Dissertation Proposal Presentations Text

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This issue should be reported to the sourceforge.net hosted project not to sourceforge.net. if this is a severe or recurring/persistent problem, please do one of the following, and provide the error text numbered 1 through 7, above:

    contact the project via their designated support resources. Contact the project administrators of this project via email see the upper right hand corner of the project summary page for their usernames at user name @users.sourceforge.net
if you are a maintainer of this web content, please refer to the site documentation regarding web services for further assistance. This option may be re enabled by the project by placing a file with the name .htaccess with this line: a big congratulations goes out to the program rsquo s four people who presented their dissertation proposals at the end of the spring 2015 semester: savannah fetterolf, lewis levenberg, sara marie massee, and mika rsquo il petin.

Enjoy staying up to date on these exciting projects by reading their abstracts below. savannah fetterolf is working with alison landsberg, michele greet, jp singh to complete her dissertation. 2011, google launched another such product the art project, an online search platform managed by the google cultural institute, the branch of google dedicated to ldquo building tools to preserve and promote culture online rdquo with content sourced from over 150 partner museums located in 40 countries.

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Through the art project and the formation of partnerships with museums worldwide, google has now expanded its services in a way that alters not only the circulation of art images, but also the way that art is viewed. Although museums have been digitizing collections since the 1990s, none of these projects are as comprehensive as the ldquo metamegacollection rdquo of art amassed by google. Though it appears that access to art is mediated only by the internet and the computer screen, the google art project carefully manages the experience through the systematic organization of the collection, which ultimately provides a standardized viewing experience. This is a process of decontextualization which serves as an equalizing force, negating curatorial control and allowing the art to stand on its own within the confines of the art project website.

Ultimately, this dissertation seeks to explore the impact of the art project on the circulation and consumption of fine art i.e. lewis levenberg is working with jp singh, denise albanese, and sharon leon to complete his dissertation. His working title is ldquo banality and bandwidth: west african nations' interventions in regional internet architecture rdquo .

Described in his abstract below: this project asks why nation states would act to influence international network architecture. It seeks to better understand how socio cultural factors affect technological development. In this region, internet building appears concentrated primarily on large scale backbone networks rather than on proliferation of local computing and networking resources this is an historically unusual pattern. Additionally, nation states in the region appear to pursue unexpectedly active roles in the processes of policy making, international negotiation, and internal governing, confounding their characterizations as weak states. The study combines analyses of regional network data, legal and political archives, and multimedia records to determine how nation states behave in this context it is likely to adopt a structural critique to explain why this may be the case. By adding cultural, historical, and geopolitical context to questions of technical detail, this study may provide counter intuitive insight into the abilities of nation states to impact an infrastructure that is so often conceived of as global. Solving this puzzle would also allow us to more accurately and holistically understand whose interests are served by current patterns of network development, and whose are sacrificed.

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mika rsquo il abdullah petin is working with jessica scarlata, amal amireh, tim gibson, and mark hopson to complete his dissertation. His working title is ldquo lsquo i rsquo m not an american: sovereign masculinity and images of black muslim men during the war on terror, rdquo described in his abstract below: for most of the country rsquo s history, the presence of islam in the united states has implied ambivalence towards democracy in the cultural mainstream. Most popular characterizations of muslims ndash ndash which black men in particular have been representative of from the early 1960s until the late 1990s ndash ndash signified cultural and political dissonance from the margins of u.s.

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However, it seems that the contentious relationship between the state and the combination of blackness and muslimness has changed in the visual culture after september 11th, 2001. The goal is to learn whether or not these latest representations are discursive instruments of war in popular television and film. This proposed research will draw on a range of related though disparate concepts from visual culture, critical race theory, and feminist theory. With the support of ideas by stuart hall, simone de beauvoir, michel foucault, judith butler, bonnie mann and others, i will argue that a renewed interest in the nation rsquo s domestic and global policies exists in part because of sovereign masculinity. Additionally, making some sense of the relationship between war and the situation of producing/reproducing masculinities that black muslim manhood has somehow become noticeably involved in will answer what is being asked from us through such imaging. sara marie massee is working with denise albanese, dina copelman, and amelia rutledge to complete her dissertation.

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Her working title is ldquo lsquo the american historical imaginary: discourses of authenticity and memory in mass culture, rdquo described in her abstract below: according to fredric jameson, late capitalist america is a land without history, one where meaningless citation of older styles ldquo pastiche rdquo has replaced our ability to think about the bearing of the past on the present 1991. Thelen have claimed that far from disappearing, history is thriving in america ndash if we define history to mean engagement with the past through daily practices, such as watching movies with historical settings, conducting genealogical research, or taking photos to preserve memories 1998. American consumption of media set in the past is certainly increasing, as exemplified by the unprecedented viewership achieved by television shows like the tudors 2007 2010 and downton abbey 2010 present. Still, the disparity between jameson rsquo s and rosenzweig and thelen rsquo s conclusions raises questions about what the rising popular interest in historicism means ndash culturally, socially, politically, and economically. At the crux of the conflict between jameson and rosenzweig and thelen is a disagreement about what counts as ldquo real rdquo history and whether popular culture is a valid vehicle for it. Indeed, uncertainty about this issue haunts many of the very texts in question, as they negotiate between multiple, often conflicting notions of authenticity.

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