Matching Items (409)
Description
The purpose of my dissertation project is to understand how Same-Gender Loving (SGL) Black Christian men negotiate their sexuality and spirituality in spaces that are not always accepting of SGL people, by examining on how Black SGL men perform their sexual identities within hegemonic institutions that often deny their existence or outwardly seek to exclude them from their communities. I have identified three scripts that Black SGL men often follow within Black religious settings. The first script that SGL people often follow in the church is that of deliverance-- confessing their same-gender desires and maintaining that they have been delivered from those desires The second is "don't ask don't tell" performed by men who many believe and suspect of being SGL; so long as they do not publicly affirm these beliefs they are able to hold a variety of positions in their religious communities.. The last script involves accepting one's same-gender desires and also affirming one's Christian beliefs, proclaiming that the two are not at odds with one another. I examine how these scripts and/or others are performed by and on the bodies of Black SGL males in two distinct sites. The first is the career and music of former gospel star Anthony Charles Williams II (Tonex / B. Slade), who has utilized the three scripts at various times in his career. The next site is that of theatre, where I explore how these scripts have been employed in dramatic texts. By reading Christian Black SGL performance through its theological parameters, I aim to discern the avenues in which Black people in the United States are able to perform same-gender sexual identities in spaces that are constructed as "homophobic," and in so doing combat the narrative of hyper-homophobia in Black communities.
ContributorsChester, Tabitha Jamie Mary (Author) / Anderson, Lisa (Thesis advisor) / Leong, Karen J (Committee member) / Honegger, Gitta (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis discusses the intersection of Christian and Blues exegesis and hermeneutics in the life and lyrics of Eddie "Son" House, a Baptist and Methodist preacher and Blues singer who was born in Lyon, Mississippi. It is intended as a biographical case study that highlights and explores the complex and multifaceted relationship between Black Protestant Preaching and Blues Singing/Preaching. In doing so, it critically appropriates Religious Studies theoretical and methodological considerations, orientations, and insights--particularly those from Charles Long and Paul Ricoeur--to examine the life, artistry, ministry, and lyrics of House in light of his expressed religious orientations and dual, often conflicting roles as a Christian Minister and Blues Preacher.
ContributorsBroyles, Michael (Author) / Moore, Moses (Thesis advisor) / Ali, Souad (Committee member) / Anderson, Lisa (Committee member) / Arizona State University (Publisher)
Created2013
Description
Mapping Intersectionality in Harlem Renaissance Women's Poetry comprises the first book-length study devoted to examining the role women's poetry played in the Harlem Renaissance, an artistic and sociopolitical movement that reached its zenith in the 1920s. This study is situated in a theoretical interdisciplinarity that complicates critical approaches to Black women's subjectivities with respect to resistance and representation. It combines literary, race and gender theory to perform close readings of New Negro Women's poetry. Central chapters of the text theorize the poets' overshadowed engagement with the political movement via the tropes of interiority, motherhood, and sexuality; a closing chapter puts New Negro women's poetry in conversation with the Black Arts Movement. Building on the feminist sociological framework of Intersectionality, which considers the lived experience of individuals who embody multiple layers of marginalization, this dissertation works to identify and unpack sources of racialized gendered disparity in Harlem Renaissance studies. In acknowledging that self–actualization and self–articulation are central to this identity–based movement — a presupposition that informs this study's thesis — it becomes necessary to consider the gendered aspects of the writing for a more comprehensive review of the period. The analytical framework of Intersectionality provides a means to acknowledge New Negro women poets' perspectives regarding their racialized and gendered selves. In essence, Mapping Intersectionality is a concentrated effort toward unearthing evidence of their significant push against race and gender oppression. The motivation driving this study is revision and reclamation: revisionist in its concern for redefining the parameters in which the movement is traditionally perceived; a reclamation in its objective to underscore the influential, but nearly forgotten voices of the women poets of the Harlem Renaissance.
