DOCSLIB.ORG

University of California

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ “How Skin Can See:” A Phenomenological and Cultural Account of Touch as Witness in the Latter Half of the Twentieth-Century A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Prema Purigali Prabhakar March 2012 The Dissertation of Prema Purigali Prabhakar is approved: _________________________________ Professor Tyrus Miller, Chair _________________________________ Professor Vilashini Cooppan _________________________________ Professor Jody Greene _________________________________ Professor H. Marshall Leicester __________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Prema Purigali Prabhakar 2012 TABLE OF CONTENTS Abstract ........................................................................................................................ iv Acknowledgements ...................................................................................................... vi Preface............................................................................................................................1 Chapter One ................................................................................................................ 14 Chapter Two................................................................................................................ 90 Chapter Three............................................................................................................ 137 Chapter Four ............................................................................................................. 210 Appendix A ............................................................................................................... 310 Appendix B ............................................................................................................... 315 Appendix C................................................................................................................333 Appendix D................................................................................................................342 Bibliography ............................................................................................................. 350 iii Abstract Prema Purigali Prabhakar “How Skin Can See:” A Phenomenological and Cultural Account of Touch as Witness in the Latter Half of the Twentieth-Century My dissertation project on embodiment and touch uses literature, performance art, photography and theatre to explore how non-normative bodies— mentally ill, physically disabled, queer or violated bodies—reconfigure concepts of touch in the 20th century. This project will assert that contemporary experience, characterized by ever-changing technologies and traumatic historical events, has not only created new ways in which to define the body, but has also created new ideas about how art and the individual’s body can and do touch. By exploring touch through witnessing, objects, and personal and historical trauma, my project ultimately seeks to answer the question posed by feminist historian of science, Donna Haraway in Simians, Cyborgs and Women, “Why should our bodies end at the skin?” My project argues that the inherent nature of touch means that our bodies do not and can never end at our individual skins. In order to situate this interdisciplinary project in a theoretical and historical framework, my project uses phenomenologist Maurice Merleau-Ponty’s work on the iv body; along with Jean Luc-Nancy’s writing on touch; Elaine Scarry’s work on the body under the nation-state; Amelia Jones and Petra Kuppers work on performance; Elizabeth Grosz, Donna Haraway and Sara Ahmed’s feminist phenomenology. Additionally, I will use the innovative methodology of Gilles Deleuze and Felix Guattari. Each of these theorists both provides a genealogy for the artistic disciplines I am examining and also helps to create a situational and culturally specific interpretation of what the body is, means, and can do. The innovative aspect of this project lies with its comparative consideration of multiple genres and theoretical frameworks and with its argument for a theory of the body that looks closely at phenomenological and lived experience. Given that my project examines phenomenological experience by focusing on non-normative, disenfranchised bodies, this is necessarily a project of ethics. Non-normative bodies allow us to ask questions about what our responsibilities are when touch is negotiated between individuals whose hands, skin or sexual organs have been destroyed; and how social conceptions of purity, danger and contamination are negotiated between individuals and their society. If our bodies do not end at our skins, as Haraway claims and if our body lines are fluid, as Deleuze and Guattari assert, then how do we a create a responsible way of touching one another? . The many ways in which we can touch each other in contemporary culture: through computers, phones, public spaces, weapons, skin on skin, also makes it harder to negotiate how to touch each iv other ethically with a touch that is empathetic—what I name “witnessing touch-- rather than a touch which is fragmenting and destructive v Acknowledgments I have been incredibly blessed to have so many loving, compassionate and intelligent family and friends. Know that I can never be grateful enough for all of your love and support. Xo. I would particularly like to thank the following people, each of whom had a direct impact on the execution and completion of this dissertation: Professor Tyrus Miller, the chair of my dissertation committee, for his archive of knowledge, his dedication and professionalism and his ability to tolerate my stubbornness and independence. The members of my dissertation committee: Vilashini Cooppan for her unwavering kindness and her constant engagement with my work; Jody Greene for her incisive intelligence and keen