African American Studies Commons^™

Post Colonial Studies, Nashieli Marcano, Kyle Brooks

Research Guides & Subject Bibliographies

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The Ethos Of Dissent: Epideictic Rhetoric And The Democratic Function Of American Protest And Countercultural Literature, Jeffrey Lorino Jr

Dissertations (1934 -)

My dissertation, “The Ethos of Dissent: Epideictic Rhetoric and the Democratic Function of American Protest and Countercultural Literature, 1940-1962,” establishes a theoretical frame-work, the literary epideictic, for reading the African American social protest literature of Richard Wright and Ralph Ellison, and the American countercultural literature of Jack Kerouac and Ken Kesey. I argue that epideictic rhetoric affords insight into how these authors’ narratives embody a post-World War II “ethos of dissent,” a counterdiscourse that emerges out of a climate of dynamism deadlocked with controlling ideologies. Epideictic, the branch of rhetoric concerned with civic matters, commends or censures a particular individual, …

Away From The End Of Motherhood: Sites Of Haunting In The Social Imaginary In Lemonade And The Handmaid's Tale, Julia Michele Fleming

Electronic Theses and Dissertations

This thesis analyzes the television series adaptation of The Handmaid's Tale, specifically the episode "A Woman's Place," and Beyoncé's Lemonade: A Visual Album. I argue that these cultural texts leverage representations of women's lived experiences to scrutinize contemporary American anxieties about motherhood and reproductive justice. Lemonade, a celebration of Black womanhood, presents a counterpoint to The Handmaid's Tale's preoccupation with white motherhood in way that speculates on the utopian potentials of a woman-centered society.

Using bell hooks' film analysis, Avery Gordon's "haunting," and Luce Irigaray's "mimicry," I examine two interconnected themes: feminist aesthetics and generational haunting. …

The Crossroads At Midnight: Hegemony In The Music And Culture Of Delta Blues, Taylor Applegate

Summer Research

The blues gave rise to the many forms of Afro-American popular music, among them bebop, ragtime, jazz, funk, soul and rap. The origins of the blues itself, however, is less clear; many origin stories cite a simple fusion of West African musical traditions with Western ones while others are founded in the mythos of the lone guitarist at the crossroads in league with the devil. In reality, the origin of blues music, like any other cultural production, probably arose from a series of interacting factors under unique social and economic circumstances. This project investigates the probable origins of the blues, …