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 GENRES OF MEMORY AND ASIAN/AMERICAN WOMEN’S ACTIVISM(2022) Bramlett, Katie; Enoch, Jessica; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)As human rights and racial inequality dominate public discourse, it has become increasingly clear that Americans are invested in conversations of public memory. The removal of confederate monuments and demands for equity in memorialization for people of color underscore the point that who is remembered and how they are honored is important. Further, the growing awareness of violence against Asian/Americans and the hate crime against Asian/American women in Atlanta has emphasized the need to understand the history of violence against Asian/Americans, Asian/American gendered stereotypes, and the Asian/American activists who fight for equal rights. This dissertation examines three distinct memorial genres—a statue, a traveling exhibit, and a documentary—created by Asian/Americans about Asian/American women activists. My interdisciplinary research engages feminist memory studies, Asian/American studies, and cultural rhetorics to investigate how public memory activists leverage the affordances of different memorial genres to recover Asian/American women’s activism. I consider the ways Asian/American women’s memorials contest the past and navigate the politics of memorialization to influence the present. Each chapter considers how memorials not only remember past activism, but also work to reframe current conversations about Asian/American women in more just and equitable frameworks. I claim that my chosen memorials are created by memorial activists and each seek to expand U.S. memory beyond traditional gendered stereotypes that are pervasive in the United States.Item Black Gay and Bisexual Men, Internet Access, Memory, and Visual Culture(2021) Jiles, Robert De Von; Bruce, La Marr J; Farman, Jason; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Drawing from the fields of visual culture, black queer studies, black feminist theory, internet studies, and affect theory, “Black Gay and Bisexual Men, Internet Access, Memory, and Visual Culture” focuses on black gay and bisexual men who have internet access to create, view, and circulate visual representations about their own experiences and how they challenge, subvert, and reify negative and one-dimensional representations about their lived experiences. The cultural objects analyzed in the dissertation include two episodes from playwright and screenwriter Donja R. Love’s independent scripted web series Modern Day Black Gay and Darius Clark Monroe’s short film Slow. Both cultural objects were released for online viewing and can be accessed for free. As Black queer visual culture, Slow and MDBG trouble a racial and heteronormative visual field that renders black gay and bisexual men as excess. Tapping into affects such as desire, intimacy, love and pleasure, Love and Monroe use memory in the cultural objects to create visual images from the excess. In turn, the cultural objects stimulate black gay and bisexual viewers’ memories, and activate affective encounters occur Slow and MDBG use visual images to interrogate and reinscribe notions about black sexuality, black masculinity, black family and community, black love, same-sex romance, and black religion. This dissertation investigates the relationship between artists, the art objects, and the viewers and look for meaning in their creation, representation and interpretations of gay online hookup culture, gender and sexual stereotypes, and conservative homophobic Christian beliefs and practices. In addition to a textual analysis of the cultural objects, methods in the dissertation include interviews, self-ethnography, several small group screenings of the cultural objects by black gay and bisexual male participants, and group discussions following the screenings about the participants' interpretations of the material and how their experiences relate to the cultural texts.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 REQUIEM FOR RECONSTRUCTION: THE SOUTH CAROLINA LOWCOUNTRY AND REPRESENTATIONS OF RACE AND CITIZENSHIP, 1880-1980(2017) Bland, Robert David; Rowland, Leslie S; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)“Requiem for Reconstruction” examines depictions of post-Civil War African American life in the South Carolina Lowcountry and their deployment in the public sphere to represent Reconstruction’s promise and perils. As a period when the United States took its first meaningful steps to challenge white supremacy and construct a color-blind democracy, Reconstruction was first tested and then most thoroughly sustained in the predominantly black counties of the South Carolina Lowcountry. In the century that followed Reconstruction’s collapse, both those Americans committed to racial egalitarianism and those who supported white supremacy regularly returned to the Lowcountry’s post-Civil War past to articulate competing notions of racial progress. “Requiem for Reconstruction” argues that the Lowcountry’s visibility led to a countermemory of Reconstruction that diverged from the narratives of professional historians and provided the foundation for a vision of black citizenship that informed twentieth-century debates over black landownership, cultural appropriation, and civil rights. In exploring how non-historians interpreted and utilized the past, “Requiem for Reconstruction” intervenes in the fields of American memory and African American cultural history. Showing that freedpeople’s Reconstruction-era experiences of landownership and political participation shaped the vocabulary of racial egalitarianism for more than a century, “Requiem for Reconstruction” focuses on a constellation of events, intellectuals, and organizations through which memory of Reconstruction was produced and sustained. By examining the afterlives of nineteenth-century battles over land, labor, African American culture, and black political power, “Requiem for Reconstruction” demonstrates that the Lowcountry’s past remained a touchstone in the struggle against white supremacy in the United States.Item Objects of Memory: Paul Gauguin and Still-Life Painting, 1880-1901(2017) Shields, Caroline D.; Hargrove, June; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Memory plays a profound role in the aesthetic philosophy and still-life painting of French Symbolist artist Paul Gauguin (1848-1903). Throughout Gauguin’s career, memory and imagination served him as an artistic tool, a personal resource, and a metaphor for the freedom of artistic expression. These themes recur in his writing, and this dissertation locates their visual expression in Gauguin’s still-life painting, wherein he gave tangible form to his theories through reflection upon and manipulation of objects. In chronologically-arranged case studies, I examine three types of memory: visual memory, nostalgia, and the