Matching Items (27)
Description
Simultaneously culture heroes and stumbling buffoons, Tricksters bring cultural tools to the people and make the world more habitable. There are common themes in these figures that remain fruitful for the advancement of culture, theory, and critical praxis. This dissertation develops a method for opening a dialogue with Trickster figures. It draws from established literature to present a newly conceived and more flexible Trickster archetype. This archetype is more than a collection of traits; it builds on itself processually to form a method for analysis. The critical Trickster archetype includes the fundamental act of crossing borders; the twin ontologies of ambiguity and liminality; the particular tactics of humor, duplicity, and shape shifting; and the overarching cultural roles of culture hero and stumbling buffoon. Running parallel to each archetypal element, though, are Trickster's overarching critical spirit of Quixotic utopianism and underlying telos of manipulating human relationships. The character 'Q' from Star Trek: The Next Generation is used to demonstrate the critical Trickster archetype. To be more useful for critical cultural studies, Trickster figures must also be connected to their socio-cultural and historical contexts. Thus, this dissertation offers a second set of analytics, a dialogical method that connects Tricksters to the worlds they make more habitable. This dialogical method, developed from the work of M. M. Bakhtin and others, consists of three analytical tools: utterance, intertextuality, and chronotope. Utterance bounds the text for analysis. Intertextuality connects the utterance, the text, to its context. Chronotope suggests particular spatio-temporal relationships that help reveal the cultural significance of a dialogical performance. Performance artists Andre Stitt, Ann Liv Young, and Steven Leyba are used to demonstrate the method of Trickster dialogics. A concluding discussion of Trickster's unique chronotope reveals its contributions to conceptions of utopia and futurity. This dissertation offers theoretical advancements about the significance and tactics of subversive communication practices. It offers a new and unique method for cultural and performative analyses that can be expanded into different kinds of dialogics. Trickster dialogics can also be used generatively to direct and guide the further development of performative praxis.
ContributorsSalinas, Chema (Author) / de la Garza, Amira (Thesis advisor) / Carlson, Cheree (Committee member) / Olson, Clark (Committee member) / Ellsworth, Angela (Committee member) / Arizona State University (Publisher)
Created2013
Description
Buddhism is thriving in US-America, attracting many converts with college and post-graduate degrees as well as selling all forms of popular culture. Yet little is known about the communication dynamics behind the diffusion of Buddhist religious/spiritual traditions into the United States. Religion is an underexplored area of intercultural communication studies (Nakayama & Halualani, 2010) and this study meets the lacuna in critical intercultural communication scholarship by investigating the communication practices of US-Americans adopting Asian Buddhist religious/spiritual traditions. Ethnographic observations were conducted at events where US-Americans gathered to learn about and practice Buddhist religious/spiritual traditions. In addition, interviews were conducted with US-Americans who were both learning and teaching Buddhism. The grounded theory method was used for data analysis. The findings of this study describe an emerging theory of the paracultural imaginary -- the space of imagining that one could be better than who one was today by taking on the cultural vestments of (an)Other. The embodied communication dynamics of intercultural exchange that take place when individuals adopt the rituals and philosophies of a foreign culture are described. In addition, a self-reflexive narrative of my struggle with the silence of witnessing the paracultural imaginary is weaved into the analysis. The findings from this study extend critical theorizing on cultural identity, performativity, and cultural appropriation in the diffusion of traditions between cultural groups. In addition, the study addresses the complexity of speaking out against the subtle prejudices in encountered in intercultural communication.
