Browsing Hood College by Type "Capstone"
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ItemA BENEVOLENT SPIRIT TOWARD EVERY FELLOW CREATURE: CHARITY IN THE LATER NOVELS OF JANE AUSTEN(2016-05) Jones, Diane; Hood College Arts and HumanitiesThis capstone paper explores the virtue of charity in Jane Austen's final three novels: Persuasion, Emma, and Mansfield Park. Charity is a major theme in Austen's later works, in the letters and prayers that she wrote, and in the books of the Bible that would have been familiar to her. My project takes a fresh look at the moral and religious culture in which Austen wrote. Jane Austen was a clergyman's daughter and grew up in a society that had a Christian/Bible based understanding. I argue that some of Austen's subtleties of plot and characterization can be lost on readers who aren't familiar with the mores of Regency England. In addition to closely reading the novels themselves, I focus attention on Austen's letters and prayers, as well as three passages from the Bible that correspond to themes in the novels: Colossians in Persuasion, the Epistle of James in Emma, and 1 Corinthians 13 in Mansfield Park. I conclude by addressing the rarely looked at prayers of Jane Austen, which is like glimpsing her heart and soul and finding charity as a theme there as well. ItemAUTOETHNOGRAPHY IN SHERMAN ALEXIE'S TEN LITTLE INDIANS AND LESLIE MARMON SILKO'S CEREMONY(2014-01) Brumbaugh, Christine; Hood College Arts and Humanities; HumanitiesAutoethnography in Sherman Alexie's Ten Little Indians and Leslie Marmon Silko's Ceremony" looks at how those Native American authors use autoethnography and subversive mimicry in those works. The authors use these methods to include a Native American voice in the literary canon. ItemCASPAR DAVID FRIEDRICH'S DEVELOPMENT THROUGH GERMAN ROMANTICISM(2014-05) Daly, Brandi; Hood College Arts and Humanities; HumanitiesCaspar David Friedrich was an important painter during the nineteenth century in Germany. He is classified as a German Romantic. The literary Romantics received his paintings enthusiastically, because they believed he visualized their concepts. Th.is Capstone examines German Romanticism, Friedrich, and Dresden Germany. An explanation of German Romanticism and how it developed is conducted in the first chapter. Friedrich's life, training, and artwork are surveyed .in the second chapter to explain how he was drawn to Romanticism. The third chapter inspects his influences in Dresden Germany, which was a Romantic center for landscape artists, writers and philosophers. These main points are discussed in order for the reader to comprehend how Friedrich developed his sublime and picturesque style. ItemClaude Cahun and Cindy Sherman: Unmasking the Masquerade (?)(2014-09) Coelho, Elena; Hood College Arts and Humanities; Humanities ItemCONSTRUCTION OF IDENTITY AND LEGITIMACY IN EARLY SASANIAN IRAN: HISTORICAL, RELIGIOUS, AND LEGENDARY CONTEXTS AND MOTIVATIONS FOR STATECRAFT IN THE FIRST CENTURY OF THE DYNASTY(2017-12) Gradoni, Mark Kenneth; Hood College Arts and Humanities; HumanitiesThe shahs of the early Sasanian dynasty faced the challenge of establishing their legitimacy as the rulers of an imperial polity after rising to power through military insurrection. The early shahs of the dynasty sought to locate themselves within the religious, mythic, and historical context to link themselves to the glorious rulers and dynasties of Iranian myth and history, while simultaneously espousing Mazdean virtue. Through the concepts of Eransahr and Farr, the notion of the territorial unity of the Mazda-worshiping peoples prescribed in the Avesta and the divinely-bestowed glory of rulers, respectively, the motivations that underlaid Sasanian statecraft during the first four generations of the dynasty are contextualized. The idea of Eransahr as a sacrosanct territorial delimitation of the homelands of the Mazdean peoples was first employed to validate and legitimize the rebellion of the Sasanians against the Parthian Askanian dynasty. After the civil war that established Ardasir I as Sahansah, the defense of Eransahr as both a tangible expanse of territory and a religious concept was used to justify punitive and retaliatory military action in the west against the Roman Empire, as well as to acquire the Central Asian holdings of the Kushan Empire. The claim to the sole possession of Farr was similarly employed to justify first rebellion, and then conflicts with the Kushan Empire, whose own rulers claimed Farr from Mazdean divinities. Establishing the religious, mythic, and historical contexts to which the early Sasanian dynasts were subject illuminates the motivations for imperial policy and allows the scrutiny of those policies and actions to transcend the biases inherent in non-Iranian sources for the period. Furthermore, privileging autochthonous sculptural, epigraphic, and numismatic productions produces an innovative analysis of early Sasanian statecraft cognizant of, and rooted within, Iranian cultural paradigms. ItemDAMIEN HIRST AND THE WESTERN CHRISTIAN TRADITION OF DEATH(2014-09) Dimiceli, Sarah; Hood College Arts and Humanities; HumanitiesDamien Hirst is a contemporary artist often criticized for both the shocking nature of his work, as well as his hands-off approach. He seeks to engage his viewers in a conversation about death; however, because his methods of doing so look very modern, it can be difficult sometimes for his contemporaries to see the message or value in them. Though both critics as well as Hirst himself are often reluctant to admit it, his work is actually rooted in and shaped by traditional western imagery when it comes to death. Within Hirst's work one can find traditional western symbols of death, including Memento mori, the human skull, decay, and the grotesque spectacle. These instantly recognizable symbols, inherited from a long Western tradition of contemplating death, make his art highly accessible to the public and serve to engage and provoke viewers. They are effective because they are a part of the context