understanding. ; March Leicester for his perceptiveness and flexibility. This dissertation would never have been completed without the brilliant commentary, excellent editing and, especially, the unwavering encouragement of my “peer committee” : Sophie Rollins, Eireene Nealand, Helen Hauser and James Wallen. vi Thanks to Poorni Otilingam for being my unofficial dissertation coach; no matter how frustrated, tired or upset you were, you always found the time check in with me, help me through my work and support me with your warm words of understanding. Of course, thanks to my parents, Rupina and P.K. Prabhakar who never forced me to become a medical doctor or an IT professional , who encouraged my imagination and love of reading and who will always be more intelligent and more generous than I will ever be. Thanks to my patient, compassionate husband-person Sean who listened, encouraged and supported me through this process unflaggingly. And who is still funny and giving and kind, despite having to live with my anxiety and frustration during the writing of this dissertation. And to Esmeralda zuzu-cat for her calm companionship during my long writing, researching and day dreaming sessions! vii Preface: “How Skin Can See:” A Phenomenological and Cultural Account of Touch as Witness in the Latter Half of the Twentieth-Century Mappings: Preliminary thoughts on mapping the body This is a map of my dissertation. I have never liked maps and have always found them difficult to read; their widely placed arrows and their various (incongruous) colors that highlight different types of terrain. However, because this is a dissertation on the body, a ‘map of the body’ would look less like a road map , pleated and tucked into the plastic pocket of a car, and more like an X-ray. Of course, X-rays are less egalitarian than maps; you need some expertise to read them, some education to interpret their symbols. When the untrained eye looks at an x-ray, it sees a flat white shell of bone on a murky grey plain. Maybe, the eye observes a darkened area of calcification or the dangling digit of a break. If we can see the muscles, they appear crude like shapes fashioned out of play dough and stuck rather haphazardly onto the delicacy of our bones. The spine is a series of hooks that hangs our skin. But as with the geographical map, the map of the body—the X-ray—is flat, two dimensional; its representations of the body are unsatisfactory; the roundness and closeness of shape and texture are entirely missing. Coming back from the dentist, a friend asked that rather than keep the X-rays of her jaw and teeth as a memento of the procedure she had undergone, she be given the teeth that were extracted during the 1 procedure. The ghostly X-ray of the jaw was a poor memento of the dental procedure compared to the glossy slickness of the tooth and the thin blood root hanging off of the tooth’s craggy underside. So this is a dissertation not about how the body looks, but about how it is touched and about how we experience this touch. When my friend touches her tooth, does the pain of dental surgery come back to her? Does she feel a throbbing in her jaw where the tooth once lay? Or does she merely experience the tooth as a strange object, the size and feel of a small marble, lying in her hand? As the title of this dissertation suggests, how do we see through the skin? Our skin has so many more ‘eyes’ than our face. It has a multitude of pores breathing in and out like fish gills and a complex twining of nerves, many of which are barely covered by a thin layer
Load more

Recommended publications
  • The Pomegranate Cycle
    The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
    [Show full text]
  • How Did the Romans Really Crucify Jesus? Richard Binder, September 27, 2020 (Edited March 14, 2021)
    How Did the Romans Really Crucify Jesus? Richard Binder, September 27, 2020 (edited March 14, 2021) This article is the conclusion of a secular exploration of an event that some people devoutly believe happened, while others deny the very existence of its central character. That event, or non-event, was the crucifixion of Jesus of Nazareth. You can find the complete series of articles at this Web address: http://www.richardspens.com/?crux= For nearly two millennia, the method by which Jesus of Nazareth was crucified has been a subject of speculation by Christians, archaeologists, historians, and others whose interest might be based on little or nothing more than curiosity. There exist countless religious paintings, sculptures, and corpora on crucifixes, and there exist also many ancient writings describing crucifixion as practiced by the Romans. This article is an attempt to pull together several applicable threads of information with the purpose of describing without religious bias just how Jesus’ crucifixion was carried out. One thing we can be sure of is that Jesus’ death on the cross did not appear as it is portrayed in depictions intended for veneration by the faithful, typified by the three images shown here—for it was horrifyingly unsuited to that purpose. In this article, I shall refer to works of this type as “traditional” depictions. The Ancona Crucifixion, by Crucifixion from an English A modern Roman Catholic crucifix Titian, 1558 psalter, c. 1225 All three of the above images show nails through Jesus’ palms, one nail holding both feet to the front of the cross, and Jesus wearing a loincloth and hung on a Latin cross.
    [Show full text]
  • Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance
    BETWEEN LIMINALITY AND TRANSGRESSION: EXPERIMENTAL VOICE IN AVANT-GARDE PERFORMANCE _________________________________________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Theatre and Film Studies in the University of Canterbury by Emma Johnston ______________________ University of Canterbury 2014 ii Abstract This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.
