Mind majick : a study of the paintings by Harry Smith

Harry Smith was an American artist who worked primarily in the 1940s through the 1980s. Although largely an obscure figure in American culture, Smith is most commonly recognized for his achievements in anthropology and ethnology, experimental cinema, and musicology. This master’s research paper is the first in-depth scholarly study of Harry Smiths’ achievements as a painter. Only a few of Smith’s paintings exist today, which explains why they have received so little attention. However, there is enough work and information available to weave together a chronological study of Smith’s occupation as a painter. In this paper, one will see how Smith’s work and interests in various fields of study influenced his painterly aesthetic, and how he was able to tie together all of his disparate diversions into cohesive and unified visions upon a twodimensional surface.

Moving American progress westward images of Denver and the Rockies in popular culture

"From the 1859 gold rush through the early 1900s, popular press images linked Denver’s civic development, capitalist values and culture to the Rocky Mountains. These prints of a wilderness city sending pioneers and prospectors into the Rockies appeared in national newspapers, magazines, settlement manifestos, railroad guidebooks and tourist pamphlets. Readers were saturated with illustrations associating Denver with prosperity and rejuvenated health"-

Multiple Perspectives on Academic Service-Learning Partnerships at the American University in Cairo: A Mixed Method Study

This mixed method study aimed to redress the gap in the literature on academic service-learning partnerships, especially in Eastern settings. It utilized Enos and Morton's (2003) theoretical framework to explore these partnerships at the American University in Cairo (AUC). Seventy-nine community partners, administrators, faculty members, and students from a diverse range of age, citizenship, racial, educational, and professional backgrounds participated in the study. Qualitative interviews were conducted with members of these four groups, and a survey with both close-ended and open-ended questions administered to students yielded 61 responses. Qualitative analyses revealed that the primary motivators for partners' engagement in service-learning partnerships included contributing to the community, enhancing students' learning and growth, and achieving the civic mission of the University. These partnerships were characterized by short-term relationships with partners' aspiring to progress toward long-term commitments. The challenges to these partnerships included issues pertaining to the institution, partnering organizations, culture, politics, pedagogy, students, and faculty members. Key strategies for improving these partnerships included institutionalizing service-learning in the University and cultivating an institutional culture supportive of community engagement. Quantitative analyses showed statistically significant relationships between students' scores on the Community Awareness and Interpersonal Effectiveness scales and their overall participation in community service activities inside and outside the classroom, as well as a statistically significant difference between their scores on the Community Awareness scale and department offering service-learning courses. The study's outcomes underscore the role of the local culture in shaping service-learning partnerships, as well as the role of both curricular and extracurricular activities in boosting students' awareness of their community and interpersonal effectiveness. Cultivating a culture of community engagement and building support mechanisms for engaged scholarship are among the critical steps required by public policy-makers in Egypt to promote service-learning in Egyptian higher education. Institutionalizing service-learning partnerships at AUC and enhancing the visibility of these partnerships on campus and in the community are essential to the future growth of these collaborations. Future studies should explore factors affecting community partners' satisfaction with these partnerships, top-down and bottom-up support to service-learning, the value of reflection to faculty members, and the influence of students' economic backgrounds on their involvement in service-learning partnerships.

The African-American Islamic Renaissance and the Rise of the Nation of Islam

This dissertation examines African-American Islamic culture from 1920 through 1959, a period I label the "African-American Islamic Renaissance" (AAIR). The AAIR is characterized by a significant increase in interest in Islam, extreme diversity in views about Islam, and the absence of a single organization dominating African-American Islamic culture for a significant amount of time. Previous works dealing with African-American Islam in this period have failed to fully recognize these features, particularly the last of these. As a result, explanations for the rise of the Nation of Islam (NOI) have not satisfactorily explained why it was only the NOI--and not other Islamic groups that were more popular than the NOI up until the mid-1950s--that became a "mass movement," gaining the allegiance of tens of thousands of African Americans. There has been some tendency, for instance, to assume that the NOI was the most popular African-American Islamic group by the early 1950s, a notion that is probably an inference drawn from two other popular but inaccurate assumptions: that the NOI's rise was due primarily to its radical racialized doctrines and its charismatic leaders, particularly Malcolm X, who became a popular minister for the group in the early 1950s. I argue, however, that the NOI was in fact not the most popular African-American Islamic group until at least 1955, and even as late as 1959 its official membership numbers were not particularly large by AAIR standards. Also, its doctrines were not especially unique in the AAIR, nor was its having extremely charismatic leaders. I contend that the success of the NOI in the mid-to-late 1950s was the result of three levels of changes at the time: internal, external in the AAIR community, and external in the broader U.S, culture.

