DOCSLIB.ORG

Exploring the Affordances of Role in the Online History Education Project "Place out of Time:"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exploring the Affordances of Role in the Online History Education Project Exploring the Affordances of Role in the Online History Education Project "Place Out of Time:" A Narrative Analysis A Dissertation Submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Ph.D.) In the Department of Educational Studies College of Education, Criminal Justice, and Human Services 2014 by Jennifer E. Killham BS. Southern Illinois University Carbondale, 2004 M.A. University of Cincinnati, 2009 Committee Chair: Prentice Chandler Abstract This qualitative, collaborative inquiry project explored the affordances of role enacted in Place Out of Time (POOT), an online, historical character-playing activity designed to promote deeper engagement with historical thinking and perspective taking. The overview of the dissertation presented in Chapter 1 is followed by three distinct literature reviews on history education, POOT, and games and roleplay. Methodologically, the principles of practitioner inquiry guided this work. This dissertation aimed to improve the educational activity of POOT by answering organic, emergent questions participants had about their experiences during and after participation. This research occurred in two different phases. During phase one, participants expressed a desire to understand the tensions around their firsthand experiences of portraying someone other than themselves. Phase two addressed the opportunities and challenges related to the inclusion of fictional, controversially portrayed, and artistic characters. Consequently, a more targeted investigation into the dimensions of character-play was conducted in phase two. These tensions were worthy of such an in-depth investigation because preliminary research revealed character selection impacted participant performance and the assessment of this performance. Participants included K-12 students enrolled in POOT through a participating middle school or high school classroom. Adults in related or supportive roles were also subjects in this research. Data was drawn from semi-structured interviews, and triangulated with written communications, online participation in POOT, online postings on support sites, and instructional support documents from iterations of POOT taking place between Fall 2010 and Fall 2012. Narrative data, as the primary data source, was analyzed using a polyvocal interpretation technique called McCormack’s Lenses. The use of McCormack’s Lenses involved four separate readings of data, listening for (1) narrative processes (words), (2) language (structure of words), (3) context, and ii (4) moments (epiphanies). Data was managed using NVivo. Case histories were then used to present the polyvocal interpretations. The implications of this work are intended to influence the understanding of online playful learning exercises involving character-play and historical thinking in history education, and in turn make these exercises more accessible for educators to implement in their own classrooms. Further, this research sought to improve POOT training material. iii © Copyright by Jennifer E. Killham 2014 All Rights ReservedDedication iv In loving memory of my grandparents, Andy and Claire Killham With their sacrifices, my education was made possible To my former fan club president, The late Mario “Doc” Reda You knew I would arrive at my destination To the all of my POOT participants, Especially Sue, Thank you for sharing your stories v Acknowledgements To begin, I would like to wholeheartedly extend my gratitude to my faculty advisors, Dr. Vanessa Allen-Brown and Dr. Prentice Chandler. To Vanessa Allen-Brown, who took me in at a time when I felt orphaned in the academy—you provided me stability, guidance, and Honey Nut Cheerios when I needed them most. Vanessa, thank you for sitting me down and telling me I was going to finish and “let’s keep moving.” To Dr. Prentice Chandler, for your added insight into teacher preparation and history education that I had not considered beforehand—thank you for accepting my invitation to work together in my time of great need. My work became measurably better with the sharing of your insight. May there be many years of working together ahead. I would also like to thank my committee members Dr. Jeff Kupperman and Dr. Sean Duncan for the hours they spent reading my work and providing me with instrumental feedback. To Jeff, who was a stabling force during graduate school—thank you for pushing me to think creatively about my research, inviting me to meet your lovely family and neighbors, and always answering my phone calls. To Sean, who was my most rigorous critical reader—this dissertation greatly improved under your guidance. To all, you were just the right combination of committee members for me. I want to make space upfront to acknowledge additional key mentors: Dr. Stephen Sunderland and Dr. Kelli Jette for the long hours they spent with me since 2007 helping me to be a better student, teacher, and person. I am indebted to Steve for the weekly meetings we had crafting ideas on game development, improving my lesson plans, and for our time in the Peace Village. Steve, you were always one of my biggest professional supporters. Thank you for knowing what to say at the right time. I am forever grateful for Kelli Jette’s friendship, professional advice, and for taking my phone calls. Thank you for letting me into your classroom vi to teach for the Preparing Future Faculty mentorship program. When my dissertation is signed off on, we will finally have our toast. I would like to thank Jeff Kupperman’s colleagues from the