    [Show full text]
  • IN DARKEST ENGLAND and the WAY out by GENERAL WILLIAM BOOTH
    IN DARKEST ENGLAND and THE WAY OUT by GENERAL WILLIAM BOOTH (this text comes from the 1890 1st ed. pub. The Salvation Army) 2001 armybarmy.com To the memory of the companion, counsellor, and comrade of nearly 40 years. The sharer of my every ambition for the welfare of mankind, my loving, faithful, and devoted wife this book is dedicated. This e-book was optically scanned. Some minor updates have been made to correct some spelling errors in the original book and layout in-compatibilities 2001 armybarmy.com PREFACE The progress of The Salvation Army in its work amongst the poor and lost of many lands has compelled me to face the problems which an more or less hopefully considered in the following pages. The grim necessities of a huge Campaign carried on for many years against the evils which lie at the root of all the miseries of modern life, attacked in a thousand and one forms by a thousand and one lieutenants, have led me step by step to contemplate as a possible solution of at least some of those problems the Scheme of social Selection and Salvation which I have here set forth. When but a mere child the degradation and helpless misery of the poor Stockingers of my native town, wandering gaunt and hunger-stricken through the streets droning out their melancholy ditties, crowding the Union or toiling like galley slaves on relief works for a bare subsistence kindled in my heart yearnings to help the poor which have continued to this day and which have had a powerful influence on my whole life.
    [Show full text]
  • WHITE-FINALTHESIS-2021.Pdf (453.9Kb)
    AND THE CAT LOOKED An Undergraduate Research Scholars Thesis by MEREDITH WHITE Submitted to the LAUNCH: Undergraduate Research office at Texas A&M University in partial fulfillment of requirements for the designation as an UNDERGRADUATE RESEARCH SCHOLAR Approved by Faculty Research Advisor: Dr. Lowell White May 2021 Major: English Copyright © 2021. Meredith White. RESEARCH COMPLIANCE CERTIFICATION Research activities involving the use of human subjects, vertebrate animals, and/or biohazards must be reviewed and approved by the appropriate Texas A&M University regulatory research committee (i.e., IRB, IACUC, IBC) before the activity can commence. This requirement applies to activities conducted at Texas A&M and to activities conducted at non-Texas A&M facilities or institutions. In both cases, students are responsible for working with the relevant Texas A&M research compliance program to ensure and document that all Texas A&M compliance obligations are met before the study begins. I], Meredith White, certify that all research compliance requirements related to this Undergraduate Research Scholars thesis have been addressed with my Research Faculty [Choose an item: Advisor] prior to the collection of any data used in this final thesis submission. [Choose an item: This project did not require approval from the Texas A&M University Research Compliance & Biosafety office. TABLE OF CONTENTS Page ABSTRACT .................................................................................................................................... 1 DEDICATION
    [Show full text]
  • Negative Affect Does Not Impact Semantic Retrieval Failure Monitoring
    This is a repository copy of Negative affect does not impact semantic retrieval failure monitoring. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/89131/ Version: Accepted Version Article: Jersakova, R, Souchay, C and Allen, RJ (2015) Negative affect does not impact semantic retrieval failure monitoring. Canadian Journal of Experimental Psychology, 69 (4). pp. 314-326. ISSN 1196-1961 https://doi.org/10.1037/cep0000065 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Negative affect does not impact semantic retrieval failure monitoring Radka Jersakova a, Celine Souchay b, * Richard J. Allen a a School of Psychology, University of Leeds, Leeds, LS2 9JT, UK b LEAD CNRS UMR 5022, Pole AAFE, Université de Bourgogne, Esplanade Erasme, 21065 Dijon, France Corresponding author at: Celine Souchay LEAD CNRS UMR 5022 Pole AAFE Université de Bourgogne Esplanade Erasme 21065 Dijon France [email protected] +33 (0)3 80 39 90 25 Abstract This study investigated the effect of the emotional nature of to-be-retrieved material on semantic retrieval monitoring.
