Matching Items (11)
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- All Subjects: Memory
- All Subjects: Terrorism
- Creators: School of Historical, Philosophical and Religious Studies
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
Since Dylan Roof, a white supremacist, shot and killed nine members of a black church in Charleston on June 17, 2015, Confederate symbols have stood at the center of much controversy across the United States. Although the Confederate battle flag remains the most obvious example, the debate took a particular form in Tennessee, centering on the image of General Nathan Bedford Forrest. Born in 1822 to a poor family, he left school early to work. Although his work in the slave trade made him a millionaire, his later participation in the massacre of over 300 black soldiers at Fort Pillow in 1864 during the Civil War and association with the Ku Klux Klan cemented his reputation as a violent racist. Yet, many white Tennesseans praised him as a hero and memorialized him. This thesis examines Nathan Bedford Forrest State Park in Benton County and Forrest Park, now Health Sciences Park, in Memphis to examine what characteristics denote a controversial memorial. Specifically, I focus on the physical form, the location, and the demographics of the area, investigating how these components work together to give rise to controversy or acceptance of the memorial's image. Physical representations greatly impact the ideas associated with the memorial while racial demographics affect whether or not Forrest's representation as a hero speaks true to modern interpretations and opinions.
ContributorsFish, Caroline Rose (Author) / Longley, Rodney (Thesis director) / Suk, Mina (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Politics and Global Studies (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Memory Wipe is a 22 minute, video art piece that utilizes home movie footage filmed on VHS and 8mm, as well as television and cartoon ephemera, to explore the way in which personal memory is constructed and altered through the process of recording and viewing. Three recent events in my life inspired work: the discovery of a box containing my favorite childhood media, the revelation that I am the last male of my family, and the impending sale of my family's farmland. My mother never used a video camera, insisting that her childhood was lost in footage filmed but never watched. It should also be noted that not once do I appear in this piece; therefore, I decided to extract myself from the narrative. Rather than simply guide the audience along with anecdotes from my life, I instead invite viewers to draw their own meanings and create their own nostalgias from the piece. Originally, Memory Wipe was to be accompanied by live narration, but all things considered, I thought I would let it speak for itself. Video link: https://www.youtube.com/watch?v=-E42a6Koma4
ContributorsMcDougall, Clayton Ross (Author) / Magenta, Muriel (Thesis director) / Brye, Anne (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
It is imperative for the West that the War on Terror not be won, yet it is also certain that the War on Terror will be won, a victory for the West which simultaneously signifies its defeat. This state of affairs is not paradoxical, but catastrophic, and as is argued in the course of this essay, the War on Terror is the logical and necessary terminus of the Western project and its attendant metaphysic. Beginning with Marx's analysis of the commodity in Das Kapital, it has become increasingly clear that the West (and for that matter, the rest of the world) is succumbing to a regime of simulation, in which reality is liquidated in favor of increased inertia of circulating signs. Using Jean Baudrillard's infamous critiques of the postmodern society as a guide, the following essay examines the emerging forms of terrorism and their relation to Western social structures, ultimately concluding that the West is on the brink of an abyss which is marked by the advent of the anonymous act of terrorism.
ContributorsOberhaus, Daniel Martin (Author) / Ingram-Waters, Mary (Thesis director) / King, Kristy (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
A collection of poems concentrating on 15 small moments, tied together to explore the ardor, tensions, and fragility a relationship. Conceptions of language, teeth, domesticated dogs, and a car accident recur throughout the manuscript as a means of navigating this narrative and of questioning the role of memory in our lives.
ContributorsOpich, Sophie Aurelia (Author) / Ball, Sally (Thesis director) / Dubie Jr., Norman (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
Abstract
The Shining Path, or Sendero Luminoso, is peculiar among Latin American revolutions for a multitude of reasons, ranging from the intensity of its violent tactics to the group’s muddled Maoist ideology. Analyses of the group tend to label it a mystery or an enigma. The purpose of this thesis is to offer the charismatic nature of the authority wielded by Abimael Guzmán, the energetic leader of the group also known as Presidente Gonzalo, as an explanation for some of the Shining Path’s idiosyncrasies, particularly their relentlessly bloodthirsty rise and sharp decline. Although much of the previous literature on the Shining Path uses the word “charismatic” to describe Guzmán, very little work has analyzed the particular implications of the successful creation of a charismatic leader-follower dynamic as a key part of senderismo. Using the framework established by German sociologist Max Weber, this paper analyzes a number of major characteristics of charismatic leaders and applies them to Guzmán. Not only did he exhibit many of the typical features of a charismatic leader, but it may have been is successful development of this particular style of authority which led to both the bloodthirstiness of Sendero’s military arm and the group’s struggle to find an identity after Guzmán’s capture. The Shining Path followed the power arc expected of a charismatic leader-follower relationship, allowing Guzmán to exploit the peasant population to create chaos and fear in the Andes in his effort to bring about a “popular revolution.” The purpose of this paper is not to discredit other theories regarding Sendero, as it was largely a sui generis movement, but to argue several of its particular qualities can be attributed to the charismatic nature of Presidente Gonzalo’s authority.
