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(1 - 4 of 4)
- Title
- MY PEACE I GIVE UNTO YOU: CHRISTIANITY'S CRITIQUE OF ROMAN AND AMERICAN EXCEPTIONALISM.
- Creator
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Tindall, Ryan, Tindall, Ryan, University of Central Florida
- Abstract / Description
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Throughout the history of the United States, its inhabitants have looked upon their nation as a special place. In some cases, this has exceeded the natural and simple love of home and country and taken a more extreme form. Important to this bent is the tendency to see the nation, its beliefs, and its actions around the world as divinely sanctioned and inspired in some regard. This is a generally necessary component to the idea of American Exceptionalism, which views the United States as a...
Show moreThroughout the history of the United States, its inhabitants have looked upon their nation as a special place. In some cases, this has exceeded the natural and simple love of home and country and taken a more extreme form. Important to this bent is the tendency to see the nation, its beliefs, and its actions around the world as divinely sanctioned and inspired in some regard. This is a generally necessary component to the idea of American Exceptionalism, which views the United States as a nation with a divinely imposed mission to spread civilization, freedom, and democracy to the ends of the earth. In many ways, the Roman Empire shared these pretentions of being the bearers of civilization to the rest of the world and of being a divinely chosen nation with that vocation. Voices within Christianity, as it developed, provided a potent antithesis to this aspect of Roman imperial ideology, critiquing Roman ideas of their own exceptionalism. By comparing the ideological basis of Roman and American concepts of exceptionalism, this thesis will attempt to apply the critique made by people like Jesus, Paul and Augustine to the United States today.
Show less - Date Issued
- 2012
- Identifier
- CFH0004283, ucf:44894
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0004283
- Title
- SUBJECTS OF THE GAZE: RUBENS AND HIS FEMALE PORTRAITS.
- Creator
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van Ravenswaay, Gabrielle C, Mendoza, Ilenia Colon, University of Central Florida
- Abstract / Description
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My paper investigates Peter Paul Rubens' female portraits in terms of the male and female gaze, psychoanalytic analysis, and historical context. My research will support the idea that Rubens painted women in a sexualized manner based on what Foucault coins the male gaze.[1] The paintings evaluated in this project include portraits of Rubens' wives, Isabella Brandt and Helene Fourment, and portraits of wealthy patrons such as Marchesa Brigida Spinola Doria, Anne of Austria, and Marie de'...
Show moreMy paper investigates Peter Paul Rubens' female portraits in terms of the male and female gaze, psychoanalytic analysis, and historical context. My research will support the idea that Rubens painted women in a sexualized manner based on what Foucault coins the male gaze.[1] The paintings evaluated in this project include portraits of Rubens' wives, Isabella Brandt and Helene Fourment, and portraits of wealthy patrons such as Marchesa Brigida Spinola Doria, Anne of Austria, and Marie de' Medici. It is incorrect to view these paintings as pure, complete depictions of identity because women in this time were always defined and observed by men.[2]However by deconstructing the male gaze and also acknowledging the role of the active female gaze of the subjects of these works, a more complex construction of female identity is uncovered. Throughout history the feminine has been generalized to be passive and silent. My project aims to build on recent feminist scholarship that works to uncover more responsible and representative descriptions of the images of women in history. [1]Michel Foucault, "Discipline and Punish" from Literary Theory: An Anthology, ed. by Julie Rivkin and Michael Ryan, (Malden: Blackwell Publishing Ltd., 2004), 549-565. [2]Patricia Simons, "Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture," edited by Norma Broude and Mary Garrard, The Expanding Discourse: Feminism and Art History (New York: Harper Collins, 1992): 44.
Show less - Date Issued
- 2017
- Identifier
- CFH2000209, ucf:46053
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH2000209
- Title
- AFRICAN-AMERICAN MEN AND A JOURNEY THROUGH MUSICAL THEATRE AND OPERA.
- Creator
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McCloud, Shonn, Weaver, Earl, University of Central Florida
- Abstract / Description
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The purpose of this study is to outline the origins of African-American men in musical theatre, uncover their contributions to the art form, and explore how their legacy is continued today. I was inspired to do this research because through my undergraduate curriculum I have only narrowly studied African-American men in musical theatre and opera history. Upon realizing the lack of attention to this subject matter, not only in my curriculum but in historical resources, I was inspired to...
