Matching Items (5)
Filtering by

Clear all filters

150349-Thumbnail Image.png
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

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
150712-Thumbnail Image.png
Description
ABSTRACT This dissertation examines the literate practices of women reading and writing in the press during the civil rights movement in the 1950s/60s. Through a textual analysis of literacy events (Heath) in the memoirs of Sarah Patton Boyle (The Desegregated Heart: A Virginian's Stand in Time of Transition), Anne Braden

ABSTRACT This dissertation examines the literate practices of women reading and writing in the press during the civil rights movement in the 1950s/60s. Through a textual analysis of literacy events (Heath) in the memoirs of Sarah Patton Boyle (The Desegregated Heart: A Virginian's Stand in Time of Transition), Anne Braden (The Wall Between), Daisy Bates (The Long Shadow of Little Rock) and Melba Pattillo Beals (Warriors Don't Cry), this dissertation highlights the participatory roles women played in the movement, including their ability to act publicly in a movement remembered mostly for its male leaders. Contributing to scholarship focused on the literate lives of women, this study focuses on the uses of literacy in the lives of four women with particular emphasis on the women's experiences with the literacy they practice. Drawing on ideological views of literacy (Gee, Street) and research focused on the social, cultural and economic influences of such practices (Brandt), the women's memoirs served as the site for collecting and analyzing the women's responses and reactions to literacy events with the press. Through an application of Deborah Brandt's notion of sponsor, literacy events between the women and the press were recorded and the data analyzed to understand the relationship the women had with the literacy available and the role the sponsor (the press) played in shaping the practice and the literate identities of the women. Situated in the racist climate of the Jim Crow South in the 1950s/60s and the secondary role women played in the movement, the women's memoirs and the data analyzed revealed the role the women's perception of the practice, shaped by personal history and lived experiences, played in how the women experienced and used their literacy. This dissertation argues that their responses to literacy events and their perceptions of the power of their reading and writing highlight the significant public role women played in the movement and argues that, although the women remain relatively unremembered participants of the movement, their memoirs act as artifacts of that time and proof of the meaningful public contributions women made to the movement.
ContributorsAdams, Kelly R (Author) / Goggin, Peter (Thesis advisor) / Boyd, Patricia (Committee member) / Miller, Keith (Committee member) / Arizona State University (Publisher)
Created2012
153808-Thumbnail Image.png
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The

Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
154761-Thumbnail Image.png
Description
Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his

Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene.

Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.

In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.

This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
ContributorsEkenes, Spencer Arvin (Author) / McLin, Katherine (Thesis advisor) / Feisst, Sabine (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016
157969-Thumbnail Image.png
Description
While the African American civil rights movement of the 1950s and 60s is one of the most famous and celebrated parts of American history, rhetoric scholars have illuminated the ways this subversive movement has been manipulated beyond recognition over time. These narrative constructions play a role in preserving what Maegan

While the African American civil rights movement of the 1950s and 60s is one of the most famous and celebrated parts of American history, rhetoric scholars have illuminated the ways this subversive movement has been manipulated beyond recognition over time. These narrative constructions play a role in preserving what Maegan Parker Brooks calls the "conservative master narrative of civil rights history," a narrative that diminishes the work of activists while simultaneously promoting complacency to prevent any challenge to the white supremacist hegemony. This dissertation argues that the graphic memoir trilogy March by John Lewis, Andrew Aydin, and Nate Powell challenges this conservative master narrative through visual rhetoric, in particular through the comics techniques "braiding" and "weaving."

Braiding occurs when authors create "webs of interrelation" (Miodrag 134) by repeating a technique throughout the text, which can sometimes involve a secondary narrative (Groensteen). Braids are associations in the network of panels of the comic that go beyond the parameters of strictly linear storytelling as panels echo those the reader has encountered before. The braids in March compare the past and present through a direct juxtaposition of January 20, 2009—the inauguration day of Barack Obama—with John Lewis' activism from 1959 to 1965. While this juxtaposition risks reinforcing a progress narrative that suggests racism is in the past, in fact, the braided inauguration scenes help the reader connect the moments of the past with their present, calling to mind the ways white supremacy endures in contemporary America. Weaving refers to the reader’s action of moving back and forth in the comics narrative to create meaning, and artists use techniques that facilitate this behavior, such as leaving out or minimizing significant cues and creating a sense of ambiguity that leads the reader to become curious about the events in the sequence. Weaving can disrupt an easy linear narrative of depicted events—such as Fannie Lou Hamer's testimony at the Democratic National Convention—as artists present several opportunities for the reader to interpret these stories in ways that challenge a conservative master narrative of the events in the trilogy.
ContributorsBoykin, Jessica (Author) / Miller, Keith D. (Thesis advisor) / Lamp-Fortuno, Kathleen (Committee member) / Ore, Ersula J. (Committee member) / Serafini, Frank (Committee member) / Arizona State University (Publisher)
Created2019