Interactive Communications and Simulations group at University of Michigan, Dr. Jeff Stanzler and Dr. Michael Fahy. Jeff, you helped me see the world full of opportunities. Inspired by you, I posted a sign above my desk that reads, “Where are the opportunities?” Michael, you shared your infinite wisdom about all of the things that matter to me about POOT. Gentlemen, thank you for the mentorship, trust, belief in my abilities, and use of the POOT site. I am grateful for the financial support of the Glendale Heights Jr. Women’s Club, Senator Pankau’s Illinois General Assembly Scholarship, the Covenant Foundation, and the University of Cincinnati (UC) Center for Jewish Education and Culture. I would like to acknowledge the diligence and organization of those I consider to be the backbone of my institution, Beverly Reese, Michelle Jones, and Amuna Yisrael from the School of Education, as well as Alphonzo, Cheryl, and Lincoln in the College of Education, Criminal Justice, and Human Services (CECH) library and the amazingly patient and skilled tutors at the UC Academic Writing Center. These are the people I could not do without! The most important people in my life, my family, have blessed me beyond belief; I would like to thank them. To my mom, who has always been the first person I think to call when I am sick—thank you for your healing hugs. To my father for his steadfast support and reminders that what he wants most is for me to be happy—without your Buick LeSabre I would have been stranded. To my grandparents, Claire and Andy Killham, who I believe helped make this all possible, and to whom I am forever grateful. Thank you for teaching me to raise my hand. To my Grandma Toni, who taught me to set my heart on something I believe in. To my Aunt Marilyn, for checking in on me, providing words of wisdom, and for reading almost my entire dissertation vii overnight when she knew my defense date was set. To my Aunt Sandy, who knows how to catch my grammar errors and was more than willing to help read my papers throughout graduate school. To my brother Andy, my very first student when we used to play school in the basement of Jacobsen, and to my other siblings Lauren, Julie, Steve, and Michael who are very special to me. There are several instrumental people for which a deep appreciation is most fitting. To Hal Bouma, the kind deed giver—you saved my life by recovering important data off of my computer after everyone else said it was lost and who stayed up late to read this dissertation before I hit send. Thank you for driving five hours to save my data. To Rob LaFluer, you were my beacon of hope, source of endless optimism, and the caregiver of ‘ol Gnome1. Thank you for staying in touch since we met in 2002 and giving so much of yourself to our friendship. To Roger and Kyler who supportively reminded me that the dissertation had to be prioritized. To Dana Ng for the 90-day challenge, repeatedly telling me to hang in there, feeding me, and our trips to the library and Starbucks. Dana, our dissertation proposals felt like an adventure we conquered together. And, without you, I would starve. To Fatih Destebaşı, for your strong work ethic, and inspiring me to want to work at all hours of the night to get the job done. Fatih, keep typing! To John Stegall for putting in the long hours—I recall the time you stayed on campus with me until 4a.m. so I could finish my Dutch application and for nudging me to reward hard work with a scoop of Jenny’s Ice Cream. To Ian McKenzie, you believed in me as a conference volunteer for the Game Developer’s Conference in 2012, 2013, and 2014. Through this experience I met key people in the field of games who have shaped the way I think about the material covered in this dissertation. You also taught me that being my best self is a daily commitment. viii I have been supported by my dear friends who turned into critical readers after liking my Facebook status updates about my dissertation. To Brian Stanfield, my longest standing critical reader. You helped me get into graduate school and stay in graduate school, all with only having your car towed once.
Load more

Recommended publications
  • Fifteen Minutes of Fame, Fame in Fifteen Minutes
    Andy Warhol and the Dawn of Modern-Day Celebrity Culture 113 Alicja Piechucka Fi!een Minutes of Fame, Fame in Fi!een Minutes: Andy Warhol and the Dawn of Modern-Day Celebrity Culture Life imitates art more than art imitates life. –Oscar Wilde Celebrity is a mask that eats into the face. –John Updike If someone conducted a poll to choose an American personality who best embodies the 1960s, Andy Warhol would be a strong candidate. Pop art, the movement Warhol is typically associated with, !ourished in the 60s. It was also during that decade that Warhol’s career peaked. From 1964 till 1968 his studio, known as the Silver Factory, became not just a hothouse of artistic activity, but also the embodiment of the zeitgeist: the “sex, drugs and rock’n’roll” culture of the period with its penchant for experimentation and excess, the revolution in morals and sexuality (Korichi 182–183, 206–208). "e seventh decade of the twentieth century was also the time when Warhol opened an important chapter in his painterly career. In the early sixties, he started executing celebrity portraits. In 1962, he completed series such as Marilyn and Red Elvis as well as portraits of Natalie Wood and Warren Beatty, followed, a year later, by Jackie and Ten Lizes. In total, Warhol produced hundreds of paintings depicting stars and famous personalities. "is major chapter in his artistic career coincided, in 1969, with the founding of Interview magazine, a monthly devoted to cinema and to the celebration of celebrity, in which Warhol was the driving force.