ContributorsWong, Terrie Siang-Ting (Author) / de la Garza, Sarah Amira (Thesis advisor) / Margolis, Eric (Committee member) / Budruk, Megha (Committee member) / Chen, Vivian Hsueh-Hua (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Holocaust and the effects it has had upon witnesses has been a topic of study for nearly six decades; however, few angles of research have been conducted relating to the long-term effects of the Holocaust upon the children and grandchildren of Holocaust survivors--the After Generations. The After Generations are considered the proof--the living legacies--that their parents and grandparents survived. Growing up with intimate knowledge of the atrocities that occurred during the Holocaust, members of the After Generations not only carry with them their family's story, but also their own vicarious experience(s) of trauma. From this legacy comes a burden of responsibility to those who perished, their survivor parents/grandparents, the stories that were shared, as well as to future generations. Using grounded theory method, this study not only explores the long-term effects of the Holocaust upon members of the After Generations, but what it means to responsibly remember the stories from the Holocaust, as well as how individuals might ethically represent such stories/memories. Findings that developed out of an axial analysis of interview transcripts and journal writing, as well as the later development of a performance script, are embodied in a manner that allows the actual language and experiences of the participants to be collectively witnessed both symbolically and visually. Through their desire to remember, members of the After Generations demonstrate how they plan to carry on traditions, live lives that honor those that came before them, and maintain hope for the future. In so doing, the stories shared reveal the centrality of the Holocaust in the lives of members of the After Generations through their everyday choices to responsibly and actively remember through their art, writings, life-work, as well as from within their work in their local communities. Such acts of remembrance are important to the education of others as well as to the construction and maintenance of the After Generations' identities. The representation of these voices acts as a reminder of how hatred and its all-consuming characteristics can affect not only the person targeted, but multiple generations, as well.
ContributorsRath, Sandra (Author) / de la Garza, Sarah Amira (Thesis advisor) / Underiner, Tamara (Committee member) / Corey, Frederick C. (Committee member) / Eisenberg, Judith (Committee member) / Arizona State University (Publisher)
Created2012
Description
In the countries of Eastern Europe, the recent history of the communist regimes creates a context rich in various and often times contradictory remembering practices. While normative discourses of memory enacted in official forms of memory such as museums, memorials, monuments, or commemorative rituals attempt to castigate the communism in definite terms, remembering practices enacted in everyday life are more ambiguous and more tolerant of various interpretations of the communist past. This study offers a case study of the ways in which people remember communism in everyday life in Romania. While various inquiries into Eastern Europe's and also Romania's official and intentional forms of memorializing communism abound, few works address remembering practices in their entanglements with everyday life. From a methodological point of view, this study integrates a grounded methodology approach with a rhetorical sensitivity to explore the discourses, objects, events, and practices of remembering communism in Bucharest, the capital city of Romania. In doing so, this inquiry attends not only to the aspects of the present that animate the remembering of communism, but also and more specifically to the set of practices by which the remembering process is performed. The qualitative analysis revealed a number of conceptual categories that clustered around three major themes that describe the entanglements of remembering activities with everyday life. Relating the present to the past, sustaining the past in the present, and pursuing the communist past constitute the ways in which people in Romania live their relationships with the communist past in a way that reveals the complex interplay between private and public forms of memory, but also between the political, social, and cultural aspects of the remembering process. These themes also facilitate a holistic understanding of the rhetorical environment of remembering communism in Romania.
ContributorsPaulesc, Marie-Louise (Author) / de la Garza, Sarah Amira (Thesis advisor) / Brouwer, Dan (Thesis advisor) / Gereboff, Joel (Committee member) / Arizona State University (Publisher)
Created2014
Description
This narrative study sought to understand the socialization experiences of Hispanic entrepreneurs. While several studies have explored socialization and work-life wellness, few have focused specifically on Hispanics or entrepreneurs. A total of 25 participants were formally interviewed for this study including 16 entrepreneurs and 9 of their family members. Data were also collected through participant observation in which 210 participants were observed at several venues. Participants were recruited from three Southwestern states including: Arizona, Colorado, and Texas. The study employed qualitative interpretive methods to collect and analyze data. Research questions focused on the socialization experiences Hispanic entrepreneurs' reported, how they narrated the ways in which these experiences influenced their work-lives as entrepreneurs, and what they and their family members reported about the relationship between family and work. Results indicate Hispanic entrepreneurs were exposed to work at very young ages, acquired a variety of skills (e.g. sales and leadership) that transferred to their careers as entrepreneurs, and developed coping skills which helped them deal with business and personal hardships. Moreover, participants noted the ways in which faith, positive self-talk, and emotional labor played a role in their work lives. Finally, this research extends current constructions of care and what constitutes work and quality family time.
