Arts and Humanities Commons^™

Senior Recital: Britta Loftus, Mezzo Soprano, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

2016-2017 Philharmonia No. 4, Lynn University Philharmonia, Guillermo Figueroa, Adrian Smith, Rebecca Robinson, Héctor Manuel Mir, Brett Karlin, Master Chorale Of South Florida

Philharmonia

Concert Date & Time: February 25, 2017 at 7:30 PM | February 26, 2017 at 4:00 PM

Program

• Roméo et Juliette: Symphonie Dramatique, op. 17 / Hector Berlioz

Sophomore Flute Recital, February 24, 2017, Lawrence University

Conservatory of Music Concert Programs

Harper Hall

The Acts Of Subjugation And Repatriation Of Africa And Its People Through The Viewfinder, Mariah Morales

Africana Studies Student Research Conference (2013-2019)

No abstract provided.

Monuments, Movements, & Memory: The Visual And Spatial Implications Of The Shooting At Emanuel African Methodist Episcopal Church, Megan G. Zembower

Africana Studies Student Research Conference (2013-2019)

This paper focuses on the dichotomous relationship of race relations and visual culture in the American South, with a particular focus on the shooting of nine black Americans at Mother Emanuel African Methodist Episcopal Church in Charleston, South Carolina, on June 17, 2015 by Caucasian South Carolinian Dylann Roof. Prior to the shooting, Roof posted images of himself posed in front of various Confederate landmarks in South Carolina to online social media platforms. Using these images as evidence, I contend that Roof’s racist motivation for the crime was, in part, fostered by the surrounding environment that memorializes fallen Confederate soldiers …

Vohou-Vohou: A Search For Post-Colonial Cultural Identity In Cote D’Ivoire, Olivia Keefer

Africana Studies Student Research Conference (2013-2019)

This paper addresses the Vohou-Vohou movement (1970s-1980s) in Cote d’Ivoire. Through an explanation of the region’s history, the paper brings to light the motivations of the movement and its founders. The work of Youssouf Bath, Théodore Koudougnon, and Kra Nguessan are the focus of this paper to represent the movement’s style, formation, and impact on Cote d’Ivoire culture. Vohou-Vohou developed a decade after Cote d’Ivoire gained independence from French colonial control, and the movement became an inward return to local culture. The artists had an interest in rejecting the West. A visual representation of the rejection is seen through Vohou-Vohou …

Painting Photographs: Absence On Mohammed Mahmoud Street, Kirsten Stricker

Africana Studies Student Research Conference (2013-2019)

The Egyptian Revolution prompted an outpouring of art. It filled the streets of Cairo, a city that had lacked any street art prior to the revolution, with large murals and art of every kind. Ammar Abo Bakr says that his massive murals are not art — they are news. His works are a protest against the censorship and selective reporting of the mainstream media. Bakr is best known for his large mural on Mohammed Mahmoud Street near Tahrir Square, Cairo. The mural is massive and contains many elements. One element consists of paintings of mothers holding photographs of their children …

The Essence Of Bogolanfini: Thinking About Ethical Design With African Inspiration, Sierra N. Bailey-Van Kuren

Africana Studies Student Research Conference (2013-2019)

Bogolanfini are intricately designed textiles created by Bamana women in Mali. The cloths are created through a natural process, producing rich designs and motifs that address stories, narratives, female-specific ideas or relate to historical events. Each textile is hand made for a particular individual and given to her as she enters adulthood, an event marked by puberty and clitoridectomy. During this time, the cloth is used to absorb blood from the operation, a process transferring the woman’s spirit into the bogolanfini. As she progresses through life, the utility of her bogolanfini extends to absorbing her life-blood during menstruation, first intercourse …

Rethinking The "Anonymous:" Simeon Agbetuyi And The Yoruba Example, Caroline Bastian

Africana Studies Student Research Conference (2013-2019)

In looking at “Traditional” and “Contemporary” African Art, it is clear Western culture still struggles with recognition of the individual African artist. For example, most museum exhibitions displaying local or more continent-based African art still tend to embody a flawed sense of “traditional” art created by a culture rather than an individual. In contrast, contemporary African art stresses the importance of the singular artist, their personal style, historical context, and cultural motivation. Part of the problem stems from colonialism, when many Western “collectors” seized any art they deemed valuable and “exotic,” taking it away from context leaving behind all information …

African Mask Display In Context, Elise C. Aronson

Africana Studies Student Research Conference (2013-2019)

