Matching Items (4)
Description
Though some scholars have written about place and history, few have pursued the use of place theory in length in relation to the connections between race, religion, and national identity. Using the writings in the United States and Louisiana in the years surrounding the Louisiana Purchase, I explore place-making and othering processes. U.S. leaders influenced by the Second Great Awakening viewed New Orleans as un-American in its religion and seemingly ambiguous race relations. New Orleanian Catholics viewed the U.S. as an aggressively Protestant place that threatened the stability of the Catholic Church in the Louisiana Territory. Both Americans and New Orleanians constructed the place identities of the other in relation to events in Europe and the Caribbean, demonstrating that places are constructed in relation to one another. In order to elucidate these dynamics, I draw on place theory, literary analysis, and historical anthropology in analyzing the letters of W.C.C. Claiborne, the first U.S. governor of the Louisiana Territory, in conjunction with sermons of prominent Protestant ministers Samuel Hopkins and Jedidiah Morse, a letter written by Ursuline nun Sister Marie Therese de St. Xavior Farjon to Thomas Jefferson, and George Washington Cable's Reconstruction era novel The Grandissimes. All of these parties used the notion of place to create social fact that was bound up with debates about race and anti-Catholic sentiments. Furthermore, their treatments of place demonstrate concerns for creating, or resisting absorption by, a New Republic that was white and Protestant. Place theory proves useful in clarifying how Americans and New Orleanians viewed the Louisiana Purchase as well as the legacy of those ideas. It demonstrates the ways in which the U.S. defined itself in contradistinction to religious others. Limitations arise, however, depending on the types of sources historians use. While official government letters reveal much when put into the context of the trends in American religion at the turn of the nineteenth century, they are not as clearly illuminating as journals and novels. In these genres, authors provide richer detail from which historians can try to reconstruct senses of place.
ContributorsBilinsky, Stephanie (Author) / Fessenden, Tracy (Thesis advisor) / Moore, Moses (Committee member) / Feldhaus, Anne (Committee member) / Arizona State University (Publisher)
Created2011
Description
In the years after the American Civil War, New Orleans became an important city in regards to racial turmoil and political futures. Three separate riots, each taking place between the years of 1866-1874, came to be defining moments in the greater pantheon of Reconstruction politics. Each of these riots had major impacts on the political climate of the day, with national implications that stretched far beyond just the city of New Orleans.
ContributorsHillmann, Connor John (Author) / Simpson, Brooks (Thesis director) / Whitaker, Matthew (Committee member) / Campbell, James (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2013-12
Description
Cuisines are becoming increasingly significant in a tourist's experience and as such looking into different cuisines and their effects on the tourist's destination provides strong indicators of the outlook for the destination. Metropolitan areas within the United States have a history of being known for specific food items as well as types of cuisines. This study explores the Metropolitan area of New Orleans and the cuisine specific to this region: the Creole cuisine. A mixed methods approach was used to identify the Creole cuisine within the New Orleans area as both a regional cuisine and as a culturally significant cuisine, within the context of the United States of America. Once established, and through the help of the local New Orleans' Convention and Visitors Bureau, an online questionnaire was distributed to individuals that had shown an interest in visiting the New Orleans area. The questionnaire identified the characteristics of the Creole cuisine and the respondents' most recent trip to New Orleans. The Brief Sensation Seeking Scale, adjusted for cuisine tourism, provided a categorical separation of the respondents into three groupings: "Foodies", "Semi-foodies", and "Non-foodies". Two important findings emerge from this study, the cultural significant cuisine segmentation model and the foodie scale. These two findings allow for an in depth look at characteristics of regional cuisines and food tourists, while providing a way to predict food characteristics of both destination and individual.
ContributorsSeery, Paul S (Author) / Tyrrell, Timothy (Thesis advisor) / Timothy, Dallen (Committee member) / Beezhold, Bonnie (Committee member) / Arizona State University (Publisher)
Created2010
Description
Traditional jazz refers specifically to iterations of New Orleans style jazz since its beginnings in the early 20th century. It has been labelled "Dixieland," "Classic Jazz," "New Orleans jazz," "Trad," or "Our Kind of Music (OKOM)" among other names. As a scholar-performer, I learned this style of music in my undergraduate studies in Provo, Utah and later taught it as a graduate student in Phoenix, Arizona. This research grows out of the challenges I encountered mediating between the academic institution, the non-academic tradition, and student needs. Combining musicological methods such as historiography and artifact analysis with reflexive ethnography and performance pedagogy more typical of other disciplines, I consider how educators might represent traditional jazz in a more culturally responsible way. To begin, I reference historical newspapers and oral histories to show how the labels of “Dixieland” and “traditional jazz” have evolved over time and taken on a variety of associations. Specifically, I note how the word “Dixieland” is problematic for the ways it reinforces nostalgic fantasies of the “old south” and prevents African Americans from participating without the oppressive and offensive stereotypes created by white minstrel entertainers. I then consider how prominent figures have established their authority to speak for traditional jazz by looking at several pedagogical artifacts for the style of traditional jazz drumming. I highlight how each of these artifacts’ authors present the subject and color their audience’s view of traditional jazz. Having analyzed these methods of genre definition, I discuss the tenuous place of traditional jazz within university jazz programs and its potential futures through interviews I conducted with jazz educators. These interviews focus on teaching traditional jazz within the academy and the potential for the jazz ensemble as a site of scholar-performer interdisciplinary collaboration. Finally, following models of reflexive ethnography established by ethnomusicologists leading world music ensembles, I analyze my own experience teaching traditional jazz ensembles. My synthesis of methods from musicology, ethnomusicology, music education, and jazz performance departments serves as an important bridge between these disciplines, and in turn, improves jazz instruction, offers insight into genre definition, and illuminates how institutional structures shape the subject.
ContributorsWiggins, Zachary Thomas (Author) / Wells, Christi Jay (Thesis advisor) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2021