College of Arts & Humanities
Permanent URI for this communityhttp://hdl.handle.net/1903/1611
The collections in this community comprise faculty research works, as well as graduate theses and dissertations.
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Item "We band of brothers"? A social-identity-based study of military public affairs professional identity, organizational socialization, and collaboration(2019) Bermejo, Julio Javier; Liu, Brooke F; Communication; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Today, military public relations, or military public affairs (Levenshus, 2013), is drawing attention for the lessons it might have to offer to organizations more broadly. Yet, military public affairs has been neglected within the public relations scholarly field (Toledano, 2010). In the present study, I applied the “social identity approach” (Hornsey, 2008, pp. 204-205) as my conceptual framework to explore the development of military public affairs professional identity through socialization of public affairs managers in joint entry-level military public affairs training. Along with professional identity and organizational socialization, I explored the development and practice of collaboration as a public affairs competency. To complete the study, I conducted semi-structured interviews (27 initial interviews, three follow-up interviews) with 27 students, practitioners (i.e., former students), instructors, and administrators of the U.S. Defense Department’s entry-level Public Affairs Qualification Course. Findings supported the scholarly understanding that public relations practice is a boundary spanning function, with internal boundary spanning an important aspect of the public affairs manager’s work (Neill, 2014). Findings helped to extend understanding of organizational socialization by suggesting that the public affairs manager, as a nonprototypical member of the organization, must be accepted by the commanding officer and other leaders, often representing combat arms fields, to achieve inclusion in the organization (Wenzel, Mummendey, & Waldzus, 2007). Findings further helped to broaden understanding of public relations collaboration by drawing attention to vital collaboration partners that have been obscured through their agglomeration in the concept of the “dominant coalition” (Grunig, 2006, p. 160). Findings suggested the new insight that public affairs managers are socialized for proactivity, an unexpected outcome given the priorities of military organizations as “high-reliability organizations” (Myers, 2005, p. 345). Additionally, findings suggested that ambiguity attends the public affairs function and that this ambiguity can constrain public affairs, but also create opportunities for collaboration, especially under conditions of contextual uncertainty (L. A. Grunig, 1992; Rast, Gaffney, Hogg, & Crisp, 2012). Findings additionally suggested that collaboration opportunities may increase for public affairs when those efforts are more visible to the organization and are seen to benefit it (Platow & van Knippenberg, 2001).Item JOURNEYING THROUGH EXODUS, DISPLACEMENT, AND MY CUBAN-AMERICAN IDENTITY: THE ODYSSEY OF MAKING AND BECOMING WAKING DARKNESS. WAITING LIGHT.(2017) Krogol, Colette Elaine; Widrig, Patrik; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Waking Darkness. Waiting Light. was an evening-length dance/multimedia event performed on October 7-9, 2016, in the Kogod Theatre at the Clarice Smith Performing Arts Center in partial fulfillment of the Master of Fine Arts degree from the University of Maryland’s School of Theatre, Dance, and Performance Studies. Created in collaboration with my artistic partner, Matt Reeves, the work explored themes of identity, family, displacement, journeying, and exile through the lens of research into my maternal family’s stories of life and exodus from Cuba, as well as investigations into my own identity as a Cuban-American. This paper journeys through the autobiographical research and collaboration process that went into creating Waking Darkness. Waiting Light. Sewn into the fabric of this paper is personal poetry written as part of my creative practice. The performance work and this paper journey between the start of the Cuban Revolution in 1959 and present day America.Item Waking Darkness. Waiting Light.(2017) Reeves, Matthew Walker; Phillips, Miriam; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Waking Darkness. Waiting Light. was an evening-length dance/multimedia event performed October 7-9, 2016 at the Clarice Smith Performing Arts Center. Conceived and created collaboratively with Colette Krogol in partial fulfillment of the Master of Fine Arts degree from the School of Theatre, Dance, and Performance Studies, the work evolved from individual research that wove together into one seamless performance. Using the choreographic elements of weight, time, light, and darkness, the work explored the action of transformation and intersections of dance, dream, and mythology. This thesis documents the research and creative process to make Waking Darkness. Waiting Light. The Monomyth Theory of comparative mythologist Joseph Campbell played a pivotal role in the research, laying a foundation for new methods of listening for universal mythic elements within a personal journey. Additionally this paper explores perspectives on how mythmaking and dance-making are similar in process, and the influence this perspective has on choreography.Item A choreographer's refection on the dramaturgical process of creating "My Tempest"(2014) Farfan, Ana Patricia; Phillips, Miriam; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)"My Tempest" is a character-based evening-length choreography inspired by the main images and characters of Shakespeare's "The Tempest." It was performed March 12-14th, 2014, at the Clarice Smith Performing Arts Center in partial fulfillment of the M.F.A degree in Dance through University of Maryland's School of Theatre, Dance, and Performance Studies. The choreography and spoken word is a commentary on the role of subjectivity and the crisis of Otherness in our contemporary world; highly intertwining sets, props, music, costumes and sound designs contribute to the aesthetic discourse. Guided by the application of dramaturgy to choreography, and a search for intersections between dance and theatre, this paper details the research and creative investigations that occurred during the process of creating "My Tempest." The paper aims to contribute a better understanding of the potential dramaturgy has on dance and how it can support choreographers and dancers during the creative process.Item The Making of Visible Seams(2014) Crawley-Woods, Erin Rose; Widrig, Patrik; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Visible Seams is a roving tapestry of movement and sound that flows up staircases, rolls down hallways, perches in windows and poses in the courtyards of the Clarice Smith Performing Arts Center. Inspired by the films of Busby Berkeley and the expanse and elegance of the Center's common areas and corridors, I partnered architecture with choreography to create a journey of shifting perspectives for the audience. Sound and video installations displayed in the weeks preceding and following the performance foreshadowed and echoed the dance, encouraged a more fully sensual experience of the venue, and returned the ideas borrowed from Berkeley back to a recorded medium. This document is a chronology of the creative process of this work and charts the course from inspiration to collaboration, performance, and reflection. It serves as a record of the ins and outs, ups and downs, why and wherefores of creating a site-specific performance event.Item Modest Witness: A Painter's Collaboration with Donna Haraway(2010) Randolph, LynnThis web page is part of a festschrift for philosopher and scientist Donna Haraway, edited by Katie King. It is also available at http://partywriting.blogspot.com/.