African masquerade is deeply interconnected with the community in which it performs. However, in Western-based exhibition display, the mask becomes the sole object of scrutiny and interest, decontextualizing it from its holistic dimension and multi-media interface. In fact, much of masquerade’s cultural significance is lost if the dynamic multimedia display of which the mask is part becomes alienated from its holistic context, reducing it to a mere static object hung on a wall. The argument can be raised, to mount a mask on a white wall or behind glass, especially grouped among other masks from Africa, as many museums do, …

Renee Green: Combination Artist, Cail P. Lininger

Africana Studies Student Research Conference (2013-2019)

Renée Green, a combination artist, engages viewers in multi-faceted and diverse topics without directly addressing the central theme. In Partially Buried In Three Parts (1991-1996), Green utilizes films shot in a “home-movie” fashion and site-specific archiving to curate complex dialogues across three different locations: Kent State in 1991, exploring the shootings in 1970 and Robert Smithson’s installation, Partially Buried Woodshed; Germany and the United States and what it means to be a displaced national undergoing culture shock; and Korea, in war and peace. Green originally displayed all three in an installation designed to invoke feelings of nostalgia amidst confusion regarding …

The Merchant Of Venice: Tsubouchi’S Shylock And Early Modern Japanese Dichotomy, Matthew Thome

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

Band Of Bastards: Rhetorical Parallels And National Memory In Shakespeare’S St. Crispin’S Day Speech, Patton’S Speech To The Third Army, And Olivier’S Henry V, Mitchell Ploskonka

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

Skin As An Index To Moral Character In English Renaissance Tragedy, Uwe Klawitter

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

A Case For Using The First Folio As Directing And Acting Text, Megan Burnett

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

Front Matter, Gabriel A. Rieger

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

Media In The Murid World: Analysis Of Inscribed Faith And Religious Identity In Murid Agencies’ Media Approach, Macodou Fall

Africana Studies Student Research Conference (2013-2019)

Previous studies about Muridiyya have mostly focused on the economic and political influences of the Senegalese Sufi Islamic Brotherhood founded by Shaykh Amadu Bamba at the end of 19^th century. At the beginning, Muridiyya was a reactive force to colonialism and it aimed to propose alternatives to Western cultural and economic domination. However, the rapid growth of Muridiyya was possible via the creation of decentralized Murid organizations and groups called dahiras (religious associations). Prior to the rise of dahiras, Murid’s religious ideology spread throughout daaras (Quranic schools), which intended to initiate Murid talibes (disciples) to Islam and the …

Mediated Sankarism: Re-Inventing A Historical Figure To Reimagine A Future, Lassane Ouedraogo

Africana Studies Student Research Conference (2013-2019)

Thomas Sankara has contributed significantly to the formation of the modern national identity of post-independent Burkina Faso before his assassination in 1987. This essay used discourse analysis to examine the emergence of Thomas Sankara’s ideology also known as Sankarism (and his praxis?) in the Burkinabe public discourse. In the current socio-political context of a nascent democracy characterized by the emergence of active civil society movements and multiple political factions contesting the right to govern and claiming the capacity to provide a new direction to a country caught up amid local and global issues, the reinvention and re-appropriation of Sankarism call …

The African Immigrant Experience In France According To "La Haine", Samantha B. Weiss

Africana Studies Student Research Conference (2013-2019)

Le Haine depicts the fictional experiences of three immigrants to France, each with a different background, but a similar fate. The title, which translates to "hate" sets the tone for the movie, which is quick to explain its motives – depicting the life of a French migrant as a hopeless, fruitless one. Though the African character - his home nation never named - can speak perfect French and even attempts to better the lives of those around him, his efforts are met with violence, hatred, resistance, and an anti-immigrant mentality. By reading the conflicts of the movie in reference to …

What To Keep, What To Let Go: The Case Of Indians From Nyasaland, Debra Nicholson

Africana Studies Student Research Conference (2013-2019)

This paper examines how identity may be constructed in the case of multiple transnational migrations within just a couple of generations, using an example (or examples) of immigrants from India to Nyasaland (present-day Malawi) to Great Britain to Canada.

What happens to your sense of identity when your Indian ancestors emigrate to Nyasaland, you grow up there, but around 1964, soon after independence from Great Britain, all Indians, including you and your family, are deported from your homeland of Nyasaland?

In one case study analyzed in this paper, a Nyasa Catholic woman of Indian descent first travels to Great Britain …

Flamingo Vol. Iii N 8, Edward A. Schmitz, William A. Vogel

Flamingo

Schmitz, E. Cover. Picture. 0.

Awgwan. TIME TO EAT, SEE? Prose. 1.

Purple Parrot. Untitled. Prose. 4.

Purple Cow. Untitled. Prose. 4.

Purple Cow. Untitled. Prose. 4.

Mink. Untitled. Prose. 4.