Rotten Symbol Mongering: Scapegoating in Post-9/11 American War Literature

A rhetorical approach to the fiction of war offers an appropriate vehicle by which one may encounter and interrogate such literature and the cultural metanarratives that exist therein. My project is a critical analysis—one that relies heavily upon Kenneth Burke’s dramatistic method and his concepts of scapegoating, the comic corrective, and hierarchical psychosis—of three war novels published in 2012 (The Yellow Birds by Kevin Powers, FOBBIT by David Abrams, and Billy Lynn’s Long Halftime Walk by Ben Fountain). This analysis assumes a rhetorical screen in order to subvert and redirect the grand narratives the United States perpetuates in art form whenever it goes to war. Kenneth Burke’s concept of ad bellum purificandum (the purification of war) sought to bridge the gap between war experience and the discourse that it creates in both art and criticism. My work extends that project. I examine the symbolic incongruity of convenient symbols that migrate from war to war (“Geronimo” was used as code for Osama bin Laden’s death during the S.E.A.L team raid; “Indian Country” stands for any dangerous land in Iraq; hajji is this generation’s epithet for the enemy other). Such an examination can weaken our cultural “symbol mongering,” to borrow a phrase from Walker Percy. These three books, examined according to Burke’s methodology, exhibit a wide range of approaches to the soldier’s tale. Notably, however, whether they refigure the grand narratives of modern culture or recast the common redemptive war narrative into more complex representations, this examination shows how one can grasp, contend, and transcend the metanarrative of the typical, redemptive war story.

Tracing an American Yoga: Identity and Cross-Cultural Transaction

This dissertation looks at the creative identity of an American yoga, both rooted in its Indic origins and radically transformed in its U.S. manifestations. It traces the broad historical transactions of yoga in terms of East and West, Secular and Religious, authenticity and idealized conception, as well as provides a critical historical genealogy of Anusara and Sridaiva yoga. Furthermore, the project relates yoga to the identity, power, and knowledge dynamics of pre-modern, modern, and postmodern histories and interpretations of yoga and Tantra, multiple theoretical discourses, and the embodied practices of individuals within Indian and American contexts. I argue that there is a unique and polysemous yogic identity in America, and that this identity has developed from a messy process of transaction between Indian and Western modes of being and knowing. Furthermore, the current Americanized culture of yoga brings along with it narratives of specific value. American yoga displays a particularly consumptive quality of yogic lifestyle that reflects a cultural atmosphere of reinvention and a merging of profit and personal purpose. American yoga’s identity today is entrepreneurial, branded, business oriented, and marketed for consumption. This dissertation shows how the American yogic identity is in flux, continuously fracturing and multiplying into various and novel understandings that relate to yoga’s past and to the market value for today’s American consumer. It examines the moving nature of yoga in the American landscape as what Jared Farmer calls a “center of creativity” and as a display of excess and choice. The discussion of yoga is further located in John Friend’s styles of yoga and/or lifestyle practices, Anusara and Sridaiva, as they both redefine and further remove yoga from established Indian markers of identity. My locations as American yogi, as comparativist, as ethnographer, and as a Bachelor of Science in Advertising and Marketing also situate this analysis.

John La Farge as collector of Japanese art : motivations and reflections

Throughout his lifetime, American artist John La Farge (1835-1910) amassed an enormous collection of art and books. La Farge’s study of art and culture encompassed several genres and aesthetic elements. La Farge has been credited as the first American artist — even prior to James Abbott McNeill Whistler (1834-1903)— to integrate visual elements and cultural awareness of the Far East within his own Western-trained art. Although many scholars have studied La Farge’s art and life from various perspectives, including his interest in Asian art, the object of the present study is solely focused on La Farge’s collecting of Japanese art.