ContributorsMontoya, Yvonne Jay (Author) / de la Garza, Sarah Amira (Thesis advisor) / Tracy, Sarah J. (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2012
Description
Overwork is a long documented social problem in the United States linked to an abundance of negative outcomes. Typically this issue has been addressed organizationally at the individual level or socially as an economic structural problem. While both approaches are valid in their own ways, missing from these angles is an approach to overwork from an individual perspective. This study explores overwork from the perspective of seasonal workers in Glacier National Park who typically work for the National Park Service five months and spend the rest of the year recreating. Using qualitative interviews and observations, this piece investigates a seasonal mentality towards work in terms of agency and trust, conceptions and practices of work and life, and in terms of embodiment and spirituality. Grounded theory methods were used to develop an axiomatic analysis which informs a poetic and narrative expression of findings in concert to the discussion and implications of the study. The findings of this study illustrate how seasonal workers present a fascinating alternative to traditional work arrangements in a capitalist system. They possess a unique approach to work and life that foregrounds life experience, freedom, and process as opposed to material goods or stability. They tend to approach work and life as an integrated and holistic pursuit as opposed to a segregated and problematic enterprise. And they tend to approach their work as an embodied and spiritual craft as opposed to something accomplished quickly and efficiently for the economic benefit of the organization. Implications of this research suggest that agency and trust maintain a deeply interconnected and dialectical relationship which agents navigate as they build towards ontological security; that re-conceptualizing work-life as "life first" has potential for fundamentally reshaping the ways life (and work) get experienced; and that divisions between minds and bodies as they have been typically structured between white and blue collar work might be interrupted via the inclusion of the human spirit at work. These findings interrupt common practices of overwork in different ways but primarily function as a reminder that ways of thinking coincide with ways of living and working.
ContributorsPearson, Amy Rae (Author) / de la Garza, Sarah Amira (Thesis advisor) / McPhee, Robert (Committee member) / Fonow, Mary M (Committee member) / Arizona State University (Publisher)
Created2012
Description
Waiting for a Passenger / Ship to Go to Sea is a performance made by In Kyung Lee and performed by five dancers. It premiered in Americas Gallery at ASU Art Museum on January 20, January 24, and Jan 27, 2015. The work existed in a container of geometric spatial structure and cyclical rhythmic cycles, which were filled with repetition, accumulation, and minimalistic durational movement vocabulary. The dancers courageously ventured through the rigorous and exacting structure, transforming individual and collective struggles and vulnerabilities into the beauty of being human. This document looks into the background and creation process of the work.
ContributorsYi, In-gyŏng (Author) / Standley, Eileen (Thesis advisor) / Ellsworth, Angela (Committee member) / Fitzgerald, Mary (Committee member) / Arizona State University (Publisher)
Created2015
Description
"French Vanilla" is a collection of written narratives drawn from lived experiences which serve as the vehicle storytelling that I use to examine larger themes related to the intersections of race and gender. Themes include: binaries, legitimacy, intersectionality, biracial identity development (border identity construction), whiteness, shame, and crisis. While the narratives are situated within theoretical discourse, the narratives present a representation of the lived experience. These pieces engage members of my family as well as a number of figures, including Rachel Dolezal, President Barack Obama, Alicia Keys, and a stranger on a tram in an airport. My relationship with these people present the grounds for an interrogation of identity. This project asks the question: How does one negotiate biracial identity with herself and others through narrative performance? It engages theories, such as critical race theory, black feminist theory, and standpoint theory, which informed my understanding of the discourse of race and contextualized my commentary on race. These theories present a framework within which to situate my understanding and analysis of race through lived experience. Narrative performance, the formal methodology for this work, provides a structure for the performance itself: the ultimate end product. Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other's solo pieces and co-producers of Negotiations, in which we share these pieces in relationship to each other. Thus, Negotiations is not a showcase of three individual works, but rather a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices, and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents: French Vanilla: An Exploration of Biracial Identity Through Narrative Performance by Carly Bates; Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through "Dress in Something Plain and Dark" by Allyson Yoder; and Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities by Raji Ganesan.
