Alumni Dissertations

 

Alumni Dissertations

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  • Witness to the Mad City Asylums: Composing the Self in Early Cold War Madhouse Literature

    Author:
    Kevin Lambert
    Year of Dissertation:
    2011
    Program:
    English
    Advisor:
    Steven Kruger
    Abstract:

    “Witness to the Mad City Asylums” examines a wide range of autobiographical and biographical texts--fictional, nonfictional, and poetic--written by and about women and men who were institutionalized as “mad” in the United States in the 1940s and 1950s. Placing emphasis on contemporary discourses of sex/uality, marriage, family, and psychiatry, the project closely considers the generic, institutional, and cultural forms within which new kinds of literature take shape. It focuses, for instance, on the appearance of several new subgenres of “madhouse literature” in the texts of mostly noncanonical writers, including Mary Jane Ward, Fritz Peters, Paul and Marie Hackett, Carl Solomon, and Allen Ginsberg. These writers adopt a variety of literary strategies in order to resist the notion of identity as self-contained, a resistance that is particularly evident in their in/ability to form interpersonal bonds, blur the worlds inside and outside the madhouse, and incorporate or exclude the perspectives of their fellow patients, family members, and hospital staff. They also evade the demands of linguistic and literary conventions and prevailing scientific and popular psychiatric discourses by creating a distance between their “sane” and “mad” selves which enables them to write with the authority of a (former) mental patient without being regarded as an unreliable “madman.” By destabilizing binaries such as in/sanity, writer/subject, self/other, and inside/outside the mental institution, multiplications of the self in these texts suggest productive new readings of categories of identity and difference in and beyond madhouse literature. In closely examining this body of texts, it becomes possible to recuperate an important chapter in the history of twentieth-century literature and culture.

  • Beautiful Bootstraps: The Uneven Climb of Four Basic Writers In An Urban College

    Author:
    Ann Larson
    Year of Dissertation:
    2010
    Program:
    English
    Advisor:
    Ira Shor
    Abstract:

    BEAUTIFUL BOOTSTRAPS: THE UNEVEN CLIMB OF FOUR BASIC WRITERS IN AN URBAN COLLEGE by Ann Larson This dissertation presents a study of four first-generation, immigrant college students at a non- selective, urban college. These students' stories of academic success and failure intersect with and diverge from the dominant narrative of education as a pathway to middle-class professions. The students profiled in this dissertation, two men and two women, often struggle with economic and vocational anxiety as they seek college credentials. The impact of gender, race, class, and immigrant status crosses the borders of their separate experiences to help explain the material conditions in which they strive to improve their lives and the lives of their families. To examine the dynamics of their academic and vocational outcomes, this dissertation draws from critical social theory that embeds individual experiences in a broad context of race, gender, and class inequality in the US. To discuss these students' literate backgrounds and their college experiences as readers and writers, this dissertation is also informed by research in the field of Composition and Rhetoric, particularly the sub-field of basic writing, a contentious practice that goes back at least forty years. While closely following four basic writers, this dissertation also explores the methodological and theoretical questions raised by ethnography, case study method, and critical discourse analysis and proposes some orientations for future research into the relationship between non-selective higher education and upward mobility.

  • Beautiful Bootstraps: The Uneven Climb of Four Basic Writers In An Urban College

    Author:
    Ann Larson
    Year of Dissertation:
    2010
    Program:
    English
    Advisor:
    Ira Shor
    Abstract:

    BEAUTIFUL BOOTSTRAPS: THE UNEVEN CLIMB OF FOUR BASIC WRITERS IN AN URBAN COLLEGE by Ann Larson This dissertation presents a study of four first-generation, immigrant college students at a non- selective, urban college. These students' stories of academic success and failure intersect with and diverge from the dominant narrative of education as a pathway to middle-class professions. The students profiled in this dissertation, two men and two women, often struggle with economic and vocational anxiety as they seek college credentials. The impact of gender, race, class, and immigrant status crosses the borders of their separate experiences to help explain the material conditions in which they strive to improve their lives and the lives of their families. To examine the dynamics of their academic and vocational outcomes, this dissertation draws from critical social theory that embeds individual experiences in a broad context of race, gender, and class inequality in the US. To discuss these students' literate backgrounds and their college experiences as readers and writers, this dissertation is also informed by research in the field of Composition and Rhetoric, particularly the sub-field of basic writing, a contentious practice that goes back at least forty years. While closely following four basic writers, this dissertation also explores the methodological and theoretical questions raised by ethnography, case study method, and critical discourse analysis and proposes some orientations for future research into the relationship between non-selective higher education and upward mobility.

