Interrogating the spaces of personal photography : women, identity, and the cultural formation of photographic practice

Personal photographs permeate our lives from the moment we are born as they define who we are within our familial group and local communities. Archived in family albums or framed on living room walls, they continue on after our death as mnemonic artifacts referencing our gendered, raced, and ethnic identities. This dissertation examines salient instances of what women “do” with personal photographs, not only as authors and subjects but also as collectors, archivists, and family and cultural historians. This project seeks to contribute to more productive, complex discourse about how women form relationships and engage with the conventions and practices of personal photography. In the first part of this dissertation I revisit developments in the history of personal photography, including the advertising campaigns of the Kodak and Agfa Girls and the development of albums such as the Stammbuch and its predecessor, the carte-de-visite, that demonstrate how personal photography has functioned as a gendered activity that references family unity, sentimentalism for the past, and self-representation within normative familial and dominant cultural groups, thus suggesting its importance as a cultural practice of identity formation. The second and primary section of the dissertation expands on the critical analyses of Gillian Rose, Patricia Holland, and Nancy Martha West, who propose that personal photography, marketed to and taken on by women, double-exposes their gendered identities. Drawing on work by critics such as Deborah Willis, bell hooks, and Abigail Solomon-Godeau, I examine how the reconfiguration, recontextualization, and relocation of personal photographs in the respective work of Christine Saari, Fern Logan, and Katie Knight interrogates and complicates gendered, raced, and ethnic identities and cultural attitudes about them. In the final section of the dissertation I briefly examine select examples of how emerging digital spaces on the Internet function as a site for personal photography, one that both reinscribes traditional cultural formations while offering new opportunities for women for the display and audiencing of identities outside the family.

Comparing satellite and ground-based observations of paroxysmal degassing events at Etna volcano, Italy

Mount Etna, Italy, is one of the most active volcanoes in the world, and is also regarded as one of the strongest volcanic sources of sulfur dioxide (SO2) emissions to the atmosphere. Since October 2004, an automated ultraviolet (UV) spectrometer network (FLAME) has provided ground-based SO2 measurements with high temporal resolution, providing an opportunity to validate satellite SO2 measurements at Etna. The Ozone Monitoring Instrument (OMI) on the NASA Aura satellite, which makes global daily measurements of trace gases in the atmosphere, was used to compare SO2 amount released by the volcano during paroxysmal lava-fountaining events from 2004 to present. We present the first comparison between SO2 emission rates and SO2 burdens obtained by the OMI transect technique and OMI Normalized Cloud-Mass (NCM) technique and the ground-based FLAME Mini-DOAS measurements. In spite of a good data set from the FLAME network, finding coincident OMI and FLAME measurements proved challenging and only one paroxysmal event provided a good validation for OMI. Another goal of this work was to assess the efficacy of the FLAME network in capturing paroxysmal SO2 emissions from Etna, given that the FLAME network is only operational during daylight hours and some paroxysms occur at night. OMI measurements are advantageous since SO2 emissions from nighttime paroxysms can often be quantified on the following day, providing improved constraints on Etna’s SO2 budget.