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Disarming “Nature” As A Weapon: A Queer Ecosemiotic Reimagining Of Futurity And Environmental Ethics Through Memoir, Sam Lauer
Master’s Theses
In this thesis, I posit that the need for an active, conscious, and radical queering of ecocriticism as a literary and cultural theory has arisen in light of the postmodern problematization of “nature” and the “natural,” along with the queerness of society, culture, and science. The way we understand “nature” (in life and in texts), whether of physical environments, inherent selfhood, or normalcy, begs to be appropriately informed by discourses and realities of queerness in order for both social and environmental healing to take place. I have analyzed three works of queer creative nonfiction—memoirs—to illuminate the ways in which the …
Listening To An/Other Voice: Gender, Creativity, And The Divine In The Works Of Female Christian Mystics And Women Surrealists, Stephanie Garboski
Listening To An/Other Voice: Gender, Creativity, And The Divine In The Works Of Female Christian Mystics And Women Surrealists, Stephanie Garboski
Honors Theses
This thesis will compare two groups, Christian women mystics and women surrealists, by analyzing select works by Hildegard of Bingen, Mechthild of Magdeburg, Leonora Carrington, and Dorothea Tanning. This analysis will involve a comparative, theoretical approach that draws connections between the way in which both groups utilize varying literary and artistic forms, symbols, and polyglottery. I will utilize Bourdieu’s terms of cultural production as a framework in which to better understand how women of both fields are used for their creativity and supposed connection to an/other, which is the source of inspiration native to each field, God and the unconscious. …
Radical Black Drama-As-Theory: The Black Feminist Dramatic On The Protracted Event-Horizon, Jaye Austin Williams
Radical Black Drama-As-Theory: The Black Feminist Dramatic On The Protracted Event-Horizon, Jaye Austin Williams
Faculty Journal Articles
In this essay, I elaborate my present project, grounded in what I call drama theory, the critical theoretical dimensions of dramatic writing, and address the deeply troubling intramural tensions across Black Studies, between those who read blackness, and black cultural production, through largely futurist, celebratory lenses; and those who apply a structural analysis to blackness as the site against, upon, and through which the world coheres its soci(et)al apparatuses and machinations. I situate myself within the latter constellation, and sample here two plays by Suzan-Lori Parks to demonstrate how I translate the analyses of antiblack violence by black feminist …
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
Honors Theses
Chantal Akerman writes, “she who seeks shall find, find all too well, and end up clouding her vision with her own preconceptions.”[1] This thesis addresses the films of Chantal Akerman from a theoretical feminist film perspective. There are many lenses through which Akerman’s rich body of work can be viewed, and I would argue that she herself never intended for it to be understood in just one way. I wish to situate Akerman’s films, in particular her 1974 Je, Tu, Il, Elle (1h 30m), within a discourse of other feminist film theorists and makers that were further rooted in …