Showing 1 - 8 of 8 Items

Date: 2020-01-01

Creator: Faria A Nasruddin

Access: Open access

After the abolition of slavery, the Colonial Office instituted an indentured labor scheme that lasted from 1838 to 1917, in which they brought East Indians to the plantation colonies as laborers under five year contracts. Due to the planter class’ desire for permanent sources of labor in British Guiana, the Colonial Government incentivized East Indians to permanently settle. East Indians thus dominated the British Guiana’s agricultural landscape and became the single largest ethnicity in the Colony by 1920. This thesis explores the early negotiations of the meaning of diaspora and diasporic citizenship for East Indians in British Guiana. They comprised a diverse conglomerate of different socio-economic positions: agricultural estate laborers, village residents, and middle-class business professionals. Each socioeconomic group had a different lived experience in the colony and different outlook on what it meant to be a creole-born East Indian. This thesis traces the multiple and contingent ideas of citizenship and nationality that were circulating at the time. Against a backdrop of changing imperial politics that promoted modernity and the discourse of the nation, East Indian visions centered around how to construct permanence, and negotiate belonging. By drawing on colonial documentation–local reports, commission transcripts, personal correspondence–and documentation produced by East Indians–memorandums, speeches, and books–this thesis ultimately argues that East Indians came to view culture as integral to their self-worth and definitions of place within the imperial system. Culture thus became the primary lens to negotiate the various meaning of citizenship and place in the imperial-national moment.

Date: 2021-01-01

Creator: Lowell Ruck

Access: Open access

Franco-American culture is increasingly recognized as an integral part of the heritage of Maine and New England, and has attracted growing academic attention in recent years. But while many scholars and cultural promoters focus on the French language in their work on this subject, few studies have considered the position of traditional music in Franco-American communities in the 21st century. This thesis examines French Canadian traditional music as it is played in New England and the ways in which musicians think about authenticity and tradition in their art. Using material from ethnographic interviews, it illuminates how musicians draw from individual, familial, and communal experiences and from past, present, and future conceptions of authentic tradition in their roles as cultural mediators. Ultimately, it suggests that players of French Canadian traditional music interact with this tradition in diverse ways, and that in doing so, they help to maintain the vibrancy of Franco-American cultural practices. La culture franco-américaine est reconnue de plus en plus comme partie intégrante de l’héritage du Maine et de la Nouvelle-Angleterre et attire maintenant l’attention académique. Mais même si beaucoup d’érudits et de promoteurs culturels ciblent la langue française dans leur travail sur ce sujet, peu d’études ont considéré la position de la musique traditionnelle dans les communautés franco-américaines du XXIe siècle. Cette thèse se concentre sur la musique traditionnelle canadienne-française de la Nouvelle-Angleterre et sur les façons dont les musiciens conceptualisent l’authenticité et la tradition dans leur art. En utilisant des entrevues ethnographiques, elle illumine comment les musiciens tirent des expériences individuelles, familiales et communautaires et des idées du passé, du présent et de l’avenir dans leurs rôles comme médiateurs culturels. Finalement, elle suggère que les joueurs de la musique traditionnelle canadienne-française interagissent avec cette tradition de plusieurs façons, et ce faisant, aident à maintenir la brillance des pratiques culturelles franco-américaines.

Date: 2020-01-01

Creator: Emily Ann Cohen

Access: Open access

Following the Second World War, as German Communists worked to establish a new socialist East German state, Jews who survived persecution and imprisonment by the Nazis worked to reestablish a Jewish community at the same time. Though many scholars dismiss the relationship between Jews and the Socialist Unity Party, the ruling party of the German Democratic Republic, as one characterized only by neglect and occasional political exploitation, it was much more nuanced, shaped in large part by the Cold War. Both the party and the Jewish community relied on the other to accomplish their goals, namely, survival in a new world order: The Socialist Unity Party relied on the Jewish community to maintain the German Democratic Republic's claim to legitimacy, and the Jews, few in number, relied on the party for financial support. Despite mutual benefits, however, the state and party nearly always had the upper hand. The power imbalance led Jews to find creative ways to fulfill their needs and, at several points, even prompted protest of the party’s treatment of its Jewish citizens. This paper follows the course of this relationship by focusing on the German Democratic Republic's management of sites of historical significance—which vacillated between outright destruction and dedicated protection—returning particularly to the Jewish cemetery in Berlin-Weissensee, one of the largest Jewish cemeteries in Europe. With this particular lens, this project addresses questions about memory, mythology, and agency in a socialist dictatorship and challenges assumptions about Jewish life in East Germany.