Royal Gabbon. AMERICAN GAMES FAIL IN ZULU LAND. Prose. 4.

Goblin. Untitled. Prose. 4.

Juggler. Untitled. Prose. 4.

Gargoyle. Untitled. Prose. 4.

Lehigh Burr. Very Simple. Prose. 4.

Anonymous. Untitled. Prose. 4.

Anonymous. Untitled. Picture. 5.

C.K. Untitled. Picture. 6.

D.K. Untitled. Poem. 6.

Vogel, W.A. The Outcast. Prose. 7.

E.T. Owed To A Dog. Poem. 8.

Anonymous. DISSATISFACTION. Poem. 9.

C.K. Reaction to Rain. Poem. 9.

Anonymous. Untitled. …

Flamingo Vol. Iii N 7, William A. Vogel, Delmar Ubersax, Ted Robinson

Flamingo

Clyde. Cover. Picture. 0.

Beanpot. Untitled. Prose. 1.

Anonymous. Untitled. Picture. 5.

C.O. Untitled. Poem. 5.

Anonymous. DEEDS FIELD, NOVEMBER 25, 1922. Picture. 6.

Anonymous. THE LAYING OF THE CORNER STONE OF SWASEY CHAPEL HOME-COMING DAY, NOVEMBER 4, 1922. Picture. 6.

Anonymous. For Denison. Prose. 6.

Vogel, W.A. The Outcast. Prose. 7.

Anonymous. Some Views on Ethics. Prose. 8.

Anonymous. Untitled. Prose. 8.

Anonymous. Untitled. Prose. 8.

Anonymous. Untitled. Prose. 8.

Anonymous. Untitled. Poem. 8.

C.O. Untitled. Poem. 8.

K.K.H. Canyon Cascade. Poem. 9.

C.O. The Moon. Poem. 9.

Anonymous. Untitled. Picture. 9.

Bill. Dear Editor. Poem. 9.

K.K.H. REVERIE. …

Fighting The Lion: Nationalist Masculinity In Sam Nujoma's Autobiography, Kelly J. Fulkerson Dikuua

Africana Studies Student Research Conference (2013-2019)

Dr. Samuel Nujoma’s autobiography, Where Others Wavered: My Life in SWAPO and My Participation in the Liberation Struggle, documents his life as a pivotal figure in the Namibian war for independence leading to his tenure as the first president of Namibia (1990-2005). Nujoma, known as the “Founding Father” of Namibia, occupies a larger-than-life sphere within the public imagination through monuments, public photographs, placards and street names. Nujoma’s autobiography prescribes a certain type of national citizenship that details a specific construction of masculinity for Namibian men. This paper analyzes his autobiography, arguing that Nujoma constructs a hegemonic masculinity based on four …

Andrew Jackson And Harriet Tubman: A Monstrous Intimacy, Sheneese Thompson

Africana Studies Student Research Conference (2013-2019)

In the wake of the announcement of Harriet Tubman joining Andrew Jackson on the back of the twenty-dollar bill, as well as the recent election of Donald Trump as the nation’s 45^th president, this paper employs Christina Sharpe’s notion of monstrous intimacies to assert that the coupling of the two on the bill reinscribes the monstrosity of the intimate encounters between the enslaved and their masters, even though Jackson did not own Tubman herself. Further, the appropriation of Tubman’s image and the revisionist underpinnings of her inclusion on money, once offered for her bounty, serves no other purpose than …

Flamingo Vol. Iii N 6, Delmar Ubersax, Edna B. Taylor, Wentworth Mckee Potter, Grayce Williams, Virginia Reel

Flamingo

Ubersax. Cover. Picture. 0.

Chaparral. Untitled. Prose. 1.

Don Marquis. Love Sonnet of a Caveman. Poem. 4.

Sun Dial. RIPPING, WE'D CALL IT. Prose. 4.

Burr. Untitled. Prose. 4.

Whirlwind. Untitled. Prose. 4.

Octopus. Untitled. Prose. 4.

Voo Doo. Untitled. Prose. 4.

Log. Untitled. Prose. 4.

Chaparral. Untitled. Prose. 4.

E.S. Untitled. Picture. 5.

OLD IRONSIDES. HER THUNDERS SHOOK THE MIGHTY DEEP, AND THERE SHOULD BE HER GRAVE." Picture. 6.

A.I.C. AFTER CHAUCER. Poem. 7.

Anonymous. Untitled. Prose. 7.

Anonymous. ODE TO A CATFISH. Poem. 7.

Anonymous. Untitled. Prose. 7.

Anonymous. Untitled. Prose. 7.

Anonymous. Untitled. Prose. 7.

