Arts and Humanities Commons^™

Does Money Indeed Buy Happiness? “The Forms Of Capital” In Fitzgerald’S Gatsby And Watts’ No One Is Coming To Save Us, Allie Harrison Vernon

English (MA) Theses

Looking primarily at two critically acclaimed texts that concern themselves with American citizenship—F. Scott Fitzgerald’s The Great Gatsby and Stephanie Powell Watts’ No One is Coming to Save Us—I analyze the claims made about citizenship identities, rights, and consequential access to said rights. I ask, how do these narratives about citizenship sustain, create, or re-envision American myth? Similarly, how do the narratives interact with the dominant culture at large? Do any of these texts achieve oppositional value, and/or modify the complex hegemonic structure? I use Pierre Bourdieu’s “The Forms of Capital” to investigate the ways in which economic, cultural, …

Black Feminism: Switching The Script On Traditional Feminist Narratives, Monee Reis

Senior Honors Projects

MONEE REIS (Gender and Women’s Studies, Africana Studies) Black Feminism: Switching the Script on Traditional Feminist Narratives

Sponsor: Kathleen McIntyre (Gender and Women’s Studies, Honors Program)

I developed a 300-level undergraduate course aimed at exploring the history of Black feminism. This idea came to me after reading Audre Lorde’s 1984 article “Age, Race, Class, and Sex: Women Redefining Difference.” Lorde detailed the various ways Black women’s contributions to feminism are underrepresented in the overarching historical narrative. Lorde’s 1980s activism and feminist scholarship ultimately influenced legal scholar Kimberlé Crenshaw to coin the term intersectionality in 1989. Intersectionality, the multiple ways that …

The Woman We Don’T Want To Be: The Anti-Heroine In American Women’S Modernisms, Madison Priest

Dissertations, Theses, and Capstone Projects

Anita Loos’ Lorelei has a baby because “a kid that looks like any rich father is as good as money in the bank.” Edith Wharton’s Undine uses hers as a pawn in divorce negotiations with the child’s father. Jessie Redmon Fauset’s Angela abandons her sister so her boyfriend won’t guess she’s black, and Nella Larsen’s Helga frustrates and alienates everyone she loves. Yet these protagonists were subject not just to gleeful mockery and sanction, but to furtive pity, uncomfortable recognition, even envy. Each age calls for its own bogeys; and the anti-heroine was, I contend, the perfect instantiation of American …

The Tragic Mulatta Trope: Complexities Of Representation, Identity, And Existing In The Middle Of The Racial Binary, Madeline Stephens

Chancellor’s Honors Program Projects

No abstract provided.