Matching Items (3)
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- All Subjects: Folklore
- Creators: Boradkar, Prasad
- Creators: Cruser, Laura
- Creators: Donalson, Rachel
Description
This dissertation examines the use of color in lowrider car customizations. It studies the relationships among car owners, car painters, and car clubs in the process of selection, and manipulation of color. This research studies how color is constructed as an element for individual and community differentiation. Also included is the examination of the influence of car clubs in the design process, the understanding of color by car painters and car owners, and the cultural values associated with color in this community. This research argues that through the use, manipulation, and implementation of color as a visual/design element, lowriders challenge, transgress, and resist the preconceived notions of space, aesthetic hegemony, and social disparity they experience. In this case, color as a cultural expression, becomes a pivotal element to narrate and retell their stories of struggle and endurance, as well as to envision a different world. This research frames Chicana/o vernacular production, and color use as being central to the borderland experience of this community. Finally, this research follows the discourse of taste, as this concept has been used to create social categories of exotic otherness and the perpetuation of specific aesthetic epistemologies. In this context, it presents lowriders as expression of a Chicana/o network of vernacular border knowledge. This dissertation concludes by framing the Low n' Slow movement, in the context of healing and emancipating practices enacted by subjugated communities in order to survive, give sense to their reality, and to envision a more egalitarian world.
ContributorsCalvo, William (Author) / Giard, Jacques (Thesis advisor) / Boradkar, Prasad (Committee member) / Foster, David William (Committee member) / Arizona State University (Publisher)
Created2011
Description
Once planted firmly in America, murder ballads old and new sparked the Southern imagination, and familiar motifs and formulas were sung with a distinct American twist. The moral standards and beliefs of Christianity, specifically those of Baptist and Methodist denominations, are weaved through a majority of Southern murder ballads, which reflects the impact of the Second Great Awakening, a religious revival founded in the South during the 1790s and early 1800s. Murder ballads found in the American South from 1800 to 1950 follow a structure that reinforces southern expectations for men and women, emphasizing moral and immoral traits in a way that encourages the listener to adhere to strict gender roles. The question of who the villain is and who the victim is must be confronted while examining American murder ballads, because the answer is not as clear cut as one would assume. Virginal women and sinful women, hapless men and cold-blooded men, each play a role in these ballads and the way in which they are perceived shifts the moral weight of the song. Heterosexuality and gender norms are heavily enforced in murder ballads from the South, and any deviations from these norms leads to murder, execution, or eternal damnation.
ContributorsDonalson, Rachel (Author) / Soares, Rebecca (Thesis director) / Ellis, Larry (Committee member) / Department of Supply Chain Management (Contributor) / School of Sustainability (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Once upon a time and in a land that is not quite here, a girl and her brother are left in the woods on the cusp of winter and lose their way home. They find, instead, a little house that smells of ginger and cinnamon and the ancient, bent woman who presides over it and calls herself Oma Yaga. Three tasks she sets before the girl, with the promise of food as her reward. She accepts, not knowing that this deep, the woods are a strange and hungry place: you do not make it out the same as when you entered, if you make it out at all.
You have heard this story before, you think, or one like it—listen again. It is never the same twice.
You have heard this story before, you think, or one like it—listen again. It is never the same twice.
ContributorsBlitch, Savannah Morgan (Author) / Ellis, Lawrence (Thesis director) / Cruser, Laura (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12