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This Master's thesis locates four works by William Dyce inspired by Dante Alighieri's Commedia: Francesca da Rimini (1837), Design for the Reverse of the Turner Medal (1858), Beatrice (1859), and Dante and Beatrice (date unknown) in the context of their literary, artistic and personal influences. It will be shown that,

This Master's thesis locates four works by William Dyce inspired by Dante Alighieri's Commedia: Francesca da Rimini (1837), Design for the Reverse of the Turner Medal (1858), Beatrice (1859), and Dante and Beatrice (date unknown) in the context of their literary, artistic and personal influences. It will be shown that, far from assimilating the poet to a pantheon of important worthies, Dyce found in Dante contradictions and challenges to his Victorian, Anglican way of thinking. In this thesis these contradictions and challenges are explicated in each of the four works.
ContributorsTiffany, Kristopher (Author) / Serwint, Nancy (Thesis advisor) / Gully, Anthony (Committee member) / Codell, Julie (Committee member) / Arizona State University (Publisher)
Created2013
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This project examines C.L.R. James, V.S. Naipaul, and George Lamming's appropriation of the European Bildungsroman, a novel depicting the maturation of the hero prompted by his harmonious dialectical relationship with the social realm (Bildung). I contend that James, Naipaul, and Lamming use the Bildungsroman genre to critique colonialism's effects on

This project examines C.L.R. James, V.S. Naipaul, and George Lamming's appropriation of the European Bildungsroman, a novel depicting the maturation of the hero prompted by his harmonious dialectical relationship with the social realm (Bildung). I contend that James, Naipaul, and Lamming use the Bildungsroman genre to critique colonialism's effects on its subjects, particularly its male subjects who attend colonial schools that present them with disconcerting curricula and gender ideologies that hinder their intellectual and social development. Disingenuously cloaked in paternalistic rhetoric promising the advancement of "uncivilized" peoples, colonialism, these novels show, actually impedes the development of its subjects. Central to these writers' critiques is the use of houses, space, and land. Although place functions differently in Minty Alley, A House for Mr. Biswas, and In the Castle of My Skin, the novels under consideration here, the corresponding relationship between a mature, autonomous self and a home of one's own is made evident in each. Tragically, the men in these novels are never able to find communities in which they cease to feel out of place, nor are they ever able to find secure domestic spaces. Because the discourse of home so closely parallels the discourse of Bildung, I contend that the protagonists' inability to find stable housing suggests the inaccessibility of Bildung in a colonized space. Further, I assert that this literal homelessness is symbolic of the educated male's cultural exile; he is unable to find a location where he can live in dialectical harmony with any community, which is the ideal aim of Bildung. Leaving the Caribbean proves to be the colonized male's only strategy for pursuing Bildung; thus, these novels suggest that while Bildung is impossible in the Caribbean, it is not impossible for the Caribbean subject.
ContributorsPate, Leah (Author) / Castle, Gregory (Thesis advisor) / Codell, Julie (Committee member) / Bivona, Dan (Committee member) / Arizona State University (Publisher)
Created2012
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This dissertation project addresses one of the most critical problems in the study of religion: how do scriptures acquire significance in religious communities in ways that go beyond the meaning of their words? Based on data collected during ethnographic work in Maharashtra, India, in 2011 and 2012, I analyze the

This dissertation project addresses one of the most critical problems in the study of religion: how do scriptures acquire significance in religious communities in ways that go beyond the meaning of their words? Based on data collected during ethnographic work in Maharashtra, India, in 2011 and 2012, I analyze the complex relationship between a religious text and its readers with reference to ritual reading of the Gurucaritra, a Marathi scripture written in the sixteenth century. I argue that readers of the Gurucaritra create a self-actualized modern religiosity both by interpreting the content of the text and by negotiating the rules of praxis surrounding their reading activity.

