Sketch of Charles Clarke Chapman

Photographic copy of a portrait sketch of Charles C. Chapman in the Chapman College president's office, Orange, California

Charles Clarke Chapman, Los Angeles, California, 1923

Charles Clarke Chapman, Los Angeles, California, 1923. Photographic portrait taken outdoors, postcard format.

Colum C. Chapman, Chicago, Illinois

Cabinet card photographic portrait of Colum C. Chapman in his National Guard uniform, Chicago, Illinois, ca. 1890.

Sidney Smith Chapman

Photographic copy of an engraved portrait of Sidney Smith Chapman, father of Charles C. Chapman, Illinois.

Home of Charles Clarke Chapman, Fullerton, California

Home of Charles Clarke Chapman, Fullerton, California. Photographic postcard with "Faculty parties in May each year 1933-1940" written on back.

Ethel Chapman

Photographic portrait of Ethel Chapman, daughter of Charles C. and Lizzie Chapman, ca. 1902.

Mary Louise Tea Room, in the Barker Brothers Department Store in downtown Los Angeles, California

Halftone photographic postcard showing the Mary Louise Tea Room, in the Barker Brothers Department Store in downtown Los Angeles, California. The tea room was run by Dolla Harris, sister of C. C. Chapman.

Frank Marion Chapman

Cabinet card photographic portrait of Frank Marion Chapman, taken in Ottumwa, Iowa, ca. 1890s.

Mrs. Heppenstall, a member of the Chapman family, Abington, Illinois

Cabinet card photographic portrait of Nancy Wallace Pearson Heppenstall [1834-1916], taken in the studio of William Johnston, Abington, Illinois. She was the mother of Lizzie Pearson Chapman, wife of Charles Clarke Chapman.

E. Joe Clarke, Monmouth, Illinois

Cabinet card photographic portrait of E. Joe Clarke, taken in the Root studio, Monmouth, Illinois.

Architectural rendering of the Argyros Forum

Photographic copy of the architectural rendering of the Argyros Forum, Chapman University, Orange, California. Architect: Bob Murrin. Groundbreaking September 16, 1991 and dedication October 26, 1992.

Metal music as critical dystopia : humans, technology and the future in 1990s science fiction metal

Metal Music as Critical Dystopia: Humans, Technology and the Future in 1990s Science Fiction Metal seeks to demonstrate that the dystopian elements in metal music are not merely or necessarily a sonic celebration of disaster. Rather, metal music's fascination with dystopian imagery is often critical in intent, borrowing themes and imagery from other literary and cinematic traditions in an effort to express a form of social commentary. The artists and musical works examined in this thesis maintain strong ties with the science fiction genre, in particular, and tum to science fiction conventions in order to examine the long-term implications of humanity's complex relationship with advanced technology. Situating metal's engagements with science fiction in relation to a broader practice of blending science fiction and popular music and to the technophobic tradition in writing and film, this thesis analyzes the works of two science fiction metal bands, VOlvod and Fear Factory, and provides close readings of four futuristic albums from the mid to late 1990s that address humanity's relationship with advanced technology in musical and visual imagery as well as lyrics. These recorded texts, described here as cyber metal for their preoccupation with technology in subject matter and in sound, represent prime examples of the critical dystopia in metal music. While these albums identify contemporary problems as the root bf devastation yet to come, their musical narratives leave room for the possibility of hope , allowing for the chance that dystopia is not our inevitable future.

Where's Albania? : staking out the politics of the real and reality in documentary cinema

This thesis, entitled, "Where's Albania? Staking Out the Politics of the Real and Reality in Documentary Cinema," charts the documentary tradition's path from its first incarnations, as filmed travelogue or ethnographic study, for example, right through to its development as a form acting as an objective observer, reflexive commentator, and finally, as a postmodern hybrid. This thesis begins by locating the documentary tradition's origins in realism. Foregrounding documentary cinema as a realist style is important in that it is a contention that spans this entire study. After working through the numerous modes of documentary as outlined by Bill Nichols, I suggest the documentary is often best understood as a hybrid form drawing on numerous modes and conventions. This argument permits my study to make a shift into postmodern theory, wherein I examine postmodernism's relationship to the documentary both as being influenced by it, but also as subsequently forcing documentary cinema to look back at itself and reevaluate the claims it has made in the past, and how postmodernism has drawn these claims to the surface of debate. My thesis concludes with a study of the mockumentary. This analysis confirms the link between postmodernism and documentary, but perhaps more importantly, this analysis investigates postmodemism's critique of the image and representation in general, two elements historically linked to documentary cinema's success as "truth teller."

John Burtniak Postcard Collection

326 images (b&w and col.) mounted on 54 poster boards ; 64 x 36 cm or smaller. 4 compact disc

Anti-Oedipus en-procés : a comparative analysis of Kristeva and Deleuze & Guattari

The present thesis is an attempt to bring into dialogue what appear to be two radically different approaches of negotiating subjectivity in late Western Modernity. Here the thought of Julia Kristeva as well as Gilles Deleuze and Felix Guattari are fully engaged. These thinkers, the latter two being considered as one, have until now remained strangers to one another. Consequently much confusion has amassed concerning their respective philosophical, as well as social/political projects. I take up the position that Deleuze and Guattari's account of subjectivity is a commendable attempt to understand a particular type of historical subject: late modern Western man. However I claim that their account comes up short insofar as I argue that they lack the theoretical language in order to fully, and successfully, make their point. Thus I argue that their system does not stand up to its own claims. On the contrary, by embracing the psychoanalytic tradition - staying rather close to the Freudian and Kleinian schools of thought - I argue that it is in fact Kristeva that is better equipped to provide an account of this particular subject. Considerable time is invested in fleshing out the notion of the Other insofar as this Other is central to the constitution of subjectivity. This Other - insofar as this Other is to be found in Kristeva's notion of the chora -- is something I claim that Deleuze and Guattari simply undervalued.