    [Show full text]
  • Clue # 3 Did You Know? Andy Warhol Produced Around 60 Films
    Clue # 3 Did you know? Andy Warhol produced around 60 films. • Andrew Warhola was born on August 6, 1928 in Pittsburgh, Pennsylvania. He was a famous artist during the Pop Art movement. His most famous works are Campbell's Soup Cans, Moonwalk, Marilyn Monroe, Che, and Eight Elvises. • He studied art at Carnegie Mellon University in Pittsburgh. • He worked with different forms of media such as: painting, printmaking, photography, drawing, sculpture, film and music. • On one of his first jobs his name was misspelled as "Warhol“ and he liked it. • He explored pop culture with brands like Coca Cola, Campbells’ and Watties' soup. In 1961, he began to mass-produce commercial goods with his art. He called it Pop Art. One example was the Campbell's Soup cans. In one of his paintings, he had two hundred Campbell's soup cans. • Andy also used pictures of famous people, repeating the same portrait over and over in different colors. He painted Marilyn Monroe, Elvis Presley, Elizabeth Taylor, and Mao Zedong. He used bright colors and silk screening techniques to create his artwork in large quantities. • He opened a new art studio called "The Factory" where he painted, held parties and sold a lot of his art to celebrities. He also founded the New York Academy of Art in 1979. • In 1968, he was shot three times by a woman named Valerie Solanas but he survived. What was the name of his studio where he sold art to celebrities? Question A. Carnegie Mellon B. New York Academy of Art C. Solanas Question D.
    [Show full text]
  • Academic Writing
    Academic Writing Most international students need to write essays and reports for exams and coursework, but writing good academic English is one of the most demanding tasks students face. This new, fourth edition of Academic Writing: A Handbook for International Students has been completely revised to help students reach this goal. The four main parts of Academic Writing are: • The Writing Process • Elements of Writing • Vocabulary for Writing • Writing Models Each part is divided into short units that contain examples, explanations and exercises, for use in the classroom or for self-study. The units are clearly organised to allow teachers and students to find the help they need with writing tasks, while cross-referencing allows easy access to relevant sections. In the first part, each stage of the writing process is demonstrated and practised, from selecting suitable sources, reading, note-making and planning through to rewriting and proofreading. The fourth edition of this popular book builds on the success of the earlier editions, and has a special focus on the vital topic of academic vocabulary in Part 3, ‘Vocabulary for Writing’. Part 3 deals with areas such as nouns and adjectives, adverbs and verbs, synonyms, prefixes and prepositions, in an academic context. More key features of the book include: • All elements of writing are clearly explained, with a full glossary for reference • Models provided for all types of academic texts: essays, reports, reviews and case studies • Full range of practice exercises, with answer key included • Use of authentic academic texts • A companion website offers further practice with a range of additional exercises • Fully updated, with sections on finding electronic sources and evaluating Internet material All international students wanting to maximise their academic potential will find this practical and easy-to-use book an invaluable guide to writing in English for their degree courses.
