Showing 1 - 6 of 6 Items

Date: 2023-01-01

Creator: Josh-Pablo Manish Patel

Access: Open access

This project extends reparative reading practices to recent Asian American memoirs, specifically trauma memoirs from the past five years (2018-2022) that detail personal trauma and communal, intergenerational trauma. Reparative reading is explored within five memoirs: Stephanie Foo’s What My Bones Know (2022), Esmé Weijun Wang’s The Collected Schizophrenias (2019), Phuc Tran’s Sigh, Gone (2020), Cathy Park Hong’s Minor Feelings (2020), and Nicole Chung’s All You Can Ever Know (2018). In considering the reparative turn in Asian American memoirs, this thesis draws on and extends Eve Kosofsky Sedgwick’s reparative frameworks and bell hooks’ theories on pedagogy and love. A critical analysis of self-writings through pre-existing reparative reading models alongside traditional Asian American scholarship on racial melancholia resists the monopolistic dominance of overwhelming negative affects (such as shame, guilt, and anger) that saturate Asian American lives and life-writing. Instead, this alternative interpretative practice exposes how authors seek love, pleasure, and positivity within their texts and within their own lives, while also exploring the methods through which the memoirists themselves embody the reparative in writing and self-analysis. Thus, shaping the reparative turn for Asian America illuminates the productive ways reshaped methods of writing and criticism, and its resultant ethics of living, can push back against lived racial oppression and pain as well as decades of cultural erasure and intergenerational trauma. This varied engagement with love-based and reparative frameworks allows Asian American authors to begin healing from trauma, and this is evidenced through non-traditional psychiatric healing methods, literary methods, and strategies of communal formation.

Date: 2023-01-01

Creator: Ayana Opong-Nyantekyi

Access: Open access

Colombia has the second largest African descendant population in all South America due to the transatlantic slave trade that stripped millions from their homeland and brought them to present day Colombia. While African descendants have been a part of the region’s history for over five centuries, it was not until 1993 with the establishment of Law 70 that the Colombian government acknowledged the culture and rights of African descendants. This thesis analyzes the historical, social, and political underpinnings of Law 70, its implementation, and aftereffects. I argue that Law 70 acknowledges a lived identity of rural African descended Colombians as the mechanism for Black communities to obtain rights. The thesis addresses the deep connection between ethnicity and territory, and how Law 70 recognizes that, for rural African descendants, ancestry, culture, and territory, cannot be separated. Law 70 codified a legal transition from a racial to an ethnic frame, which was necessary for African descendants to live their difference and be recognized by the nation.

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: 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: 2022-01-01

Creator: Brigita Kant

Access: Open access

For centuries, the Pacific Islands have been disguised by Europeans through the trope of “island paradise." Despite Europe’s role in bringing colonization and racial oppression to Oceania, the dominant narrative has been that Pacific Islanders lead simple lives, untouched from the complicated aspects of the “modern world.” This narrative has enabled White outsiders to fantasize about the Pacific Islands as a place for personal denial of Western social conventions, simultaneously allowing White European men to fetishize and possess Pacific Island culture and identity. My honors project will closely examine three fictional German language texts- Haimotochare (1819), Der Papalagi (1920), and Imperium (2012)- centered around the exploration German colonial involvement in Pacific Islands. My analysis of these texts will allow for the understanding of how the false narrative of “island paradise” came to be, how it has been embraced and weaponized, and what it means for both German and Pacific Islander post-colonial identity.

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.