Anonymous. Untitled. …

Flamingo Vol. Ii N 5, Wentworth Mckee Potter, Grayce Williams

Flamingo

Anonymous. Cover. Picture. 0.

Chaparral. The Horn of Plenty. Prose. 1.

Boston Transcript. SHAKESPEARE AS A SPORT WRITER. Prose. 4.

Humbug. Untitled. Prose. 4.

Widow. More Important. Prose. 4.

Purple Cow. Untitled. Poem. 4.

Record. Diagram Follows. Prose. 4.

ES. Football's Hall of Blame. Picture and Prose. 5.

Clyde. "WHO IS THAT MAN THEY'RE QUARRELING WITH?" "WHY HE'S KEEPING THE SCORE." "WHAT'S THE MATTER, WON'T HE GIVE IT UP?". Picture. 6.

Mather, W.G. Jr. When He Meets the Woman. Prose. 7.

Keeler, Clyde. We'd been lounging in the parlor. Picture. 7.

Keeler, Clyde. The Picture. Picture. 8.

C.E.K. Creation. Poem. …

Flamingo Vol. Iii N 4, Edward A. Schmitz, Wentworth M. Potter, Kilburn Holt, Delmar Ubersax, Virginia Reel

Flamingo

Schmitz. Cover. Picture. 0.

Octopus. The Creed of a Frosh. Poem. 4.

Widow. Chanson Du Frosh. Poem. 4.

Widow. Untitled. Prose. 4.

W.M.P. The College Creed. Prose. 4.

Anonymous. SHE'S GOT THE CLOTHES, THIS FROSH SO FINE, AND HEAVEN KNOWS SHE'S GOT THE "LINE." SHE'S TEETH OF PEARL THAT OFTEN SHOW. HER HAIR WOULD CURL IF IT COULD GROW. WITH ME SHE'S "IT," GETS BY IMMENSE— BUT I MUST ADMIT SHE'S GOT NO SENSE. Picture. 5.

Schmitz. SHADES OF THE SUMMER RESORTSOME, ER, KIDD. Picture. 6.

Holt, Kilburn. Priest and Levite. Prose. 7.

Anonymous. Commentary on a Poem. Prose. 9. …

Flamingo Vol. Iii N 3, Howard D. Mercer

Flamingo

Anonymous. Cover. Picture. 0.

Anonymous. But We Go on Forever. Picture. 4.

J.V.A. Hold the Line, Boy!. Prose. 5.

Anonymous. Escape. Poem. 7.

C.H.C. My Room-Mates. Poem. 7.

G.W.B. LA VIE EST VAINE. Poem. 7.

W.A.V. Dreams. Poem. 7.

G.W.B. Impressions. Poem. 7.

Anonymous. DOWNJECTED AND DECAST—"I PROPOSED TO KATE LAST NIGHT BUT SHE REFUSED TO LISTEN TO ME." ROOMMATE—"TUT, TUT! IT WILL TURN OUT ALL RIGHT. A WOMAN'S 'NO' OFTEN MEANS 'YES'." D. AND D.—"PERHAPS IT DOES, BUT THIS WOMAN DIDN'T SAY 'NO,' SHE SAID 'RATS'." Picture. 8.

Anonymous. How to Get A's. Prose. 8.

Anonymous. Untitled. Prose. 8. …

Flamingo Vol. Iii N 2, John M. Price, Kilburn Holt, William Vogel, Lillis Howard, Russell Rine, Hod Mercer, Virginia Reel

Flamingo

Anonymous. Cover. Picture. 0.

Anonymous. Untitled. Picture. 4.

Price, John M. Dada--Esthetic Nihilism. Prose. 5.

G.C. Tolerance. Poem. 6.

G.W.B. The Castaway. Poem. 6.

G.W.B. Cinquains. Poem. 7.

Holt, K. HORATI CARMINA, Liber I, ix. Prose. 7.

W.A.V. Untitled. Poem. 7.

A.E.R. Moods. Poem. 7.

G.W.B. Some Say The Moon. Poem. 7.

A.E.R. On Quoting "The Night Has A Thousand Eyes". Poem. 7.

Anonymous. Chapel Cherubs. Prose. 8.

E.B. Untitled. Picture. 8.

E.B. Untitled. Picture. 8.

Anonymous. Untitled. Prose. 9.

Anonymous. Untitled. Prose. 9.

Anonymous. FLIP—"MIGHT I ASK YOU FOR THIS DANCE?" FLAP—"PLEASE DO, I'VE BEEN DYING TO REFUSE YOU …

Same-Sex Sexuality And The Risk Of Divorce: Results From Two National Studies, Andrew S. London, Aaron Hoy

Sociology Department Publications

No abstract provided.