The Shining Path, or Sendero Luminoso, is peculiar among Latin American revolutions for a multitude of reasons, ranging from the intensity of its violent tactics to the group’s muddled Maoist ideology. Analyses of the group tend to label it a mystery or an enigma. The purpose of this thesis is to offer the charismatic nature of the authority wielded by Abimael Guzmán, the energetic leader of the group also known as Presidente Gonzalo, as an explanation for some of the Shining Path’s idiosyncrasies, particularly their relentlessly bloodthirsty rise and sharp decline. Although much of the previous literature on the Shining Path uses the word “charismatic” to describe Guzmán, very little work has analyzed the particular implications of the successful creation of a charismatic leader-follower dynamic as a key part of senderismo. Using the framework established by German sociologist Max Weber, this paper analyzes a number of major characteristics of charismatic leaders and applies them to Guzmán. Not only did he exhibit many of the typical features of a charismatic leader, but it may have been is successful development of this particular style of authority which led to both the bloodthirstiness of Sendero’s military arm and the group’s struggle to find an identity after Guzmán’s capture. The Shining Path followed the power arc expected of a charismatic leader-follower relationship, allowing Guzmán to exploit the peasant population to create chaos and fear in the Andes in his effort to bring about a “popular revolution.” The purpose of this paper is not to discredit other theories regarding Sendero, as it was largely a sui generis movement, but to argue several of its particular qualities can be attributed to the charismatic nature of Presidente Gonzalo’s authority.
ContributorsEnglese, Daniel James (Author) / Hinojosa, Magda (Thesis director) / Humphrey, Ted (Committee member) / Wood, Reed (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / Sandra Day O'Connor College of Law (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2013-05
Description
Women. War. What is the relationship between women and war? As evidenced by movies, popular memoirs and journals, there is a definite relationship between men and war. However, this definite relationship has created a problematic and a complex relationship between women and war. The two historical events that are considered as the ‘turning points’ for women are the French Revolution and World War I are compared in this thesis. The popular perception of women’s legacy of the French Revolution is that the Revolution cultivated the ideas of Republican Motherhood and the Cult of Domesticity while World War I catapulted women to the public sphere. These two contrasting legacies are compared to see if French women’s lived experiences, memories, and writings verify these popular perceptions. Or, do the writings of the French women present a different argument? The thesis compares the writings and the lived experiences of the French women through three different themes: the argument for political rights, victimization and agency, and gendered connections (the development of sisterhood for the Revolution) or gendered divides (women’s role on the home and war front). In addition, these three themes come together to show how it is difficult to come up with a collective, public memory.
ContributorsYu, Heajin (Author) / Thompson, Victoria (Thesis director) / Hopkins, Richard (Committee member) / Fuchs, Rachel (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
The aim of this thesis is to explore the relationship between architecture and history in Virginia from 1607 to the eve of the American Revolution to create a complete historical narrative. The interdependency of history and architecture creates culturally important pieces and projects the colonist's need to connect to the past as well as their innovations in their own cultural exploration. The thesis examines the living conditions of the colonists that formed Jamestown, and describes the architectural achievements and the historical events that were taking place at the time. After Jamestown, the paper moves on to the innovations of early Virginian architecture from Colonial architecture to Georgian architecture found in Williamsburg. Conclusively, the thesis presents a historical narrative on how architecture displays a collection of ideals from the Virginian colonists at the time. The external display of architecture parallels the events as well as the economic conditions of Virginia, creating a social dialogue between the gentry and the common class in the colony of Virginia.
ContributorsChang, Hosu (Author) / Gray, Susan (Thesis director) / O'Donnell, Catherine (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Social Transformation (Contributor)
Created2015-05
Description
In this paper, I define a religious-political phenomenon called cultist terror groups. A cultist terror (ct) group is a nationalist insurgent organization which employs extreme, ritualized violence, and establishes a cultist doctrine, commonly borrowing elements from established religions. IS, or the Islamic State, is the latest example of a cultist terror group. This paper examines and contextualizes IS by analyzing death cults throughout modern history, and contrasts these case studies with violent, religious, political groups that do not meet the heuristic characteristics of a cultist terror group. Cultist terror groups are so named to drive home the idea that these groups belong to a subset of the broader, religious terror (rt) group category. The paper aims to discern the key components of cultist terror groups that distinguish these groups from other violent, religious groups with political goals (a political theology). These include identity and strategy components. Specifically, it presents a concise set of hypotheses about how cultist terror groups create in-group solidarity (e.g., through synchronous activities), recruit members, prevent defection, select targets, and how these aspects differentiate cultist terror groups from other violent religious organizations with political theologies.
ContributorsBriggs, Noah Blakemore (Author) / Siroky, David S (Thesis director) / Bustikova, Lenka (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Politics and Global Studies (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12