assert the humanity of Black people. The photographic suite Dorian Gray by Yinka Shonibare, a series that makes overt the parallels between disability and colonialism, are placed in conversation with W.E. B. Du Bois’ American Negro exhibit, demonstrating how race, disability, and the visual construct notions of which bodies matter, when, where, and why. In Troublesome Properties, I argue that we must approach visual production, material culture, and disability studies with the intention to reclaim the marked, raced, gendered, and disabled Black body, using slavery and an optimistic pessimism to construct a complex genealogy for disability studies.Item EMBODIED HAMLET: DISABILITY, ACCESSIBILITY, GENDER, AND SCIENCE FICTION(2019) Hands, Christine; Widrig, Patrik; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)“Hamlet” was a thirty-eight minute work of dance art premiered at the Clarice Smith Performing Arts Center at the University of Maryland on October 12 and 14, 2018. The work explored four pillars of research through embodied exploration: representation, accessibility, inclusion, and reinvention. These four themes are discussed in the following paper as theoretical points of inquiry. The first chapter discusses representation of peoples with disabilities. The second chapter explores the accessibility features for audience members which were available at the performance. The third chapter considers inclusion and challenges the canon of traditional white, male casting of the role of Hamlet. The fourth chapter discusses the use of science fiction to tie everything together by creating a space of transformative play-acting where people can exercise their imaginations to create a more inclusive and accessible society. Theoretical and scholarly research informs and then reflects the work onstage in “Hamlet.”Item Disability, Embodiment, and Resistance: The Rhetorical Strategies of Disability Activitm(2018) Osorio, Ruth Danielle; Enoch, Jessica; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)“Disability, Embodiment, and Resistance: The Rhetorical Strategies of Disability Activism” argues that disability activists channel their experiences of disability at each stage of organizing and delivering activist rhetoric. This dissertation deepens rhetorical studies’ understanding of activism and citizenship by identifying collective caregiving and embodied difference as sources of activist invention and delivery. For my first chapter, “Disabling Citizenship: The Embodied Rhetorics of the 504 Sit-Ins,” I investigate the 1977 504 sit-ins, when one hundred disability activists occupied a federal building in San Francisco for twenty-four days to demand federal protection from discrimination. Examining personal and news photographs, oral histories, and news articles, I argue that disability activists displayed the civic power of disabled bodies by displaying the disabled body as resistant, connected, and resilient. In Chapter 2, “Marsha P. Johnson and Sylvia Rivera’s Rhetorical Survival: An Ecological Perspective of Disability Activism,” I examine the disability activism of Sylvia Rivera and Marsha P. Johnson, two disabled transgender women of color and prominent activists in 1960’s and 70’s gay rights organizing. I assert that behind-the-scenes survival work and caregiving functioned as critical forces behind their enactment of disability activism within gay liberation. My third chapter, “I Am #ActuallyAutistic, Hear Me Tweet: The Topoi of Autistic Activists on Twitter,” explores the rhetorical implications of contemporary online activism in the autistic community. In my study of almost 2,000 #ActuallyAutistic tweets collected during Autism Awareness month in 2016, I argue that the #ActuallyAutistic activists on Twitter leverage the affordances and constraints of Twitter to challenge dominant, and often dehumanizing, perceptions of autism in popular discourse. For my fourth chapter, “Creating an Accessible Legacy: Professional Writing as Disability Activism within the Conference on College Composition and Communication (CCCC),” conducted interviews with authors of the 2011-2016 CCCC Accessibility Guides, which notes the accessibility challenges and features of the selected conference city and venue. In my examination of these interviews, I argue that the guides’ authors craft and circulate a policy document that ultimately moves CCCC toward greater disability awareness.Item Phantom Futures: The Cultural Politics of Education-Related Debt(2017) Madden, Jaime; Tambe, Ashwini; Women's Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)My dissertation examines the cultural politics of education-related debt. In a time of spiraling higher education costs, I focus on students who face challenges repaying debts and participating productively in the market economy. Taking on debt in college orients students towards a supposedly “better future.” But what happens to those who are unable or unwilling to realize these better futures? This is the broad question that motivated my dissertation. The students I interviewed often complicated the familiar timeline of progress that posits education as leading to employment. I carried out field research in two sites: i) for-profit colleges; and ii) Gallaudet University, a historically deaf university. I also analyzed content in the Chronicle of Higher Education, which I treated as a key archive of contemporary narratives about debt. The for-profit education networks where I conducted research were Virginia College, where I had taught in the general education program for one year, and the recently defunct ITT Technical Institute. I visited campuses in Austin, Texas; Baltimore, Maryland; Richmond, Virginia; Los Angeles, California; and Milwaukee and Madison, Wisconsin. This regional breadth across the southwest, mid-Atlantic, west coast, and Midwest allowed me to reach more general conclusions. My interviews, visual ethnography, auto-ethnography, and narrative analysis led me to focus closely on how students experience and invoke time. The for-profit colleges constantly asked students to imagine better and more secure futures in ways that distracted them from their present struggles. Such an orientation pushed students to incur further debt. At Gallaudet, the temporalities are different. The university’s ability to privilege deafness makes it a site of security and refuge; some students are therefore risking educational debt in order to access deaf culture. Yet, funding issued through Vocational Rehabilitation programs are conditional on a student’s ability to achieve future employment. This mandate influences how students think about their futures and creates deep tensions in their relationship to debt. In sum, by exploring how students imagine time, my dissertation presents a range of orientations to debt that can serve as alternatives to dominant cultural narratives.