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Includes bibliographical references (pages 45-47).
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Bibliography: pages 52-53
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Bibliography: pages 53-55
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Includes bibliographical references (page 102).
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Includes bibliographical references (pages 95-102).
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Includes bibliographical references (p.31-32).
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Includes bibliographical references (pages 64-65)
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Includes bibliographical references (pages 65-67)
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Works cited: pages 35-36.
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"This thesis is an excerpt from a novel. It's about a young man named Auden Bryce returning to his home in a small Georgia town after being gone for five years. Upon returning, he's faced with the memories and relationships he left behind, as well as the pent-up grief over his mother's death which sparked his moving in the first place. As he explores his home and navigates these relationships as an adult, he hopes to reconnect and gain closure for the life-and love-he left behind." --Abstract
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Includes bibliographical references (pages 40-41).
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Includes bibliographical references (p.76-79).
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Includes bibliographical references (p.23-24).
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Works cited: pages 86-88
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Includes bibliographical references (pages 57-58)
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Works cited: pages 50-51
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Includes bibliographical references (p.35-36).
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Includes bibliographical references (page 24).
Thesis includes images from author's thesis exhibition held in February 2021 at The Chapel in Savannah, Georgia.
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This thesis focuses on my life in the South. It discusses historical issues in the South such as racism and gender issues as relevant to my life and incidents of prejudice both caused and experienced by me. It also explores areas of pride in Southern culture such as the bluegrass music, moonshine and furniture.
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"Scholars typically examine America’s cinematic response to the Vietnam War in regards to the portrayal of masculinity. While I do not want to ignore the questions of masculinity inherent in a Vietnam era study, I instead shift my focus onto an overlooked aspect of Vietnam films: the female characters. I argue that 'In Country' (1989) transcends Susan Jeffords’s idea of 'feminine exclusion' and the patriarchal values of typical Vietnam homefront melodramas such as Born on the 'Fourth of July' (1989) and 'Jacknife' (1989) due to its female character who dictates the narrative, refuses to be confined to an exclusionary role and questions how society views Vietnam veterans. The narratives of the other films work to restore the conservative ideals of pre-Vietnam America, returning to the nuclear family and home as Linda Williams’s 'space of innocence.' The female characters become 'ideological victims' when they are subsumed back within a household role and become dependent on a man in order to regain the veteran’s lost masculinity. This thesis applies genre and feminist theoretical frameworks to examine the images of women found within Vietnam melodramas and their role in reshaping the post-Vietnam vision of America after second-wave feminism and the rise of 1980s conservative politics."
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Includes bibliographical references (p.33-34).
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Bibliography: pages 111-115
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Includes bibliographical references (pages 89-91)
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Includes bibliographical references (pages 83-85).
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