In particular, this dissertation analyzes the ways in which members of the Dattatreya tradition in urban Maharashatra ritualize their tradition's central text-- the Gurucaritra--in terms of everyday issues and concerns of the present. Taking inspiration from reader-response criticism, I focus on the pArAyaN; (reading the entire text) of the Gurucaritra, the central scripture of the Dattatreya tradition, in the context of its contemporary readings in Maharashtra. In the process of reading the Gurucaritra, readers become modern by making a conscious selection from their tradition. In the process of approaching their tradition through the text, what they achieve is a sense of continuity and a faith that, if they have the support of the guru, nothing can go wrong. In the process of choosing elements from their tradition, they ultimately achieve a sense of being modern individuals who work out rules of religiosity for themselves.

This dissertation contributes to the study of scriptures in two major ways: first, by bringing forth how religious communities engage with scriptures for reasons other than their comprehension; second, by showing how scriptures can play a crucial role in religious communities in the context of addressing concerns of their present. Thus, this research contributes to the fields of scripture studies, Hinduism, and literary criticism.
ContributorsYeolekar, Mugdha (Author) / Feldhaus, Anne (Thesis advisor) / Henn, Alexander (Committee member) / Codell, Julie (Committee member) / Arizona State University (Publisher)
Created2014
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Multi-media votive sculpture, made from wax, papier-mâché, wood, terra cotta and textiles, is a long-neglected subject of study in early modern Italian art history. This dissertation focuses on an unparalleled seventeenth-century manuscript, the Libro dei miracoli, which reproduces in watercolor a number of the lost multi-media votive statues that once

Multi-media votive sculpture, made from wax, papier-mâché, wood, terra cotta and textiles, is a long-neglected subject of study in early modern Italian art history. This dissertation focuses on an unparalleled seventeenth-century manuscript, the Libro dei miracoli, which reproduces in watercolor a number of the lost multi-media votive statues that once populated the church of S. Maria della Quercia in Viterbo. The names of votaries, along with a description of their miracles, accompany the watercolors and present an invaluable source of information that allows for this first comprehensive study of votary identity. Abundant archival material maintained by S. Maria della Quercia, situated within larger historical events and cultural trends, informs this dissertation which explores the democratic nature behind votive statuary effigies. The offerings granted male and female members of most socio-economic classes in early modern Italy the extraordinary opportunity to act as patrons of art. Moreover, the sculptures, and watercolors after them, were individualized representations of votaries that can be considered a form of portraiture available to rich and poor alike.
ContributorsAdams, Jennifer (Author) / Codell, Julie (Thesis advisor) / Wolfthal, Diane (Thesis advisor) / Vitullo, Juliann (Committee member) / Arizona State University (Publisher)
Created2012
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A Japanese national identity is generally thought to have originated in the 17th century, with the advent of the Kokugaku movement. I will argue that there is earlier evidence for the existence of a Japanese national identity in the Kumano Nachi mandalas of the Kamakura and Muromachi periods. These mandalas

A Japanese national identity is generally thought to have originated in the 17th century, with the advent of the Kokugaku movement. I will argue that there is earlier evidence for the existence of a Japanese national identity in the Kumano Nachi mandalas of the Kamakura and Muromachi periods. These mandalas employ the Nachi waterfall as a symbol of the strength and power of the Japanese land, counterbalancing Chinese Buddhist visual motifs. In this paper, I further assert that these mandalas are an early example of an artistic tradition of painting specific landscape features as symbols of a Japanese national identity, and that this tradition continues into the modern period.
ContributorsGossett, Sarah (Author) / Brown, Claudia (Thesis advisor) / Codell, Julie (Committee member) / Gabbard, Ralph (Committee member) / Hedberg, William (Committee member) / Arizona State University (Publisher)
Created2017
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My thesis argues that an unrecognized genre existed in classical Chinese painting, one which I call “ethnic" or "minority painting.” The genre of ethnic painting consistently displays certain styles and cultural values and is meant to represent unique ethnic identities. These ideas have not been substantially covered by previous research