ContributorsBates, Carly Christopher (Author) / Davis, Olga Idriss (Thesis director) / de la Garza, Sarah Amira (Committee member) / Dove-Viebahn, Aviva (Committee member) / School of Music (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This paper examines creative process and performance as a method of research for understanding self-in-context through the lens of my own artistic research for “Dress in Something Plain and Dark,” a project exploring my relationship as a woman to Mennonite religious and cultural identity, spirituality, and dance. Situating my artistic work in relationship to the fields of creative autoethnography, queer and transborder performance art, and somatic dance practice, I discuss the distinctions and commonalities of approach, methods, and practice of artists working in these fields, and the shared challenges of marginalization, translation, and contextualization. In response to these challenges, and the inadequacy of linear, Western, individualistic and mechanistic frameworks to address them, I draw from the ethnographic work of de la Garza, (formerly González, 2000) to seek a “creation-centered” ontological framework that the artist-researcher-performer may use to understand and contextualize their work. I offer the tree as an ontology to understand the organic, emergent nature of creative process, the stages of growth and seasonal cycles, and the structural parts that make up the creative and performative processes, and illustrate this model through a discussion of the growth of “Dress in Something Plain and Dark,” as it has emerged over two cyclical “seasons” of maturation.
Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other’s solo pieces and co-producers of Negotiations, in which we share these pieces alongside each other. Negotiations is not a showcase of three individual works, but a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents here, and we encourage readers to view the performance of Negotiations in its entirety.
Thesis documents cross-referenced:
French Vanilla: An Exploration of Biracial Identity Through Narrative Performance, by Carly Bates
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities, by Raji Ganesan
Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through “Dress in Something Plain and Dark,” by Allyson Yoder
Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other’s solo pieces and co-producers of Negotiations, in which we share these pieces alongside each other. Negotiations is not a showcase of three individual works, but a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents here, and we encourage readers to view the performance of Negotiations in its entirety.
Thesis documents cross-referenced:
French Vanilla: An Exploration of Biracial Identity Through Narrative Performance, by Carly Bates
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities, by Raji Ganesan
Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through “Dress in Something Plain and Dark,” by Allyson Yoder
ContributorsYoder, Allyson Joy (Author) / de la Garza, Sarah Amira (Thesis director) / Ellsworth, Angela (Committee member) / DeWitt, Inertia Q. E. D. (Committee member) / School of Film, Dance and Theatre (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Barrett, The Honors College (Contributor) / Hugh Downs School of Human Communication (Contributor)
Created2016-05
Description
Language is powerful. The words we use define our perceptions. They label what we see and paint a picture for those with whom we are communicating. Words serve as heuristic when assigning value to an object, experience, or person. My thesis, Eye of the BeholdHer, focuses on the language used in American pop-culture to describe women. I comment on the dehumanization of women through the use of animal names used to describe personality, appearance, and genitalia, as well as the way the English language implies domestication and inferiority of women through the use of the certain words. Examples include, but are not limited to: bitch , chick, pussy, beaver, cougar, catty, heifer, old bat, mousy, foxy, and vixen. Eye of the Behold(her) reflects upon my observations and calls for social change. Eye of the BeholdHer is a call for action. It is time to make conscious word choices and realize the impact words have on shaping our society. It is time for us to empowHer through words.
ContributorsGibly, Sophia (Author) / Maxwell, Kathryn (Thesis director) / Ellsworth, Angela (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor) / School of Art (Contributor)
Created2014-05