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World Of Water: Betsy Damon’S Ties To Ecofeminism, Colleen Sullivan

Dissertations and Theses

This thesis establishes a critical examination of the evolution of Betsy Damon’s artistic practice as overtime she engages with ecofeminist thought. As a whole, this work extends contemporary scholarship on ecofeminist engaged art to include Damon’s artistic production while amplifying social and critical ecofeminism as necessary ideologies to explore when analyzing art through an ecofeminist lens. Beginning with her first environmentally focused work in the United States the organization of the following chapters reveals Damon’s deepened understanding and exploration of ecofeminist principles and their application to her artistic practice. It goes on to further explore Damon’s pursuit of environmentally sustainable …

Medieval Weathers: An Introduction, Michael J. Warren

Medieval Ecocriticisms

Introduction to the first volume of Medieval Ecocriticisms.

"La Llorona": Evolución, Ideología Y Uso En El Mundo Hispano, Raquel Sáenz-Llano

LSU Master's Theses

This thesis studies the evolution, ideology and use of the myth of La Llorona through time in the Hispanic World. Considering this myth as one of the most known traditional narratives of the American continent, I begin by providing visual, ethnohistorical and ethnographical insights of weeping in Mesoamerica and South America and the specific mention of a weeping woman in some Spanish chronicles to say how western values were stablished in “the new continent” through this legend. I suggest that during the postcolonialism the legend did not tell anymore about a mother that cries and search a place for their …

To Be Magic: The Art Of Ana Mendieta Through An Ecofeminist Lens, Elizabeth Ann Baker

Honors Undergraduate Theses

Ana Mendieta was a Cuban-born American artist whose unique body of work incorporated performance, activism, Earth art, installation, and the Afro-Cuban practices of Santería. She began her career at the University of Iowa, were she initially received her degree in painting in 1969. It was not until 1972 that Mendieta shifted radically to performance art.

Though she was raised Catholic, she developed an interest in the rituals involved with Santería, a culturally predominant Cuban religion, and it deeply influenced her work in her choice of materials and settings. Santería is one of the major faith-based lifestyles of Cuba …