through which we view our culture and through which our culture views death. The signs and symbols Hirst uses exist within three categories: Spectacle, Natural History Museums, and Christian Symbolism. This Capstone will examine examples of the use of traditional western Christian imagery in historical contexts and Hirst's work in order to draw parallels between the two. In addition, it is equally important to show how Hirst changes and updates these traditional approaches, and how his work not only adheres to, but also differs from works of the past. Hirst has modernized these symbols in order to connect with and comment on the society in which he operates, and his updates can show how our perception of death has changed as time has gone by. Doing so contributes not only to Hirst scholarship, but to a larger, ongoing discussion about death. ItemDECENTERING THE FEMALE STEREOTYPE CINDY SHERMAN: UNTITLED FILM STILLS SERIES 1.978 — 1980 LAURIE SIMMONS: PHOTOGRAPHS 1978 - 1.979Balukoff, Constance; Hood College Arts and Humanities; HumanitiesThis paper delves into the work from the late 1970s to early 1980s of the American photographers Cindy Sherman and Laurie Simmons who break down or decenter feminine stereotypes that were based on the conditioning of the mass media. Sherman and Simmons both look to the 1940s, 50s, and 60s popular culture and set female roles of those times as inspiration for their artwork. Discussed in this paper is Sherman's Untitled Film Still series from 1978 -1980 where she transforms herself into many female types based on film heroines. Each of these photos is a simulacrum, which strips away any true reference to an actual film. Simmons' collection of 1950s objects from her past inspire her to create photographic images portraying the expected norms of this time period which resonate on a deep psychological level. Simmons' scenarios of dolls in a dollhouse setting, acting out female roles in a constructed environ.ment, offer the audience a disquieting look into the established gender roles of our society. ItemHOPE ON THIS SIDE OF THE GRAVE: IRISH WOMEN EMIGRANTS IN AMERICA 1880-1910(2013) Kalinowski, Janet; Hood College Arts and Humanities; HumanitiesThe Great Famine which occurred in Ireland in the 1840s profoundly changed the lives of Irish women. Many found themselves single, without the hope of marrying or finding gainful employment. Thousands of them chose to emigrate, coming to the newlyemerging cities of America and working as domestics; so many that the popular nickname for a female servant was "Biddy." But they brought with them the memories and experiences of hunger and Famine and it profoundly influenced their behavior in the New World. Famine shaped their priorities and their determination to leave it behind can be seen in the notably successful rise to the American middle-class of the Irish in America in the early twentieth century. But women have often been left out of the story; they get little credit for their contribution and I hope that this paper will in some way redress the balance. ItemLAUGHING AT MADNESS: BRINGING MALVOLIO FROM THE PAGE TO STAGE(2014-04) Jones, Suzanne; Hood College Arts and Humanities; HumanitiesThe following investigates how scholarly research and dramatic interpretations influence directorial decisions concerning Malvolio and how depicting the steward as an unsympathetic character dramatically influences the tonality of Shakespeare's comedy. This paper discusses a range of literary and performance possibilities for Malvolio based on textual references and how those choices influenced my directorial vision of Malvolio in Shepherd University's Rude Mechanicals' November 2013 production of Twelfth Night. ItemTRAUMATIZED TRICKSTERS: HEALING HISTORICAL TRAUMA IN SHERMAN ALEXIE'S FLIGHT AND TONI MORRISON'S BELOVED(2013-01) Brady, Jason; Hood College Arts and Humanities; HumanitiesThis paper explores the use of the trickster archetype by contemporary American authors Sherman Alexie and Toni Morrison in the novels Flight and Beloved, respectively. In addition to their employment of the trickster figure, both authors share a concern over historical trauma: for Alexie, this -trauma is associated with the Native American diaspora, for Morrison, this trauma stems from the American institution of slavery. In these pages, I will explore the nature of these authors' tricksters and develop a possible rationale for each author's use of the trickster figure as an attempt to process the largely unacknowledged historical trauma of two contemporary American minority groups: Native Americans and African Americans. ItemUNBRIDLING THE TIGER: THE EARLY TEXAS HISTORIANS AND THEIR "SILENCE" ON SLAVERY(2016-12) Compton, Diana; Hood College Arts and Humanities; HumanitiesA course in historical research concentrating on family/local history reconnected me with Texas family roots that dated from the 1830s. 1 was researching an ancestor with a scandalous background and did not approach this investigation with idealized notions. Even so, it was striking to read the historians of the era and to note how they treated slavery. I could not reconcile the pervasive presence of slave culture in Texas as found in primary sources such as diaries, letters, and newspapers, compared with the idealized and mythologized history of Texas presented by these early historians. The sanitized perception of Texas history from 1829-1865 still influences our modern understanding of the Lone Star State. My main research questions for this capstone, therefore, were to investigate how some of the early historians of Texas wrote about slavery, or not, and to address some of the influences these early historians may have had on modern Texas historiography. Among the challenges faced in this project was the fact that documentary evidence relating to slavery in Texas is scattered, limited, and often mediated. Contemporary historians were not as helpful as expected. Even so, this survey uncovered new information about slavery and Texas history, as well as topics deserving of further investigation.