    [Show full text]
  • Lucy Sparrow Photo: Dafydd Jones 18 Hot &Coolart
    FREE 18 HOT & COOL ART YOU NEVER FELT LUCY SPARROW LIKE THIS BEFORE DAFYDD JONES PHOTO: LUCY SPARROW GALLERIES ONE, TWO & THREE THE FUTURE CAN WAIT OCT LONDON’S NEW WAVE ARTISTS PROGRAMME curated by Zavier Ellis & Simon Rumley 13 – 17 OCT - VIP PREVIEW 12 OCT 6 - 9pm GALLERY ONE PETER DENCH DENCH DOES DALLAS 20 OCT - 7 NOV GALLERY TWO MARGUERITE HORNER CARS AND STREETS 20 - 30 OCT GALLERY ONE RUSSELL BAKER ICE 10 NOV – 22 DEC GALLERY TWO NEIL LIBBERT UNSEEN PORTRAITS 1958-1998 10 NOV – 22 DEC A NEW NOT-FOR-PROFIT LONDON EXHIBITION PLATFORM SUPPORTING THE FUSION OF ART, PHOTOGRAPHY & CULTURE Art Bermondsey Project Space, 183-185 Bermondsey Street London SE1 3UW Telephone 0203 441 5858 Email [email protected] MODERN BRITISH & CONTEMPORARY ART 20—24 January 2016 Business Design Centre Islington, London N1 Book Tickets londonartfair.co.uk F22_Artwork_FINAL.indd 1 09/09/2015 15:11 THE MAYOR GALLERY FORTHCOMING 21 CORK STREET, FIRST FLOOR, LONDON W1S 3LZ TEL: +44 (0) 20 7734 3558 FAX: +44 (0) 20 7494 1377 [email protected] www.mayorgallery.com EXHIBITIONS WIFREDO ARCAY CUBAN STRUCTURES THE MAYOR GALLERY 13 OCT - 20 NOV Wifredo Arcay (b. 1925, Cuba - d. 1997, France) “ETNAIRAV” 1959 Latex paint on plywood relief 90 x 82 x 8 cm 35 1/2 x 32 1/4 x 3 1/8 inches WOJCIECH FANGOR WORKS FROM THE 1960s FRIEZE MASTERS, D12 14 - 18 OCT Wojciech Fangor (b.1922, Poland) No. 15 1963 Oil on canvas 99 x 99 cm 39 x 39 inches STATE_OCT15.indd 1 03/09/2015 15:55 CAPTURED BY DAFYDD JONES i SPY [email protected] EWAN MCGREGOR EVE MAVRAKIS & Friend NICK LAIRD ZADIE SMITH GRAHAM NORTON ELENA SHCHUKINA ALESSANDRO GRASSINI-GRIMALDI SILVIA BRUTTINI VANESSA ARELLE YINKA SHONIBARE NIMROD KAMER HENRY HUDSON PHILIP COLBERT SANTA PASTERA IZABELLA ANDERSSON POPPY DELEVIGNE ALEXA CHUNG EMILIA FOX KARINA BURMAN SOPHIE DAHL LYNETTE YIADOM-BOAKYE CHIWETEL EJIOFOR EVGENY LEBEDEV MARC QUINN KENSINGTON GARDENS Serpentine Gallery summer party co-hosted by Christopher Kane.
    [Show full text]
  • Vintage Game Consoles: an INSIDE LOOK at APPLE, ATARI
    Vintage Game Consoles Bound to Create You are a creator. Whatever your form of expression — photography, filmmaking, animation, games, audio, media communication, web design, or theatre — you simply want to create without limitation. Bound by nothing except your own creativity and determination. Focal Press can help. For over 75 years Focal has published books that support your creative goals. Our founder, Andor Kraszna-Krausz, established Focal in 1938 so you could have access to leading-edge expert knowledge, techniques, and tools that allow you to create without constraint. We strive to create exceptional, engaging, and practical content that helps you master your passion. Focal Press and you. Bound to create. We’d love to hear how we’ve helped you create. Share your experience: www.focalpress.com/boundtocreate Vintage Game Consoles AN INSIDE LOOK AT APPLE, ATARI, COMMODORE, NINTENDO, AND THE GREATEST GAMING PLATFORMS OF ALL TIME Bill Loguidice and Matt Barton First published 2014 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2014 Taylor & Francis The right of Bill Loguidice and Matt Barton to be identified as the authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Elliott Murphy the Last Rock Star
