Showing 1 - 10 of 20 Items

Date: 2022-01-01

Creator: Ella Marie Schmidt

Access: Open access

I wrote Divinity School, an Honors Project for the Department of English, under the auspices of my project advisor, Professor Anthony Walton, and my readers, Professors Marilyn Reizbaum, Ann Kibbie, and Aaron Kitch. Divinity School is a novel whose conflicts are religious, generational, and familial. Set mostly in Hoboken, New Jersey with vignettes in Manhattan, Vienna, the west coast of Ireland, and an anonymous New England college town, it is the story of one family and the open secrets that keep them apart. Hal Macpherson is a Divinity School professor uged into premature retirement by allegations of misconduct; his wife, Annie Price, is a withdrawn would-be actress. They are parents to Amelia Macpherson, a woman in her twenties who rejects her father’s righteous claims of innocence and her mother’s exhausted but unwavering devotion to him. This project is concerned with sex and pedagogy, youth, want-it-all politcs, parenthood, getting old, Protestantism, and domestic life. Using third-person free indirect style, I traverse the public-private planes of literature. As an undergraduate at Bowdoin College, I have enjoyed the privilege of a great English education in literature, creative writing, and independent work. Divinity School is the culmination of these studies.

• Embargo End Date: 2025-05-19

Date: 2022-01-01

Creator: Francesca Mauro

Access: Embargoed

Date: 2023-01-01

Creator: Susu Gharib

Access: Open access

This paper details the ways in which IVF and infertility influencers on Instagram use their platforms to resist the silence surrounding reproductive difficulties. The analysis draws upon a thematic analysis of posts tagged with IVF-related hashtags and a semi-structured ethnographic interview with one influencer. Through these methods, I found that influencers build intimate publics through their platforms by sharing their journeys, interacting with followers, and reciprocal support. Within the context of the intimate publics, influencers are able to connect with others who understand their experiences, allowing them to break through the silence they may feel in their offline social groups.

Date: 2021-01-01

Creator: Lily Anna Fullam

Access: Access restricted to the Bowdoin Community

• Embargo End Date: 2025-05-14

Date: 2020-01-01

Creator: Samuel Milligan

Access: Embargoed

Date: 2020-01-01

Creator: Uriel López-Serrano

Access: Open access

Sor Juana Inés de la Cruz (c. 1648-1695) was a Mexican nun, poet, playwright, and scholar from the colonial era. She has become an icon for various global, social, and political movements. This project looks at four dramatic works created by Sorjuanistas who reimagine Sor Juana’s story for contemporary audiences living in the United States. The works included in this essay are Estela Portillo-Trambley’s Sor Juana (1986), Karen Zacarías’s The Sins of Sor Juana (2001), and Alicia Gaspar de Alba’s “Interview with Sor Juana Inés de la Cruz” (1998/2014) and her newest work, Juana: An Opera in Two Acts (2019), libretto by Carla Lucero. In addition to reimagining Sor Juana’s story, these dramatic works expose the sexism, racism, and xenophobia perpetuated by U.S institutions of power that discriminate against Latin@ and Chican@ individuals. By shedding light on the social injustices that existed during the colonial era, an embodied Sor Juana teaches audiences how to resist and mobilize against such oppressive powers. Sor Juana’s narrative on stage is necessary because she is a role model for Latin@s/Chican@s. Sorjuanistas remind us that the body can be used to retell the narratives of the silenced individuals who are victims of oppression. By developing heritage performances, Sorjuanistas challenge histories that silence and overlook social injustices. Witnessing Sor Juana on stage triggers emotional responses to the past which allow historical actors to obtain intellectual, emotional, and political agency in an effort to affirm and remember particular contemporary and future commitments to fighting social injustices.

Date: 2023-01-01

Creator: Philip Carl Bonanno

Access: Open access

This project explores fiction from white authors in the Southern Renaissance, specifically William Faulkner, Flannery O’Connor, and Carson McCullers. By examining their work alongside some of the performers that appeared historically in freak shows of the South, chapter one investigates how physically enfreaked individuals (usually phenotypically white) have access to power and the powers of whiteness. Chapter 2 interrogates how the South pathologizes promiscuity as mental illness with words such as moronic or feeble-mindedness, and the ramifications it has for the stratification on class divides among Southern elites and “White Trash.” The chapter seeks to answer the question of why, for a short period in the 1940s, white women were more likely to be punished with forced sterilization than Black women. Chapter 3 uncovers the rhetorical agency used by Benjy in Faulkner’s The Sound and the Fury, looking at how he resists the powers of whiteness through crip time and his trauma responses to his family that seeks to reinsert the Antebellum South. Using an intersectional approach of critical whiteness studies, disability studies, crip theory, and queer theory, relies on a variety of scholars including, but not limited to; David Mitchell and Sharon Snyder, Rosemarie Garland-Thompson, Richard Dyer, Matt Wray, Jasbir Puar, Ellen Samuels, and Allison Kafer. The primary works examined include promotional materials of historical freaks, McCullers’ The Ballad of a Sad Café, William Faulkner’s The Hamlet and The Sound and the Fury, and Flannery O’Connor short stories “Good Country People” and “A Temple of the Holy Ghost.”

• Embargo End Date: 2027-05-19

Date: 2022-01-01

Creator: Clayton James Wackerman

Access: Embargoed

Date: 2024-01-01

Creator: Mei Bock

Access: Open access

A collection of poems exploring threads including the Lower East Side, immigration, stray animals, art, and Chinese-American identity.

Date: 2022-01-01

Creator: Gemma Jyothika Kelton

Access: Open access

Published narratives about adoptions have typically been told from the perspective of the adopter. In recent years, Asian American writers who are part of the transracial, transcultural, and even transcultural adoptions, have published their narratives and expanded the discourse on adoptions to include the voices of orphans and adoptees. While there are still not many published works by adoptees, more and more writers are coming forward with their own stories separate from their adoptive parents. This honors project is a memoir and a work of nonfiction that examines the author’s experiences as an adoptee from India. It explores the issues of skin color bias (or colorism) in Indian adoption, as well as Indian government policies on inter-country and in-country adoptions. This memoir also delves into the complexities of an adoptive mother-daughter relationship, particularly in the transracial context. The work of non-fiction tells the story of a single white American mother adopting a 10 year old Indian girl to the United States. Written from the adoptee’s perspective, the memoir follows the different points of transitions in both the mother’s and the daughter’s lives and the ensuing challenges, chaos, vulnerabilities, and moments of tenderness, mutual support, care, and love that blooms in their adoptive mother-daughter relationship. This work draws upon narratives of Asian American women writers including Michelle Zauner’s Crying in H-Mart, Nicole Chung’s All You Can Ever Know, and Nishta J. Mehra’s Brown White Black to acknowledge their own voices and give credibility to the adoptee narrative.