My thesis argues that an unrecognized genre existed in classical Chinese painting, one which I call “ethnic" or "minority painting.” The genre of ethnic painting consistently displays certain styles and cultural values and is meant to represent unique ethnic identities. These ideas have not been substantially covered by previous research on Qing dynasty painting. My research raises three main questions: was there a distinct genre in traditional Chinese painting that could be called “ethnic art” (or "minority art")? How did ethnic art distinguish itself within Chinese painting? What were the ethnic identities presented by minority artists from ethnic groups within and outside of China? The materials used for this research include a close visual study of six paintings by Lang Shining (Giuseppe Castiglione) from the Cleveland Museum of Art, the Munich Residenz in Germany and the Musée Guimet in France.
ContributorsAIERKEN, YIPAER (Author) / Brown, Claudia (Thesis advisor) / Codell, Julie (Thesis advisor) / Baker, Janet (Committee member) / Chen, Huaiyu (Committee member) / Arizona State University (Publisher)
Created2019
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By focusing on photojournalists for LIFE and Ladies’ Home Journal, I investigate mental health care in state institutions located in America during the Great Depression and World War II immediately prior to the great deinstitutionalization that began in the 1950s. Relying upon scholars of medical humanities, social theory, disability

By focusing on photojournalists for LIFE and Ladies’ Home Journal, I investigate mental health care in state institutions located in America during the Great Depression and World War II immediately prior to the great deinstitutionalization that began in the 1950s. Relying upon scholars of medical humanities, social theory, disability studies, feminist studies, the history of psychiatry, and the history of art, I consider the iconography used to represent mental illness in photography during the first half of the twentieth century to explore the ways mentally ill individuals were presented as disordered and lacking humanity. I explore the didactic nature of both photography and film, emphasizing how the artists and directors imbued their mediums with medical credibility and authority. The photographs of Alfred Eisenstaedt, Jerry Cooke, and Esther Bubley from the 1930-40s reveal the state of mental health care in America during the Great Depression and World War II. I will investigate the stereotypes seen in representations of mental illness in photographs and how these depictions shaped and were in dialogue with popular films like Spellbound (1945), The Snake Pit (1948), The Three Faces of Eve (1957), and Marnie (1964). As a point of contrast to the images and films representing mental illness, I examine depictions of healthy people in mental health clinics during this time. Finally, I offer four examples of public, contemporary art, including House for a Gordian Knot (2013), Bloom (2013), 1000 Shadows (2013), and Faces of Mental Health Recovery (2013), that explore mental illness to illustrate the enduring legacy of the iconography and stereotypes represented in the photography and films explored in the first half of this dissertation.
ContributorsTaggart, Vriean Diether (Author) / Fahlman, Betsy (Thesis advisor) / Codell, Julie (Committee member) / Lussier, Mark (Committee member) / Moore, Sarah (Committee member) / Arizona State University (Publisher)
Created2019
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ABSTRACT

Art historians typically consider Chinese porcelain a decorative art, resulting in scholars spending little time analyzing it as a fine art form. One area that is certainly neglected is porcelain produced during the late 19th and early 20th century during the late Qing dynasty (1644–1911) into the early Republic

ABSTRACT

Art historians typically consider Chinese porcelain a decorative art, resulting in scholars spending little time analyzing it as a fine art form. One area that is certainly neglected is porcelain produced during the late 19th and early 20th century during the late Qing dynasty (1644–1911) into the early Republic period (1912–1949). As the Qing dynasty weakened and ultimately fell in 1911, there was a general decline in the quantity of porcelain produced in China. Due to this circumstance, porcelain of this era has not received the detailed analysis, characterization of styles, comprehension of themes, and understanding of patronage evident in other periods of Chinese porcelain production. Ultimately, limited research has been conducted to establish the styles associated with late dynastic porcelain into the early Republic’s establishment.