ContributorsPinkard, Michelle J., 1977- (Author) / Hogue, Cynthia (Thesis advisor) / Lester, Neal A. (Thesis advisor) / Reyes, Angelita (Committee member) / Arizona State University (Publisher)
Created2013
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsMatthews, Eyona (Performer) / Yoo, Katie Jihye (Performer) / Roubison, Ryan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
Few studies focus on the MOVE Organization (MOVE), let alone its presences in popular media during the years prior to the MOVE-Philadelphia Conflict (1978-1985), or pre-Conflict. To date, most information about MOVE derives from Conflict research which utilizes archival materials from the Philadelphia Special Investigation Commission (MOVE Commission) hearings. Generations of dominant representations about MOVE and its members, consequently, are mainly constructed by popular media from the MOVE Commission hearings, including video broadcasts of the proceeding. Using a Conflict documentary, I highlight concerns scholars face when heavily using archival materials from MOVE Commission hearings: (a) Archival materials from MOVE Commission hearings lack active MOVE members' voices and (b) Archival materials from MOVE Commission hearings include limited pre-Conflict information about MOVE members. Influenced by Kimberly Sanders and Judson Jeffries' (2013) work about the 1985 bombing newspaper reports' favorability, this project explores pre-Conflict popular media representations of MOVE to understand how the collective first got represented to Philadelphians and the ways which MOVE used popular media to respond to these dominant portrayals.
This mix-methods project utilizes 67-piece dataset materials of various popular media texts by MOVE members and non-MOVE members. It focuses on 48 Philadelphia Tribune newspaper entries as its main text dataset, with an emphasis on the 1975 "On the MOVE" editorial column space. This investigation employs a combination of Black feminist and critical discourse analysis (CDA) methods, with Sanders and Jeffries' (2013) favorability categorizations process, to explore the racialized, gendered, and classed aspects pre-Conflict representations of MOVE.
Quantitative findings suggest that MOVE got generally represented in favorable manners during the pre-Conflict years, with over 50 percent of pre-Conflict texts about MOVE portraying the collective in positive tones. Additionally, qualitative findings propose that MOVE members' authorship and presence in pre-Conflict texts within the Philadelphia Tribune functioned as a site of resistance against dominant portrayal of the collective. CDA findings propose that MOVE's racial attribute, beliefs, and culture, specifically related to self-determination, were central discussions within most pre-Conflict by MOVE members. Unlike Sanders and Jeffries (2013), this project concludes that overall pre-Conflict popular media depictions portrayed MOVE as a positive Philadelphia collective.
This mix-methods project utilizes 67-piece dataset materials of various popular media texts by MOVE members and non-MOVE members. It focuses on 48 Philadelphia Tribune newspaper entries as its main text dataset, with an emphasis on the 1975 "On the MOVE" editorial column space. This investigation employs a combination of Black feminist and critical discourse analysis (CDA) methods, with Sanders and Jeffries' (2013) favorability categorizations process, to explore the racialized, gendered, and classed aspects pre-Conflict representations of MOVE.
Quantitative findings suggest that MOVE got generally represented in favorable manners during the pre-Conflict years, with over 50 percent of pre-Conflict texts about MOVE portraying the collective in positive tones. Additionally, qualitative findings propose that MOVE members' authorship and presence in pre-Conflict texts within the Philadelphia Tribune functioned as a site of resistance against dominant portrayal of the collective. CDA findings propose that MOVE's racial attribute, beliefs, and culture, specifically related to self-determination, were central discussions within most pre-Conflict by MOVE members. Unlike Sanders and Jeffries (2013), this project concludes that overall pre-Conflict popular media depictions portrayed MOVE as a positive Philadelphia collective.
ContributorsEkeogu, Onyekachi Joi (Author) / Quan, Helen (Thesis advisor) / Bortner, Peg (Committee member) / Gomez, Alan (Committee member) / Arizona State University (Publisher)
Created2014
Description
ABSTRACT
The early desire for and the pursuit of literacy are often mentioned in the teeming volumes devoted to African-American history. However, stories, facts, and figures about the acquisition of numeracy by African Americans have not been equally documented.
