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Title: A dark, uncertain fate: homophobia, graphic novels, and queer identity.
Creator: Buso, Michael., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: This thesis focuses primarily on homophobia and how it plays a role in the construction of queer identities, specifically in graphic novels and comic books. The primary texts being analyzed are Alan Moore's Lost Girls, Frank Miller's Batman: The Dark Knight Returns, and Michael Chabon's prose novel The Amazing Adventures of Kavalier and Clay. Throughout these and many other comics, queer identities reflect homophobic stereotypes rather than resisting them. However, this thesis argues that,...
Show moreThis thesis focuses primarily on homophobia and how it plays a role in the construction of queer identities, specifically in graphic novels and comic books. The primary texts being analyzed are Alan Moore's Lost Girls, Frank Miller's Batman: The Dark Knight Returns, and Michael Chabon's prose novel The Amazing Adventures of Kavalier and Clay. Throughout these and many other comics, queer identities reflect homophobic stereotypes rather than resisting them. However, this thesis argues that, despite the homophobic tendencies of these texts, the very nature of comics (their visual aspects, panel structures, and blank gutters) allows for an alternative space for positive queer identities.
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Date Issued: 2010
PURL: http://purl.flvc.org/FAU/2100584
Subject Headings: Criticism and interpretation, Criticism and interpretation, Criticism and interpretation, Sex in literature, Homophobia, Gender identity, Comic books, strips, etc, History and criticism
Format: Document (PDF)

Title: Drawing desires performance: dominance and submission in Will Eisner's The Spirit and Alan Moore's Watchmen.
Creator: Furlong, Michael., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: This thesis discusses the relationship between classic comic books and BDSM (bondage, discipline, sadism and masochism.) Will Eisner's The Spirit is used to discuss sexuality and power in comics, with special attention paid to Eisner's "The Kissing Caper." The Eisner chapter explores the relationship between sadomasochism, film noir, gender dynamics and comics. Using Judith Butler, Fredric Wertham and Theodor Reik, the gender politics of The Spirit are discussed. Women's changing roles in the...
Show moreThis thesis discusses the relationship between classic comic books and BDSM (bondage, discipline, sadism and masochism.) Will Eisner's The Spirit is used to discuss sexuality and power in comics, with special attention paid to Eisner's "The Kissing Caper." The Eisner chapter explores the relationship between sadomasochism, film noir, gender dynamics and comics. Using Judith Butler, Fredric Wertham and Theodor Reik, the gender politics of The Spirit are discussed. Women's changing roles in the post-World War II American workplace are linked to Eisner's BDSM themes in The Spirit from the character's origin story to the 1950s. In examining Alan Moore's Watchmen, the paper focuses on transactional power dynamics and how BDSM rituals are enacted in modern American comics. American power relationships in politics are used as a comparison and contrast to BDSM dynamics in Watchmen. Samuel R. Delany, William Moulton Marston and Pat Califia are used as theorists within the discussion of power exchanges in Dave Gibbons and Alan Moore's graphic novel. The consensual fantasy element to this power relationship is demonstrated as the underlying dynamic of the act, and not as actual punishment or nonconsensual sadism.
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Date Issued: 2011
PURL: http://purl.flvc.org/FAU/3332180
Subject Headings: Criticism and interpretation, Criticism and interpretation, Comic books, strips, etc, History and criticism, Erotic literature, History and criticism
Format: Document (PDF)

Title: Edna Pearce Lockett: lady of the house.
Creator: Dooley, Terry L., Dorothy F. Schmidt College of Arts and Letters, Department of History
Abstract/Description: This thesis demonstrates how some women used the power of their ancestry and family name to run for political office, to become a positive role model for other women, and also to help pass laws favorable to the improvement of gender equality. Edna Pearce Lockett was unique, but also a reflection of the values of her community. Women who ran for office tended to have strong male figures in their lives that treated them as equals. They often were savvy enough to use the novelty of their gender...
Show moreThis thesis demonstrates how some women used the power of their ancestry and family name to run for political office, to become a positive role model for other women, and also to help pass laws favorable to the improvement of gender equality. Edna Pearce Lockett was unique, but also a reflection of the values of her community. Women who ran for office tended to have strong male figures in their lives that treated them as equals. They often were savvy enough to use the novelty of their gender to encourage positive press. Far from trying to be men, they accentuated their femininity through press accounts detailing their fashion sense, their dedication to feminine pursuits, and their ability to be ladies as well as serve their constituency. Edna Pearce Lockett's life also illustrates what society was like in central Florida during the first half of the 20th century for men and women living on and around the cattle industry.
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Date Issued: 2009
PURL: http://purl.flvc.org/FAU/186679
Subject Headings: Political and social views, Frontier and pioneer life, History, Women in politics, History, Feminism, History and criticism, Women, History, History
Format: Document (PDF)

Title: The grassroots gospel: how spirituals and freedom songs democratized the Civil Rights Movement.
Creator: Bimmler, Lauren., Harriet L. Wilkes Honors College
Abstract/Description: The presence of music, especially in the form of freedom songs, is a notable constant in the American Civil Rights Movement of the 1950s and 1960s. Participants sang spirituals and freedom songs everywhere in the South - at mass meetings, demonstrations, and in jails. An engaging and participatory activity, singing unified, empowered, and historicized activists, allowing everyone an opportunity to be included in the action. Without these songs, the African-American communities across the...
Show moreThe presence of music, especially in the form of freedom songs, is a notable constant in the American Civil Rights Movement of the 1950s and 1960s. Participants sang spirituals and freedom songs everywhere in the South - at mass meetings, demonstrations, and in jails. An engaging and participatory activity, singing unified, empowered, and historicized activists, allowing everyone an opportunity to be included in the action. Without these songs, the African-American communities across the South may not have been able to band together to become such a force for change; while the activists were the facilitators for progress, the songs were the inspiration. Freedom songs democratized the Civil Rights Movement, enabling the participation of ordinary people at a grassroots level, therefore creating a strong mass movement.
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Date Issued: 2008
PURL: http://purl.flvc.org/FAU/77657, http://purl.flvc.org/fau/fd/FADT77657
Subject Headings: Civil rights movements, History, Protest songs, History and criticism, African Americans, Civil rights, History and criticism, Spirituals (Songs), History and criticism
Format: Document (PDF)