This dissertation utilizes a new perspective that considers the patronage of the Empress Dowager Cixi (1835-1908) as a high point of late dynastic porcelain. Concrete documentation establishes that motifs were appropriated from Cixi’s painting, suggesting a direct connection between schools of painting and the imagery selected for porcelain during her reign. The porcelain Cixi influenced directly guided the porcelain produced during the Hongxian era (1915-1916), making Cixi’s patronage the key turning point from dynastic porcelain to early Republic porcelain. Utilizing predominately British collections, this study identifies the styles, symbols, and themes associated with porcelain of the 19th and 20th century, elevating late dynastic and early Republic wares to the status of fine art.
ContributorsGreene, Carolyn Ann (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Codell, Julie (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2019
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During the Nazi era, which is historically regarded as lasting from 1933-1945, the National Socialists both looted and made “legal” confiscations of art and artifacts they deemed “degenerate” from museums throughout occupied Europe. The art they seized was sold abroad in exchange for foreign currency that not only funded their

During the Nazi era, which is historically regarded as lasting from 1933-1945, the National Socialists both looted and made “legal” confiscations of art and artifacts they deemed “degenerate” from museums throughout occupied Europe. The art they seized was sold abroad in exchange for foreign currency that not only funded their war efforts, but also allowed for purchases of art for Hitler’s un-realized Führermuseum in Linz, Austria. The rapid transfer of objects flooded the art market, making this period one of the most prosperous times for collectors and dealers. However, due to the overall hasty nature of the displacements, the ownership history, or provenance, of the works became extremely convoluted. Institutions in the United States, as well as individual collectors, began to buy pieces, unaware of their provenance. Without this knowledge as a good-faith purchaser, many institutions never delved deeper into the background of the objects and the works remained in their collections until the present day. In this thesis, I argue that provenance research can shape a museum’s history through changing the relationship it has with its permanent collection. Insight into the ownership history of the collection must be made a priority in order for museums to remain transparent with their visitors, thus allowing for perceived notions of exclusivity, or distrust, to be eliminated. I researched two institutions, the Kunstmuseum Bern and the Krannert Art Museum, which recently examined their own holdings for incomplete attributions, with one establishment conducting a study after it became enmeshed in public scrutiny generated by a controversial bequest. Lastly, I employ both art historical scholarship and legal resources to investigate how provenance can be more widely used as a valuable asset in an increasingly globalized society.
ContributorsSmiley, Meghan (Author) / Fahlman, Betsy (Thesis advisor) / Codell, Julie (Committee member) / Afanador-Pujol, Angélica (Committee member) / Arizona State University (Publisher)
Created2019
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The inherent risk in testing drugs has been hotly debated since the government first started regulating the drug industry in the early 1900s. Who can assume the risks associated with trying new pharmaceuticals is unclear when looked at through society's lens. In the mid twentieth century, the US Food and

The inherent risk in testing drugs has been hotly debated since the government first started regulating the drug industry in the early 1900s. Who can assume the risks associated with trying new pharmaceuticals is unclear when looked at through society's lens. In the mid twentieth century, the US Food and Drug Administration (FDA) published several guidance documents encouraging researchers to exclude women from early clinical drug research. The motivation to publish those documents and the subsequent guidance documents in which the FDA and other regulatory offices established their standpoints on women in drug research may have been connected to current events at the time. The problem of whether women should be involved in drug research is a question of who can assume risk and who is responsible for disseminating what specific kinds of information. The problem tends to be framed as one that juxtaposes the health of women and fetuses and sets their health as in opposition. That opposition, coupled with the inherent uncertainty in testing drugs, provides for a complex set of issues surrounding consent and access to information.
ContributorsMeek, Caroline Jane (Author) / Maienschein, Jane (Thesis director) / Brian, Jennifer (Committee member) / School of Life Sciences (Contributor) / Sanford School of Social and Family Dynamics (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05