The focus of this study was to search for the third R, this is the numeracy and mathematics experiences of African Americans who were born in, and before, 1933. The investigation of this generational cadre was pursued in order to develop oral histories and narratives going back to the early 1900s. This study examined formal and informal education and other relevant mathematics-related, lived experiences of unacknowledged and unheralded African Americans, as opposed to the American anomalies of African descent who are most often acknowledged, such as the Benjamin Bannekers, the George Washington Carvers, and other notables.
Quantitative and qualitative data were collected through the use of a survey and interviews. Quantitative results and qualitative findings were blended to present a nuanced perspective of African Americans learning mathematics during a period of Jim Crow, segregation, and discrimination. Their hopes, their fears, their challenges, their aspirations, their successes, and their failures are all tangential to their overall goal of seeking education, including mathematics education, in the early twentieth century. Both formal and informal experiences revealed a picture of life during those times to further enhance the literature regarding the mathematics experiences of African Americans.
Key words: Black students, historical, senior citizens, mathematics education, oral history, narrative, narrative inquiry, socio-cultural theory, Jim Crow
The early desire for and the pursuit of literacy are often mentioned in the teeming volumes devoted to African-American history. However, stories, facts, and figures about the acquisition of numeracy by African Americans have not been equally documented.
The focus of this study was to search for the third R, this is the numeracy and mathematics experiences of African Americans who were born in, and before, 1933. The investigation of this generational cadre was pursued in order to develop oral histories and narratives going back to the early 1900s. This study examined formal and informal education and other relevant mathematics-related, lived experiences of unacknowledged and unheralded African Americans, as opposed to the American anomalies of African descent who are most often acknowledged, such as the Benjamin Bannekers, the George Washington Carvers, and other notables.
Quantitative and qualitative data were collected through the use of a survey and interviews. Quantitative results and qualitative findings were blended to present a nuanced perspective of African Americans learning mathematics during a period of Jim Crow, segregation, and discrimination. Their hopes, their fears, their challenges, their aspirations, their successes, and their failures are all tangential to their overall goal of seeking education, including mathematics education, in the early twentieth century. Both formal and informal experiences revealed a picture of life during those times to further enhance the literature regarding the mathematics experiences of African Americans.
Key words: Black students, historical, senior citizens, mathematics education, oral history, narrative, narrative inquiry, socio-cultural theory, Jim Crow
ContributorsLaCount, Marilyn Ruth (Author) / Zambo, Ronald (Thesis advisor) / Flores, Alfinio (Committee member) / Koblitz, Ann Hibner (Committee member) / Zambo, Debby (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsHoeckley, Stephanie (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
Description
ABSTRACT
Colorism is the intra-racial system of inequality based on skin color, hair texture, and facial features. In the African American culture, colorism has deeply rooted origins that continue to affect the lives of African Americans today. This study examined how colorism effects perceptions of personal characteristics, personal attributes, work ability, and hiring decisions of African American women 18 and older.
Participants for this study consisted of 188 African American women who self-identified as African American/Black and who were over 18 years of age living in the United States. All participants completed a demographic sheet and three instruments: Occupational Work Ethic Inventory (OWEI; Petty, 1995), Personal Attributes Questionnaire (PAQ; Spence, Helmreich, & Stapp, 1974) and Personal Efficacy Beliefs Scale (PEBS; Riggs et al., 1994). They were randomly assigned to one of six vignettes describing a young African American/Black woman applying for a job. She was described as having one of three skin-tones (light, brown, or dark) and having kinky or straight hair.
A multiple analysis of variance (MANOVA) failed to reveal differences in personal characteristics, personal attributes, and work ability due to skin tone or to hair texture. Multiple linear regression analyses revealed that hair texture predicted hiring decision, after controlling for relevant demographic variables. Participant education and vignette hair texture influenced hiring decisions, accounting for 8.2% of the variance. The woman in the vignette with straight hair was more likely to be recommended for hire and more educated participants were more likely to recommend hiring. These findings suggest that education may be an important factor in changing the influence of colorism in African American culture and that hair texture may be a factor of colorism that influences hiring of applicants.