Title: The prepared piano of John Cage: a new level of hearing the Sonatas and Interludes.
Creator: Ferreira, Inara de Barros, Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description: When John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for...
Show moreWhen John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for this preparation. Different modes of listening will be explored through a selection of the Sonatas and Interludes recorded in three different technological systems - conventional AB 2.0, surround 5.1, and Disk Jecklin. The latter allows for a true "surround sound" experience as Cage himself might have heard his own pieces. Included is a compact disc of selections from Sonatas and Interludes recorded in each of the three technological systems.
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Date Issued: 2010
PURL: http://purl.flvc.org/FAU/1927866
Subject Headings: Cage, John, Criticism and interpretation, Prepared piano music, Music, Aleatory music, History and criticism, Avant-garde (Music), History and criticism
Format: Document (PDF)

Title: Speech inflection in American musical theatre compositions.
Creator: Zuim, Ana Flavia., Dorothy F. Schmidt College of Arts and Letters, Department of Languages, Linguistics and Comparative Literature
Abstract/Description: This dissertation examines the role of speech inflection in the composition of melodies of American musical theatre and investigates how composers approached speech inflection in their work throughout this genre's history. Through analysis of songs and interviews with composers, this dissertation investigates the relevance of speech inflection in the various styles of composition existing on Broadway. The main focus of musical theatre compositions, especially post Rodgers and Hammerstein's...
Show moreThis dissertation examines the role of speech inflection in the composition of melodies of American musical theatre and investigates how composers approached speech inflection in their work throughout this genre's history. Through analysis of songs and interviews with composers, this dissertation investigates the relevance of speech inflection in the various styles of composition existing on Broadway. The main focus of musical theatre compositions, especially post Rodgers and Hammerstein's musical Oklahoma, is to move the plot along through songs. Therefore, the delivery of the text must be of ultimate consideration in the writing of modern musicals. A well-written speech-melody facilitates the process of a speech-melody-interpretation, which will result in the delivery of lyrics with an understandable, natural sounding quality. This investigation happens through a chronologic evaluation of the relevance of speech inflection during each of the distinct phases on Broadway, as well as an examination of the approach to writing with a speech-melody focus of each individual composer throughout history. This study explores the importance of speech inflection in American musical theatre songwriting focusing on a speech-melody approach to composition.
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Date Issued: 2012
PURL: http://purl.flvc.org/FAU/3352883
Subject Headings: Music and semiotics, Music and language, Musicals, Writing and publishing, Musical theater, History and criticism
Format: Document (PDF)

Title: Urban space and the birth of punk.
Creator: Fletcher, Paul., Harriet L. Wilkes Honors College
Abstract/Description: While the general public agrees that the Sex Pistols were punk--they were dirty, vile, low-class, and they sang crass lyrics--their aesthetics were originally brought into punk by the New York Dolls, by bringing the street into their performance. The New York Dolls were from the New York City streets; they were mediocre musicians, unglamorous, and not at all phantasmagorical. They removed the hierarchy and the bourgeois elements from their performances that had been established by previous...
Show moreWhile the general public agrees that the Sex Pistols were punk--they were dirty, vile, low-class, and they sang crass lyrics--their aesthetics were originally brought into punk by the New York Dolls, by bringing the street into their performance. The New York Dolls were from the New York City streets; they were mediocre musicians, unglamorous, and not at all phantasmagorical. They removed the hierarchy and the bourgeois elements from their performances that had been established by previous New York City bands like the Velvet Underground--who performed as high-class, elitist artists. The New York Dolls destroyed this hierarchy, allowing the audience to join them. So, all the aesthetics that are associated with punk are the physical, visual, and auditory manifestations of the original scene and unity that began with the New York Dolls.
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Date Issued: 2006
PURL: http://purl.flvc.org/FAU/11586
Subject Headings: Rock musicians, Music, Philosophy and aesthestics, Counterculture, History, Punk rock music, History and criticism, Punk culture, History
Format: Document (PDF)

FAU Theses and Dissertations (5)	+ -
Honors Student Theses (2)	+ -

Criticism and interpretation (3)	+ -
History (3)	+ -
Comic books, strips, etc (2)	+ -
Music (2)	+ -
African Americans (1)	+ -

Aleatory music (1)	+ -
Avant-garde (Music) (1)	+ -
Cage, John (1)	+ -
Civil rights (1)	+ -
Civil rights movements (1)	+ -
Counterculture (1)	+ -
Erotic literature (1)	+ -
Feminism (1)	+ -
Frontier and pioneer life (1)	+ -
Gender identity (1)	+ -
Homophobia (1)	+ -
Music and language (1)	+ -
Music and semiotics (1)	+ -
Musical theater (1)	+ -
Musicals (1)	+ -
Philosophy and aesthestics (1)	+ -
Political and social views (1)	+ -
Prepared piano music (1)	+ -
Protest songs (1)	+ -
Punk culture (1)	+ -
Punk rock music (1)	+ -
Rock musicians (1)	+ -
Sex in literature (1)	+ -
Spirituals (Songs) (1)	+ -

Florida (1)	+ -
Southern States (1)	+ -

20th century (4)	+ -
19th century (1)	+ -

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