    NOVELA MEMORIAS VARASEK POESÍA EDICIONES ON THE ROAD Título original: The Last Rock Star Dirección de arte y coordinación editorial: Beatriz Ruibal Diseño gráfico: Jaime Narváez Maquetación: Juanjo Pérez Corrección: Bruno Montané ELLIOTT Foto portada: Lluís Oliver Fotografía contraportada: Jack Mitchell MURPHY © 2019, Elliott Murphy © 2019, de la presente edición en castellano para todo el mundo: Varasek Ediciones, S.L. THE 1.ª edición, Madrid diciembre, 2019 © Varasek Ediciones S. L. Cava Baja, 24, 2.° Dcha. 28005, Madrid, España www.varasekediciones.es LAST © 2019, Peter Redwhite, por la traducción de Tramps y The Last Rock Star © 2019, Antonio Cordero y Marcos Canteli por las traducciones de los poemas y dos canciones ROCK © 2019, Santiago Alcanda por el Prólogo «Cuando no llueve» y listado hipotético de canciones que suenan en la novela Tramps STAR © de la fotografía de cubierta Lluís Oliver. Cortesía de Jorge Arenillas © de la fotografía de contraportada Jack Mitchell. Cortesía de Elliott Murphy MEMORIAS DE Créditos fotográficos: UN OUTSIDER Cortesía del archivo personal de Elliott Murphy: 250, 253, 257, 258, 262, 265, 267, 270, 271, 272, 280, 286, 290, 295, 298, 300, 308, 310, 311, 312, 314, 320, 325, 326, 327, 343, 345, 346, 347, 352, 356, 360, 361, 362,370, 376, 378, 381, 382, 392, 397, 400, 401, 404, 406, 412, 413, 421, 422, 424, 429, 430, 432, 436, 438, 439, 451, 461, 462, 466, 475 © Françoise Viallon-Murphy: 295, 475 © Mark Russo: 329, 330 © Vincent Lignier: 461 TRADUCCIÓN DE © Paul Waldman: 414 © Kate Simon: 418, 441 © Denys Schelfhaut: 447 © Nathalie Vergez: 294 PETER REDWHITE © David Godichaud: 467 © Michel Jolyot: 468 © Pierre Villard: 471 © J.
    [Show full text]
  • Collectable Elvis
    1 COLLECTIBLE ELVIS By Scott K. Van Den Berg EXT. BATHROOM - NIGHT A young Elvis Presley checks his reflection. It might be Elvis except that the sideburns are a decidedly different color than the greased hair, and more the texture of felt than of sideburn hair. Elvis, Wesley rather, talks to the mirror. It certainly sounds like Elvis. WESLEY You talking to me? You talking to me? Thank you very much. Wesley checks his watch, an Elvis watch, reacting with panic. WESLEY Oh man! He hurriedly squeezes toothpaste on a collectible Elvis toothbrush, then reconsiders and sucks some toothpaste out of the tube, swallows, puts on jeweled sunglasses and darts down a very narrow hallway to the livingroom. He wears the same black leather jumpsuit that Elvis wore for his 1968 comeback tour. INT. LIVINGROOM - NIGHT The small livingroom has a worn sofa along one wall, covered with a blanket bearing Elvis' likeness. A guitar case rests on the sofa. Wesley grabs it and a tiny amplifier which sets against one side of the sofa. EXT. TRAILER COURT - NIGHT Wesley exits a weather-beaten trailer and hops into a sad-looking old panel van which bears the license plate, "LV1S L1VS". A hand-painted sign on the side of the van reads, "Wesley 'Elvis' Wringer- Tribute to Elvis: Bookings Available, 555-505-0099". EXT. STREET - NIGHT Wesley's panel van races past a steel building bearing the sign, "The Door Store and More, Equipment Rental Here". A bit further down the road, Wesley blows past an old Volkswagon. He doesn't notice.