  • Exceptional Conversations: Classical Music and the Historical Imagination of Narrative Cinema

    Author:
    Matthew Lau
    Year of Dissertation:
    2011
    Program:
    English
    Advisor:
    Joshua Wilner
    Abstract:

    "Exceptional Conversations: Classical Music and the Historical Imagination of Narrative Cinema" examines the ways in which film and music are bound together in their histories, forms, and meanings. More specifically it describes and interprets how music figures in some of the most singular directors' films and it traces the various appearances of equally singular composers' works in film. Thus, my dissertation includes chapters on Richard Wagner, Stanley Kubrick, Jean-Luc Godard, and Michael Haneke as well as sustained interpretations of music's role in films by Charlie Chaplin, Francis Ford Coppola and several documentaries by Werner Herzog, among others. My thesis is that the cinema is a contested realization of Wagner's idea of the Gesamtkunstwerk. Cinema is "the art work of the future," but not the one Wagner imagined. I thus argue for a definition of cinema form and history that reserves a more pivotal role for classical music in cinema than has been previously proposed.

  • Exceptional Conversations: Classical Music and the Historical Imagination of Narrative Cinema

    Author:
    Matthew Lau
    Year of Dissertation:
    2011
    Program:
    English
    Advisor:
    Joshua Wilner
    Abstract:

    "Exceptional Conversations: Classical Music and the Historical Imagination of Narrative Cinema" examines the ways in which film and music are bound together in their histories, forms, and meanings. More specifically it describes and interprets how music figures in some of the most singular directors' films and it traces the various appearances of equally singular composers' works in film. Thus, my dissertation includes chapters on Richard Wagner, Stanley Kubrick, Jean-Luc Godard, and Michael Haneke as well as sustained interpretations of music's role in films by Charlie Chaplin, Francis Ford Coppola and several documentaries by Werner Herzog, among others. My thesis is that the cinema is a contested realization of Wagner's idea of the Gesamtkunstwerk. Cinema is "the art work of the future," but not the one Wagner imagined. I thus argue for a definition of cinema form and history that reserves a more pivotal role for classical music in cinema than has been previously proposed.

  • Drawing Conclusions: Visual Literacy in Ficition

    Author:
    Emily Lauer
    Year of Dissertation:
    2010
    Program:
    English
    Advisor:
    David Greetham
    Abstract:

    In "Drawing Conclusions," I engage in an interdisciplinary examination of the words and pictures in four Victorian masterpieces of the illustrated novel, arguing that the unique publishing situation of each of these texts and the very different interactions between the authors and illustrators of each have resulted in four distinct examples of the functions illustrations in fiction can fulfill. The Posthumous Papers of the Pickwick Club, written by Dickens and illustrated by Browne, among others, was published in 1836. Once Browne became involved in the project, Dickens established a working relationship between them in which he provided lengthy descriptions of scenes to be illustrated - sometimes of scenes not yet written - and it became Browne's job to interpret these descriptions. I posit that in Pickwick Papers, which became paradigmatic for later illustrated serial novels, the illustrations function as a sort of running commentary on the written text, complicating the idea of a division of labor between words and pictures even as the illustrations played up some of the same visual thematic elements in Dickens' written text. In Vanity Fair, written and illustrated by Thackeray a decade after Pickwick Papers was published, I find that Thackeray's full-page captioned plates and smaller vignettes both reinforce and add nuance to the written text, by creating tone and allegory. Thackeray also begins each chapter with a historiated initial - an illustrated capital that combines the functions of letter and picture in a way requiring readerly participation. Here, the many illustrations by the author are integral to an understanding of the novel. The reader must collaborate with the text in order to process both the word and picture at the same time. Alice's Adventures in Wonderland, written by Lewis Carroll, contains 42 illustrations by John Tenniel. Because their intended audience was children, and because Carroll acknowledged Tenniel's greater experience in publishing matters, the author and illustrator of Wonderland were very mindful of the effect of their collaboration. I argue that the result is a combination of word and picture in which the pictorial representation of the protagonist melds with her written representation to form two views on one solid and realistic subject, reinforcing Alice's normality as she explores a strange dreamworld. Finally, I discuss an edition of Jane Austen's Pride and Prejudice (1813), published with illustrations by Hugh Thomson in 1894. The hundreds of line drawings in this edition draw attention to those aspects of the novel's plot most interesting to Thomson's late Victorian readership. The subtle gloss provided by these illustrations affected the way Austen entered the literary canon as well as the way Thomson's audience thought about Austen's own priorities. Ultimately, the four different scenarios I address - Dickens instructing his illustrator in an imperious manner, Thackeray illustrating his own written text, Carroll and Tenniel collaborating closely, and Hugh Thomson modifying Austen to suit his contemporary readership - each result in a different role for the illustrations in the narrative. In "Drawing Conclusions," I draw the conclusion that pictures can comment on, complicate, reinforce or update a written text based on the situation in which the written text and illustrations are combined.