Colorism is the intra-racial system of inequality based on skin color, hair texture, and facial features. In the African American culture, colorism has deeply rooted origins that continue to affect the lives of African Americans today. This study examined how colorism effects perceptions of personal characteristics, personal attributes, work ability, and hiring decisions of African American women 18 and older.
Participants for this study consisted of 188 African American women who self-identified as African American/Black and who were over 18 years of age living in the United States. All participants completed a demographic sheet and three instruments: Occupational Work Ethic Inventory (OWEI; Petty, 1995), Personal Attributes Questionnaire (PAQ; Spence, Helmreich, & Stapp, 1974) and Personal Efficacy Beliefs Scale (PEBS; Riggs et al., 1994). They were randomly assigned to one of six vignettes describing a young African American/Black woman applying for a job. She was described as having one of three skin-tones (light, brown, or dark) and having kinky or straight hair.
A multiple analysis of variance (MANOVA) failed to reveal differences in personal characteristics, personal attributes, and work ability due to skin tone or to hair texture. Multiple linear regression analyses revealed that hair texture predicted hiring decision, after controlling for relevant demographic variables. Participant education and vignette hair texture influenced hiring decisions, accounting for 8.2% of the variance. The woman in the vignette with straight hair was more likely to be recommended for hire and more educated participants were more likely to recommend hiring. These findings suggest that education may be an important factor in changing the influence of colorism in African American culture and that hair texture may be a factor of colorism that influences hiring of applicants.
ContributorsHowell, Morgan Saraya (Author) / Robinson-Kurpius, Sharon (Thesis advisor) / Homer, Judith (Committee member) / Randall, Ashley K. (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT This dissertation focuses on Anne Moody's use of the autobiographical genre as an extension of her political activism. Noting consistent values and conventions that govern the writing of political activists, this study asserts that Moody's narrative is best situated in the genre of political autobiography--a term coined by Angela Davis. Using Margo V. Perkins' text as a base to define autobiography as activism, this dissertation illustrates the consistent values that characterize Moody's narrative as political autobiography, resistance literature, and ultimately Black Power literature. Building on the works of Joanne Braxton, Patricia Hill Collins, Angela Davis, Elizabeth Fox-Genovese, bell hooks, Margo V. Perkins, Assata Shakur, and Johnny Stover, this project demonstrates the use of Moody's autobiography as a collective form of resistance that is reflective of autobiography as activism. To frame its argument, this study theorizes how one comes into revolutionary consciousness, demonstrating the move toward activism as a process. Drawing on Sidonie Smith and Julia Watson's autobiographical theory that the "narrated I" is distinguished from the "narrating I," this study asserts, as Francoise Lionnet suggests, that the "narrating I" is the vehicle to deliver recollections relevant to the autobiographer's agenda. This study emphasizes that the early version of the self Moody creates is consciously linked to her role as a future activist, ultimately demonstrating her political evolution through the emphatic linking of the personal and political. Most importantly, this dissertation demonstrates that Moody's text represents a continuity--an autobiographical bridge--between representations of the Christian nonviolent civil rights movement and the Black Power movement of the late 1960's. This study argues that Moody's autobiography is ideologically poised at the intersection of civil rights and Black Power; therefore, it serves as both a civil rights autobiography and a Black Power autobiography. Coming of Age in Mississippi offers a unique contribution to the genre of Black Power autobiography for the way it facilitates unprecedented insight into the transition from non-violent civil rights ideology to revolutionary consciousness.
ContributorsFlanagan, Melissa A (Author) / Miller, Keith D. (Thesis advisor) / Stancliff, Michael (Committee member) / Anokye, Duku (Committee member) / Arizona State University (Publisher)
Created2011