    [Show full text]
  • Polish Journal for American Studies Yearbook of the Polish Association for American Studies and the Institute of English Studies, University of Warsaw
    Polish Journal for American Studies Yearbook of the Polish Association for American Studies and the Institute of English Studies, University of Warsaw Vol. 8 (2014) Julia Fiedorczuk Can Poetry Save the Earth? An Interview with Gary Snyder Zoe Detsi-Diamanti Sarah Pogson’s The Female Enthusiast and American Republican Virtue Tunde Adeleke The Political Pragmatism of Martin R. Delany Zbigniew Maszewski Homesickness for the Wild and Hemingway’s African Dressing Gown Alicja Piechucka Andy Warhol and the Dawn of Modern-Day Celebrity Culture TYTUŁ ARTYKUŁU 1 Polish Journal for American Studies Yearbook of the Polish Association for American Studies and the Institute of English Studies, University of Warsaw Vol. 8 (2014) Warsaw 2014 2 IMIĘ NAZWISKO MANAGING EDITOR Marek Paryż EDITORIAL BOARD Paulina Ambroży, Patrycja Antoszek, Zofia Kolbuszewska, Karolina Krasuska, Zuzanna Ładyga ADVISORY BOARD Andrzej Dakowski, Jerzy Durczak, Joanna Durczak, Andrew S. Gross, Andrea O’Reilly Herrera, Jerzy Kutnik, John R. Leo, Zbigniew Lewicki, Eliud Martínez, Elżbieta Oleksy, Agata Preis-Smith, Tadeusz Rachwał, Agnieszka Salska, Tadeusz Sławek, Marek Wilczyński REVIEWERS FOR VOL. 8 Tomasz Basiuk, Mirosława Buchholtz, Jerzy Durczak, Joanna Durczak, Dominika Ferens, Paweł Jędrzejko, Ewa Łuczak, Zbigniew Mazur, Tadeusz Pióro, Agata Preis-Smith, Justyna Wierzchowska, Beata Williamson, Justyna Włodarczyk ISSN 1733–9154 Copyright by the authors 2014 Polish Association for American Studies, Al. Niepodległości 22, 02–653 Warsaw www.paas.org.pl Publisher: Institute of English Studies, University of Warsaw ul. Nowy Świat 4, 00–497 Warsaw www. angli.uw.edu.pl Typesetting, cover design by Bartosz Mierzyński Cover Image: “Martin R. Delany,” National Portrait Gallery, Washington D.C.
    [Show full text]
  • Andy Warhol Art for Kids
    Biography: Andy Warhol Art for Kids http://www.ducksters.com/biography/artists/andy_warhol.php Search Search History Biography Geography Science Games Privacy Let your LUNGS Breath DEN - A City of Dreams with Warhol Get Banksy, Dont Panic - Tunney. Art History and Artists Andy Warhol Biography >> Art History Occupation: Artist, Painter, Sculptor Born: August 6, 1928 in Pittsburgh, Pennsylvania Died: February 22, 1987 in New York City, New York Famous works: Campbell's Soup Cans, Moonwalk, Marilyn Monroe, Che, Eight Elvises Style/Period: Pop Art, Modern Art Biography: Where did Andy Warhol grow up? Andy grew up in Pittsburgh, Pennsylvania the son of a construction worker. His birth name was Andrew Warhola. When he was 8 years old he caught a liver disease that caused his limbs to sometimes spasm uncontrollably. While recovering his mother, an embroiderer and artist, taught him to draw. He was a quiet and shy child, but loved drawing, photography, and movies. When Andy was fourteen, his father died from liver disease. His father considered Andy the brightest of his children and had saved money for Andy to go to college. When he graduated from high school, he went to Carnegie Mellon University to study art. New York City After graduating from college, Andy moved to New York in 1959 to make his name as an artist. Andy became a very successful commercial artist. On one of his first jobs his name in the credits was misspelled "Warhol" instead of "Warhola". Andy liked the name and decided to keep it. Over the next ten years Andy did quite well working as a commercial artist.
    [Show full text]
  • Working in the Belly of the Beast: the Productive Intellectual Labor of Us Prison Writers, 1929-2007
    WORKING IN THE BELLY OF THE BEAST: THE PRODUCTIVE INTELLECTUAL LABOR OF US PRISON WRITERS, 1929-2007 by Nathaniel Zachery Heggins Bryant BA, University of North Carolina at Greensboro, 2005 MA, University of Tennessee, 2008 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathaniel Zachery Heggins Bryant It was defended on May 19, 2014 and approved by Sabine von Dirke, Associate Professor, Department of German Nicholas Coles, Associate Professor, Department of English David Bartholomae, Professor, Department of English Dissertation Advisor: Philip Smith, Associate Professor, Department of English ii Copyright © by Nathaniel Zachery Heggins Bryant 2014 iii WORKING IN THE BELLY OF THE BEAST: THE PRODUCTIVE INTELLECTUAL LABOR OF US PRISON WRITERS, 1929-2007 Nathaniel Zachery Heggins Bryant, PhD University of Pittsburgh, 2014 This dissertation seeks to revise and expand notions of US prison writing beyond the normative categories of “literature” by examining the compositional and rhetorical efforts of US prison writers working from 1929 to 2007. I situate certain modes, discourses, and texts produced by prisoners—scientific research, jailhouse legal work, letter-writing, revolutionary polemic, and testimonial writing—within a larger rubric of what I call “productive intellectual labor.” The project draws on Marxist debates to define each part of that term and employs the work of Michel Foucault to contextualize prevailing historical notions regarding penal labor, the evolution of punishment, and discursive trends of those writing back to power.