  • Drawing Conclusions: Visual Literacy in Ficition

    Author:
    Emily Lauer
    Year of Dissertation:
    2010
    Program:
    English
    Advisor:
    David Greetham
    Abstract:

    In "Drawing Conclusions," I engage in an interdisciplinary examination of the words and pictures in four Victorian masterpieces of the illustrated novel, arguing that the unique publishing situation of each of these texts and the very different interactions between the authors and illustrators of each have resulted in four distinct examples of the functions illustrations in fiction can fulfill. The Posthumous Papers of the Pickwick Club, written by Dickens and illustrated by Browne, among others, was published in 1836. Once Browne became involved in the project, Dickens established a working relationship between them in which he provided lengthy descriptions of scenes to be illustrated - sometimes of scenes not yet written - and it became Browne's job to interpret these descriptions. I posit that in Pickwick Papers, which became paradigmatic for later illustrated serial novels, the illustrations function as a sort of running commentary on the written text, complicating the idea of a division of labor between words and pictures even as the illustrations played up some of the same visual thematic elements in Dickens' written text. In Vanity Fair, written and illustrated by Thackeray a decade after Pickwick Papers was published, I find that Thackeray's full-page captioned plates and smaller vignettes both reinforce and add nuance to the written text, by creating tone and allegory. Thackeray also begins each chapter with a historiated initial - an illustrated capital that combines the functions of letter and picture in a way requiring readerly participation. Here, the many illustrations by the author are integral to an understanding of the novel. The reader must collaborate with the text in order to process both the word and picture at the same time. Alice's Adventures in Wonderland, written by Lewis Carroll, contains 42 illustrations by John Tenniel. Because their intended audience was children, and because Carroll acknowledged Tenniel's greater experience in publishing matters, the author and illustrator of Wonderland were very mindful of the effect of their collaboration. I argue that the result is a combination of word and picture in which the pictorial representation of the protagonist melds with her written representation to form two views on one solid and realistic subject, reinforcing Alice's normality as she explores a strange dreamworld. Finally, I discuss an edition of Jane Austen's Pride and Prejudice (1813), published with illustrations by Hugh Thomson in 1894. The hundreds of line drawings in this edition draw attention to those aspects of the novel's plot most interesting to Thomson's late Victorian readership. The subtle gloss provided by these illustrations affected the way Austen entered the literary canon as well as the way Thomson's audience thought about Austen's own priorities. Ultimately, the four different scenarios I address - Dickens instructing his illustrator in an imperious manner, Thackeray illustrating his own written text, Carroll and Tenniel collaborating closely, and Hugh Thomson modifying Austen to suit his contemporary readership - each result in a different role for the illustrations in the narrative. In "Drawing Conclusions," I draw the conclusion that pictures can comment on, complicate, reinforce or update a written text based on the situation in which the written text and illustrations are combined.