Show moreThe purpose of this study is to outline the origins of African-American men in musical theatre, uncover their contributions to the art form, and explore how their legacy is continued today. I was inspired to do this research because through my undergraduate curriculum I have only narrowly studied African-American men in musical theatre and opera history. Upon realizing the lack of attention to this subject matter, not only in my curriculum but in historical resources, I was inspired to address the need for this research. The courses I have taken included Theatre History 1 and 2 and Musical Theatre History 1 and 2; recognition of African-Americans in the theatrical arts has been discussed at a minimal level. The majority of African-American studies in these classes focus on minstrelsy and its contribution to American musical theatre. Minstrelsy was an American form of entertainment consisting of variety acts, dancing, and music during the early 1900s. The shows were a mockery of African-Americans with white (Sometimes Black) men dressing themselves in clown-like costumes and black face paint to depict a caricature of blacks. Throughout my coursework I have found there is still a presence of Minstrelsy in the framework of American musical theatre today. Understanding how minstrelsy influenced musical theatre led me to research Bert Williams, a pioneer African-American performer both in minstrelsy and American theatre. Bert Williams broke racial barriers, allowing African-Americans to perform alongside whites and gain proper show billing. This not only influenced theatre, but the social temperature of the time as well, as the stereotype of African-Americans in society slowly began to be broken down, and whites having the opportunity to see African-Americans as normal people aided in the seeding and progression of the civil rights movement. To further study the works and life of Bert Williams, I learned and performed his iconic song, "Nobody." The song is a commentary of how Williams is overlooked because he is an African-American man. It talks about how he is expected to be funny and make a mockery of himself at the expense of himself. In researching the historical context and gaining an understanding of the content within the song, I was able to better understand other roles I have played in various musicals. This gave me a different perspective to the subject matter of racism within a show. Furthermore, it allowed me to view the evolution of African-American roles in musical theatre, and how they originated in vaudevillian shows. A subject of which I had never explored within my classes. Williams had a very successful and influential career and became the basis for my research. However, as I began my exploration, I realized there were a vast variety of men of color who either contributed as much, if not more, to the progression of African-American men in musical theatre and opera. Bert Williams, Todd Duncan, and Paul Robeson all forged careers in musical theatre and/or opera. These men aided in presenting African-American men in realistic settings and not as stereotyped caricatures. African-American men in musical theatre and opera are typically overlooked for their contribution to the art forms. However, Bert Williams, Todd Duncan, and Paul Robeson were trailblazers for African-American men in musical theatre and opera; utilizing their status and fame to make political change and fight for equal rights, both on and off stage. Their legacy is seen in the art form through the structure of musical theatre, the content of the musical comedy that led to the musical drama, and through the integration of the African-American performer in both musical theatre and opera. In continuation of their legacy, we see more roles in shows for African-American men and a growing interest in shows with African-Americans. The recent opening and revivals of shows like Porgy and Bess, Motown: The Musical, and Kinky Boots all feature leading African-American men on stage. My duty as a young African-American practitioner of both musical theatre and opera is to continue their legacy through both my studies and performance. I am honored to be a part of their legacy, furthering their contributions, and bringing light to their stories through my research and analysis.
Show less - Date Issued
- 2014
- Identifier
- CFH0004588, ucf:45193
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0004588
- Title
- PAUL VERHOEVEN, MEDIA MANIPULATION, AND HYPER-REALITY.
- Creator
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Malchiodi, Emmanuel, Janz, Bruce, University of Central Florida
- Abstract / Description
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Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism - 1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the...
Show moreDutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism - 1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the conventions of the big blockbuster science fiction films of the 1980s (E.T. and the Star Wars trilogy are prime examples), revealing a deeper exploration of both sociopolitical issues and the human condition. Much like the novels of Philip K. Dick (and Verhoeven's 1990 film Total Recall - an adaptation of a Dick short story), Verhoeven's science fiction work explores worlds where paranoia is a constant and determining whether an individual maintains any liberty is regularly questionable. In this thesis I am basically exploring issues regarding power. Although I barely bring up the term power in it, I feel it is central. Power is an ambiguous term; are we discussing physical power, state power, objective power, subjective power, or any of the other possible manifestations of the word? The original Anglo-French version of power means to be able,asking whether it is possible for one to do something. In relation to Verhoeven's science fiction work each demonstrates the limitations placed upon an individual's autonomy, asking are the protagonists capable of independent agency or rather just environmental constructs reflecting the myriad influences surrounding them. Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.
Show less - Date Issued
- 2011
- Identifier
- CFH0003844, ucf:44697
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFH0003844