    [Show full text]
  • L'elvis Presley Society Devient Gratuite!
    EP QUARTERLYS 93 Driemaandelijks / Trimestriel janvier - février - mars 2010 / Afgiftekantoor Antwerpen X - erk. nr.: 708328 L’Elvis Presley Society devient GRATUITE! Elvis Presley Society est reconnue par Elvis et EPE (Elvis presley Enterprises) depuis 1961. Elvis Presley Society Elvis Quarterly Section francophone: Publication trimestrielle Jean-Claude Piret - Colette Deboodt janvier - février - mars 2010 Léopold II Laan, 165/0401 Bureau de dépôt: Antwerpen X - 8/1143 8670 Oostduinkerke. Editeur responsable: Tél. : 058-51 01 79 Hubert Vindevogel e.mail: [email protected] Pijlstraat 15 2070 Zwijndrecht Tél/fax: 03 252 92 22 Numéros de compte: e-mail: [email protected] www.ueps.be UEPS 068-2040050-70 Président: France: IBAN BE60 068204005070 – BIC GKCCBEBB (Dexia) Hubert Vindevogel Secrétariat: Boutique: Martha Dubois 220-0981888-90 France: IBAN BE34 220098188890 - BIC GEBBEBB Collaborateurs: ou Tina Argyl France: 15092750150 (Crédit Agricole - Paris) Cecile Bauwens Leo Bruynseels Boutique: Daniel Berthet American Dream Colette Deboodt Dorp West 13 Pierre De Meuter 2070 Zwijndrecht Marc Duytschaever Tél: 03 252 90 89 (ouvert les jeudis, vendredis et samedis de 10 à 18H) Dominique Flandroit Chaque premier dimanche du mois, ouvert de 13 à 18 heures. Marie Ledieu Sonia Mertens Copyright: Ria Smets Aucun article ne peut être utilisé sans permission écrite de l’éditeur. Tommy Peeters Jean-Claude Piret Prix de ce trimestriëlle: 4,5€ Veerle Remysen Benny Scott Correspondants: Françoise Verheughe Stefaan Demarest Cécile Glomeau Ale Hartgers David Neale Layout / Imprimerie: Drukkerscollectief De Wrikker Patriottenstraat 29, 2600 Berchem www.dewrikker.be INTRO L' Elvis Presley Society devient GRATUITE ! Un pas énorme qui surprendra probablement tout le que via Internet sur notre website, mais en plus nous monde En effet, c’est une décision bien réfléchie et vous enverrons GRATUITEMENT et sur base régulière, d’avant-garde.
    [Show full text]
  • Otherwise Imagining Queer Feminist Art Histories
    rethinking art's histories Otherwise Imagining queer feminist art histories Edited by Amelia Jones and Erin Silver Improper objects: 4 performing queer/feminist art/history Tirza True Latimer Feminist scholars and queer scholars grapple with improper objects - histor­ ical subjects whose bodies, achievements, and/or bonds are not the stuff of official histories. This engagement with historical invisibility sometimes calls for the mobilization of techniques frowned on by 'proper historians; as Hayden White refers to those who seek to 'explain what happened in the past by providing a precise and accurate reconstruction of the events reported in the documents:' What if there are no documents, or the documentshave been expurgated, sealed, or destroyed? Contending with historical erasure places special demands on feminist and queer researchers. They must view gaps, absences, and apparitions as historically consequential. Although feminist studies and queer studies are not measurable by the same standards, and sometimes work at cross-purposes, they clearly grapple with many of the same problems. Both domains define themselves in critical relation to hegemonic formations and enable analysis of institutionalized power dynamics whose differentials include race, class, ethnicity, ability, sexuality, as well as gender. They share political commitments outside the academy. Yet during the 1990s, with the ascent of theories questioning the material bases of gender and sexuality, misunderstandings divided academic allegiances along feminist and queer lines. Elizabeth Weed, founding director of the Pembroke Center for Teaching and Research on Women at Brown University, edited a collection of essays and interviews airing these debates. In the introduction to Feminism Meets Queer Theory, Weed argues that 'the feminism against which queer theory defines itself, is a feminism reduced almostto caricature: a feminism tied to a concern forgender, bound to a regressive and monotonous binary opposition:2 Any such reduction of feminist critique calls for analysis, Weed rightly insists.
    [Show full text]