  • Occupy Wall Street's Challenge to an American Public Transcript

    Author:
    Christopher Leary
    Year of Dissertation:
    2014
    Program:
    English
    Advisor:
    Ira Shor
    Abstract:

    This dissertation examines the rhetoric and discourses of the anti-corporate movement Occupy Wall Street, using frameworks from political ethnography and critical discourse analysis to offer a thick, triangulated description of a single event, Occupy Wall Street's occupation of Zuccotti Park. The study shows how Occupy achieved a disturbing positionality relative to the forces which routinely dominate public discourse and proposes that Occupy's encampment was politically intolerable to the status quo because the movement held the potential to consolidate critical thought and action. Because the "soft" means of re-capturing public consent were weak in 2011 because of the 2008 economic collapse, the dominant figure in this encounter, billionaire Mayor Michael Bloomberg of New York, led the way to instruments of "hard" persuasion, culminating in the orchestrated assault carried out on November 15th, an operation that saw the media sequestered, at night, in the dark, with no filmed images allowed or possible, and all street access blocked to supporters of Occupy. The use of "hard persausion" by the authorities in response to Occupy's discursive threat clarifies how reality is constituted through discursive and material action and suggests that alternative discourse and action has the power to reconstitute reality, redistributing power and working in opposition to human suffering and oppression.

  • Reading Nation in Translation: The Spectral Transnationality of the Malaysian Racial Imaginary

    Author:
    Fiona Lee
    Year of Dissertation:
    2014
    Program:
    English
    Advisor:
    Peter Hitchcock
    Abstract:

    In recent decades, literary studies has experienced a global turn, often understood as a move beyond national paradigms of analysis, which are deemed to be narrow and particularistic. Although wary of the tacit universalizing tendencies of global frames, scholars of race and postcoloniality have critically embraced the global by arguing for the need to theorize transnationalism from marginalized perspectives. However, casting the global and the national in oppositional terms ignores the fact that national racial ideologies both actively shape and are shaped by globally circulating ideas about race. An understudied site in postcolonial studies, Malaysia--formerly known as Malaya--is an exemplary case that unsettles this binary opposition. Informed by racialized distinctions between "native" and "migrants" inherited from colonial rule, the constitutionalized "special position" of "bumiputera" (literally sons of the earth or autochthonous group) citizens effectively renders race a defining aspect of national identity. This dissertation presents translation as an entry point into theorizing the relation between the national and the global in the production of the Malaysian racial imaginary. Drawing on theories of cultural translation, I begin with the premise that translation is a process of figuration, rather than a transfer of uncontaminated cultural essence, from one mode of signification to another. Through analyses of graphic narratives, novels and films, I consider how various modes of translation are used in these texts both to articulate a common national identity that unifies these groups, and, at the same time, to maintain their racialized distinctions. I argue that discerning the modes of translation embedded in the process of national identity formation--what I call, reading nation in translation--elucidates the transnational historical forces, be it the reordering of the British Empire amidst its impending end; the burgeoning global Cold War; or the intensification of global financial capitalism in the late twentieth-century, that shape the national racial imaginary. Reading nation in translation thus contributes toward a critical conception of transnationalism, one that not only presents the nation and the global as oppositional frames of analysis, but as mutually haunting one another. In foregrounding the global forces, both past and present, that animate the national racial imaginary, it also argues for the importance of attending to processes of racialization as a mode of globalization.

  • A Pedagogy of Faith: The Theological Dimension of Paulo Freire's Educational Theory and Practice

    Author:
    Irwin Leopando
    Year of Dissertation:
    2011
    Program:
    English
    Advisor:
    Ira Shor
    Abstract:

    This dissertation examines the theological framework of Paulo Freire's radical-democratic pedagogy. Since the English-language publication of Pedagogy of the Oppressed in 1970, this Brazilian educator, activist, theorist, and public intellectual has been most commonly viewed in North America and Western Europe as a revolutionary Marxist, as a radical social democrat, or as a humanist educator. There has been a widespread among many of his readers to overlook the religious elements of his pedagogical system. This dissertation contends that a full account of Freire's lifelong work requires an exploration of its roots in mid-twentieth century Catholic thought, from the Christian humanism of Jacques Maritain and Emmanuel Mounier to the "prophetic" radicalism of Latin American liberation theology. It traces the evolution of Freire's thought from his immersion in middle-class Catholic activism before Brazil's April 1964 coup to his widely-acknowledged status as the most prominent and influential pedagogical thinker of his generation. It highlights the extent to which Freire's progressive Catholicism shaped such central aspects of his work as "conscientization," social justice, historical possibility, revolutionary socialism, and human nature, thus demonstrating the extent to which Freire's faith informed his pedagogical and political project.