    [Show full text]
  • The History of Rock Music - the Eighties
    The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Singer-songwriters of the 1980s (These are excerpts from my book "A History of Rock and Dance Music") Female folksingers 1985-88 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Once the effects of the new wave were fully absorbed, it became apparent that the world of singer-songwriters would never be the same again. A conceptual mood had taken over the scene, and that mood's predecessors were precisely the Bob Dylans, the Neil Youngs, the Leonard Cohens, the Tim Buckleys, the Joni Mitchells, who had not been the most popular stars of the 1970s. Instead, they became the reference point for a new generation of "auteurs". Women, in particular, regained the status of philosophical beings (and not only disco-divas or cute front singers) that they had enjoyed with the works of Carole King and Joni Mitchell. Suzy Gottlieb, better known as Phranc (1), was the (Los Angeles-based) songwriter who started the whole acoustic folk revival with her aptly-titled Folksinger (? 1984/? 1985 - nov 1985), whose protest themes and openly homosexual confessions earned her the nickname of "all-american jewish-lesbian folksinger". She embodied the historic meaning of that movement because she was a punkette (notably in Nervous Gender) before she became a folksinger, and because she continued to identify, more than anyone else, with her post- feminist and AIDS-stricken generation in elegies such as Take Off Your Swastika (1989) and Outta Here (1991).
    [Show full text]
  • Sopholdes' Political Tragedy, Antigone William M
    Sophokles' Political Tragedy, "Antigone" Calder, William M Greek, Roman and Byzantine Studies; Winter 1968; 9, 4; ProQuest pg. 389 Sopholdes' Political Tragedy, Antigone William M. Calder III T IS A PITY, as Wilamowitz once sagely observed,! that Antigone has I been so often read and performed in schools and that the wrongly translated verse (Ant. 523) "nicht mitzuhassen, mitzulieben bin ich da" has become a false jewel of general education and the play itself a document in the history of feminism and the Religion of Love. It is the task of an historical critic to avoid the romantic, even Christian, sentimentalism that has collected about the interpretation of the play and to see it as what it was, a political drama, the last literary effort of a fifty-two year old citizen before he was elected by his people to the two highest political offices that his country could bestow. The task of my paper will be to strike a blow for this cause. First, to clear the way, a few words on chronology, titles and actors, and then I shall turn to the play itself. Some seventy-five years ago Wilamowitz established the most reasonable date for Antigone.2 The tradition-a post hoc become propter hoc-exists (Antigone hypothesis) that Sophokles in 441-440 was awarded a generalship for his play and implies a victory.3 In 441 Euripides indubitably won first prize,4 while in 443-2, a critical finan­ cial year, Sophokles was chairman of the Hellenotamiai, that is Secre­ tary of the Imperial Treasury (IG 12 202.36), and quite unable to devote 1 See Ulrich von Wilamowitz-Moellendorff, "Die griechische Tragoedie und ihre drei Dichter," Griechische Tragoedien IV (Berlin 1923) 340 (henceforth: GrTr IV).
    [Show full text]
  • Diamanda Galás' Plague Mass As a Work of Death Midwifery Abigail
    Rienzo i Liminal Women : Diamanda Galás’ Plague Mass as a work of Death Midwifery Abigail Rienzo Advisor: Stephan Pennington Committee: Joseph Auner, Peggy Hutaff THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS MASTER OF ARTS PROGRAM IN MUSIC TUFTS UNIVERSITY MAY 2017 Rienzo ii ABSTRACT The United States AIDS crisis of the 1980s and 1990s was a complex space for activism due to its dual nature as a politicized social justice movement and a bona fide public health crisis. To be effective, activist work needed to address the political discrimination that led to the disease’s spread, while also acknowledging the ubiquitous nature of the illness. Composer and performer Diamanda Galás, known for her involvement in the AIDS activist movement, successfully carries out this work by creating a musical persona that resists definition and continually occupies liminal spaces of being. Her 1990 protest piece Plague Mass performs effectively as an activist work because of the ways in which it embraces the liminal. This thesis analyzes the indefinable, in-between aspects of Plague Mass through a gendered lens; in particular, it traces Galás’s legacy back through historical moments in which women, through their association with the liminal, have been tasked with caring for the dead and dying. Rienzo iii ACKNOWLEDGMENTS This project would not have been remotely possible without the assistance of Associate Professor of Music Stephan Pennington. His dedication of time, consideration, and wisdom to this project has been immeasurable and indescribably beneficial. I cannot thank him enough for his mentorship throughout this process, and indeed, throughout the duration of my time at Tufts.