Date: 2013-05-01

Creator: Reilly Hannah N Lorastein

Access: Open access

This project focuses on American prison writings from the late 1990s to the 2000s. Much has been written about American prison intellectuals such as Malcolm X, George Jackson, Eldridge Cleaver, and Angela Davis, who wrote as active participants in black and brown freedom movements in the United States. However the new prison literature that has emerged over the past two decades through higher education programs within prisons has received little to no attention. This study provides a more nuanced view of the steadily growing silent population in the United States through close readings of Openline, an inter-disciplinary journal featuring poetry, essays, fiction, and visual art created by incarcerated students enrolled in the College Program at San Quentin State Prison. By engaging the first person perspective of the incarcerated subject, this project will reveal how incarcerated individuals describe themselves, how they maintain and create intimate relationships from behind bars, and their critiques of the criminal justice system. From these readings, the project outlines conventions of “the incarcerated experience” as a subject position, with an eye toward further research analyzing the intersection of one's “incarcerated status” with one’s race, class, gender, and sexuality.

Date: 2024-01-01

Creator: Lillyana Browder

Access: Access restricted to the Bowdoin Community

Date: 1981-01-01

Creator: Ernst Christian Helmreich

Access: Open access

Religion at Bowdoin College: A History (1981), by Ernst Christian Helmreich, considers how people at Bowdoin have perceived religion, how they have felt religion should or should not be realized at the College, and how those views changed over the years.

Date: 2014-01-01

Creator: James W. Denison, IV

Access: Open access

A “Peculiarly American” Enthusiasm: George Bellows, Traditional Masculinity, and The Big Dory investigates the portrayal of masculinity in the oeuvre of the much-lauded yet enigmatic American painter George Bellows (1882-1925). Rather than relying on Bellows’ urban works for source material, a significant portion of this investigation is conducted via a case study of Bellows’ 1913 panel The Big Dory, a scene of fishermen pushing a boat into the North Atlantic off Monhegan Island, Maine that the artist painted during a sojourn on the island in the months after his involvement in the landmark Armory Show in New York. The paper situates The Big Dory within the greater context of the history of the depiction of Maine through the lens of the heroic fisherman. Bellows achieved a heroic effect by forcing the viewer to focus on the labor of the fishermen via their positioning in the near middleground and by echoing the hues and forms of the men elsewhere in the painting, giving the work a sense of visual unity. I argue that these strategies highlight Bellows’ interest in tradition rather than modernism. Armed with this knowledge, Bellows’ other works come more sharply into focus. I reveal that the traditional heterosexual mode of white male identity Bellows represented in The Big Dory was not simply echoed in Bellows’ personal comportment, but in fact pervaded his oeuvre; such masculinity was a reaction by patriarchal American society against the perceived growth of other influences in the early twentieth century. The portrayal of such masculinity is then established as the key underlying feature of the sense of “Americanism” which has traditionally dominated reception of Bellows’ art.

Date: 2022-01-01

Creator: Micah Benjamin Wilson

Access: Open access

This thesis investigates three predominantly Jewish housing cooperatives that emerged in the Bronx in the late 1920s. The Amalgamated Housing Cooperative, the United Workers Cooperative Colony (the “Coops”), and the Sholem Aleichem Houses offered garment workers utopian retreats from the drudgery of Lower East Side tenements where Jewish immigrants arrived in droves between 1890-1920. With each cooperative housing a distinct faction of the Jewish Left––from socialists to communists to Yiddish nationalists––the Bronx housing cooperatives, more than experiments in communal living, were the site of a highly contested battle over competing Jewish cultural and political worldviews across the 1930s and 1940s. Transcending the era that is typically considered the movement’s “peak” in the 1910s, this thesis demonstrates that the era of the Bronx cooperatives must be central to any study of the Jewish labor movement by revealing the ways radical Jews attempted to maintain and negotiate their various worldviews against the backdrop of the threats posed by the capitalist housing market, assimilation, and sectarian struggles. I reconsider the disproportionate attention the “success story” of the Amalgamated Cooperative has received, situating its politics as but one of many responses to the contradictions embedded in the housing cooperative model. Finally, I analyze the role of nostalgia present across resident recollections of the cooperatives and situate it in the contexts of 1970s neoliberal urban reform and suburbanization, while considering the discursive power of this emotion to obscure the persistent legacy of anti-black racism entangled in the cooperative housing movement despite its progressive reputation.