ephemeral nature of autobiographical memory, situating each within nineteenth-century and present-day science. In so doing, I perform a type of interdisciplinary methodology called “cognitive historicism” that is new to art history. Art historians have long noted the exceptional qualities of several of Gauguin’s still lifes, but have not to date identified what in particular sets the genre apart. My research has located and articulated the achievement of Gauguin’s still life as a body of work in which he repeatedly grappled with memory, its processes, and its meaning. A concentrated analysis of period beliefs about memory and the ways memory appears in Gauguin’s visual art and writing reveals the depth and significance of the relationship between aesthetic Symbolism and the nineteenth-century interest in individual, autobiographical memory. In turn, this study contributes to a larger historical inquiry into the meaning of memory to the late-nineteenth-century mind. As Gauguin was explicitly attuned to the scientific developments of his time, he functions as a lens through which to consider the art and science of memory. While I ground my investigation in theories proposed during Gauguin’s lifetime, I situate historical intellectual developments in the context of recent science. This project thereby constitutes an exploration of interdisciplinary methodologies that bridge science and the humanities in a way that privileges the artwork and its historical circumstances. It demonstrates the rich but previously untapped potential of this method that uses frameworks and vocabulary derived from cognitive science to inform art historical inquiry, which promises to provide new directions for the discipline.Item Projects for the Living(2015) Brown, Robin Neveu; Mansur, Sharon; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This paper is a means of documenting my MFA dance thesis project, Projects for the Living, including insights into the inception, research phase, choreographic process, design, collaborations, and final performances. Additionally, this document provides a look into the lasting questions this project has brought up for me, as well as thoughts on its place within the context of my full three years as a graduate student of dance at the University of Maryland, and how it has affected me overall as a student, educator, artist, and simply as a human being.Item Espacios de mujeres españolas: memorias, represión, fragmentos y espectáculos, 1939-.(2013) Di Stravolo, Loredana Margaret; Naharro-Calderón, José María; Spanish Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)During the Spanish Civil War (1936-1939) Spain suffered a huge repression, as General Francisco Franco overtook an established Republican Government and stayed in power for nearly forty years. People lived in fear; a fear so severe that they were forced to repress their memories of wartime events. After the death of Franco in 1975, Spain established a democratic-monarchic government. Again, forgetting the past was the path taken by all political parties to avoid any confrontations, as memory slipped into oblivion. In my investigation, I will contribute to the excavation of the past and help break the silence by focusing on Spanish women's spaces during the social context of the Spanish Civil War, Spain's postwar, Transition to Democracy and PostTransition. I will study theories of memory based on the research of Paul Ricoeur, Tzvetan Todorov, Pierre Nora, and Maurice Halbwachs, as a source to explore Spanish women's spaces and identities as well as their contributions, not only to society and culture but also to the literary world. The authors at the core of my study include: Carmen Laforet, Ana María Matute, Carmen Martín Gaite, María Luisa Elío, Mercé Rodoreda, Carmen Praga, Tomasa Cuevas, Dolores Medio, Dulce Chacón, Ricardo Vinyes and Javier Cercas. My research spans several genres, with novels and testimonies by and about women that use memory - individual and collective - as a vehicle to reconstruct their feminine identities and spaces. Although Spanish women were trapped in a patriarchal society during the postwar years, they were able to skillfully manipulate the imposed censorship to express themselves and their needs. The texts that I include in my investigations can be broken into three main phases: repressed memory, fragmented memory and spectacular memory. This dissertation shows how memory can serve as an agent for liberation especially for women of an oppressed and forced silence of the past.Item As Thread(2013) Dyche, Jessica Kathryn; Collier, Michael; Creative Writing; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)As Thread is a collection of poems which keeps account of the categories and modes of loss, using the death of my father as the catalyst, and how memory, as replacement, unravels, tangles, and mends--as thread does.Item Red Hill(2013) Carpenter, Marian Goddard; Collier, Michael; Creative Writing; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Red Hill collects narrative lyrics organized around seasons, the New England landscape, interior domestic spaces, and a reckoning with the marital history of a family. The impetus of many of the poems comes from a consideration of works of visual art while others explore vivid memories.Item Sikh Sabad Kirtan as a Musical Construction of Memory(2011) Protopapas, Janice Faye; Provine, Robert C.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The performance of devotional music in India has been an active, sonic conduit where spiritual identities are shaped and forged, and both history and mythology lived out and remembered daily. For the followers of Sikhism, congregational hymn singing has been the vehicle through which text, melody and ritual act as repositories of memory, elevating memory to a place where historical and social events can be reenacted and memorialized on levels of spiritual significance. This dissertation investigates the musical process of Shabad Kirtan, Sikh hymn singing, in a Sikh musical service as a powerful vehicle to forge a sense of identification between individual and the group. As an intimate part of Sikh life from birth to death, the repertoire of Shabad Kirtan draws from a rich mosaic of classical and folk genres as well as performance styles, acting as a musical and cognitive archive. Through a detailed analysis of the Asa Di Var service, Shabad Kirtan is explored as a phenomenological experience where time, place and occasion interact as a meaningful unit through which the congregation creates and recreates themselves, invoking deep memories and emotional experiences. Supported by explanatory tables, diagrams and musical transcriptions, the sonic movements of the service show how the Divine Word as Shabad is not only embodied through the Guru Granth Sahib, but also encountered through the human enactment of the service, aurally, viscerally and phenomenologically.