    [Show full text]
  • Buried Alive”: 10-22 Andrew Mangham , “Buried Alive”: 10-22
    Journal of Literature and Science Volume 3, No. 1 (2010) ISSN 1754-646XJournal of Literature and Science 3 (2010) Mangham, “Buried Alive”: 10-22 Andrew Mangham , “Buried Alive”: 10-22 Buried Alive: The Gothic Awakening of Taphephobia Andrew Mangham In 1919 Sigmund Freud wrote about the fear of being buried alive in his essay on the uncanny. Expanding on ideas he had developed in Totem and Taboo (1912-13), he suggested that this fear, “taphephobia”, was linked to wider terrors relating to the un/dead and that it manifested a return of latent, psychic energies: Many people experience the [uncanny] feeling in the highest degree in relation to death and dead bodies, to the return of the dead, and to spirits and ghosts. There is scarcely any other matter . upon which our thoughts and feelings have changed so little since the very earliest times. To some people the idea of being buried alive by mistake is the most uncanny thing of all. And yet psycho-analysis has taught us that this terrifying phantasy is only a transformation of another phantasy which had originally nothing terrifying about it at all, but was qualified by a certain lasciviousness – the phantasy, I mean, of intra-uterine existence (Freud 241).1 Thus live burial is uncanny, unsettling, and terrifying because it manifests both a hideous form of awakening and a dialogue between worlds that should remain disengaged. Like the dead, memories of intra-uterine existence are subterraneous forces that ought to remain buried yet, in thoughts of live burial, they rise up and occupy a troubled space in the conscious mind.
    [Show full text]
  • None Like Us
    Stephen Best NONE LIKE US | Blackness, Belonging, Aesthetic Life | NONE LIKE US A series edited by Lauren Berlant and Lee Edelman NONE LIKE US | Blackness, Belonging, aesthetic life | Stephen Best Duke University Press Durham and London 2018 © 2018 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Courtney Leigh Baker Typeset in Warnock Pro and Franklin Gothic by Copperline Books Library of Congress Cataloging- in- Publication Data Names: Best, Stephen Michael, [date] author. Title: None like us : blackness, belonging, aesthetic life / Stephen Best. Description: Durham : Duke University Press, 2018. | Series: Theory Q | Includes bibliographical references and index. Identifiers: LCCN 2018008212 (print) lccn 2018009463 (ebook) isBn 9781478002581 (ebook) isBn 9781478001157 (hardcover : alk. paper) isBn 9781478001508 (pbk. : alk. paper) Subjects: LCSH: Blacks — Study and teaching. | Aesthetics, Black. | Blacks — Race identity. Classification: LCC cB235 (ebook) | LCC cB235 .B47 2018 (print) | DD c 305.896/073 — dc23 lc record available at https://lccn.loc.gov/2018008212 Cover art: Mark Bradford, Crow. Courtesy of the artist and Hauser and Wirth, London. For Paul Having travelled over a considerable portion of these United States, and having, in the course of my travels, taken the most accurate ob- servations of things as they exist — the result of my observations has warranted the full and unshaken conviction, that we, (coloured peo- ple of these United States,) are the most degraded, wretched, and abject set of beings that ever lived since the world began; and I pray God that none like us ever may live again until time shall be no more.
    [Show full text]
  • Pitchfork Mental Health
    “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE _____________________________________________________________________________ A Thesis Presented to The Faculty of the Graduate School At the University of Missouri-Columbia ____________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts _____________________________________ By Jared McNett Dr Berkley Hudson, Thesis Supervisor December 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE presented by Jared McNett, A candidate for the degree of masters of art and hereby certify that, in their opinion, it is worthy of acceptance. Professor Berkley Hudson Professor Cristina Mislan Professor Jamie Arndt Professor Andrea Heiss Acknowledgments It wouldn’t be possible to say thank enough to each and every person that has helped me with this along my way. I’m thankful for my parents, Donald and Jane McNett, who consistently pestered me by asking “How’s it coming with your thesis? Are you done yet?” I’m thankful for friends, such as: Adam Suarez, Phillip Sitter, Brandon Roney, Robert Gayden and Zach Folken, who would periodically ask me “What’s your thesis about again?” That was a question that would unintentionally put me back on track. In terms of staying on task my thesis committee (mentioned elsewhere) was nothing short of a godsend. It hasn’t been an easy two-and-a-half years going from basic ideas to a proposal to a thesis, but Drs.
    [Show full text]