Browsing by Author "Sheeler, Kristina Horn, 1965-"
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Item Arab hip-hop and politics of identity : intellectuals, identity and inquilab(2014) D'Souza, Ryan Arron; Rossing, Jonathan P.; Dobris, Catherine A.; Sheeler, Kristina Horn, 1965-Opposing the culture of différance created through American cultural media, this thesis argues, Arab hip-hop artists revive the politically conscious sub-genre of hip-hop with the purpose of normalising their Arab existence. Appropriating hip-hop for a cultural protest, Arab artists create for themselves a sub-genre of conscious hip-hop – Arab-conscious hip-hop and function as Gramsci’s organic intellectuals, involved in better representation of Arabs in the mainstream. Critiquing power dynamics, Arab hip-hop artists are counter-hegemonic in challenging popular identity constructions of Arabs and revealing to audiences biases in media production and opportunities for progress towards social justice. Their identity (re)constructions maintain difference while avoiding Otherness. The intersection of Arab-consciousness through hip-hop and politics of identity necessitates a needed cultural protest, which in the case of Arabs has been severely limited. This thesis progresses by reviewing literature on politics of identity, Arabs in American cultural media, Gramsci’s organic intellectuals and conscious hip-hop. Employing criticism, this thesis presents an argument for Arab hip-hop group, The Arab Summit, as organic intellectuals involved in mainstream representation of the Arab community.Item Conceptualizing Boko Haram : victimage ritual and the construction of Islamic fundamentalism(2014-03-12) Ori, Konye Obaji; Sheeler, Kristina Horn, 1965-; Dobris, Catherine A.; Rossing, Jonathan P.In this study, rhetorical analysis through the framework of victimage ritual is employed to analyze four Boko Haram messages on You Tube, five e-mail messages sent to journalists from leaders of Boko Haram, and a BlogSpot web page devoted to Boko Haram. The aim of this analysis is to understand the persuasive devices by which Boko Haram leaders create, express, and sustain their jurisprudence on acts of violence. The goal of this study is to understand how leaders of Boko Haram construct and express the group’s values, sway belief, and justify violence. The findings show that Boko Haram desire to redeem non-Muslims from perdition, liberate Muslims from persecution, protect Islam from criticism, and revenge perceived acts of injustices against Muslims. The group has embarked on this aim by allotting blame, vilifying the enemy-Other, pressing for a holy war, encouraging martyrdom, and alluding to an apocalypse. Boko Haram’s audience is made to believe that Allah has assigned Boko Haram the task to liberate and restore an Islamic haven in Nigeria. Therefore, opposition from the Nigerian government or Western forces is constructed as actions of evil, thus killing members of the opposition becomes a celestial and noble cause. This juxtaposition serves to encourage the violent Jihad which leaders of Boko Haram claims Allah assigned them to lead in the first place. As a result of this cyclical communication, media houses, along the Nigerian government, Christians and Western ideals become the symbolic evil, against which Muslims, sympathizers and would-be-recruits must unite. By locking Islam against the Nigerian government, Western ideals and Christianity in a characteristically hostile manner, Boko Haram precludes any real solution other than an orchestrated Jihad-crusade-or-cleanse model in which a possible coexistence of Muslims and the enemy-Other are denied, and the threat posed by the enemy-Other is eliminated through conversion or destruction. As a result, this study proposes that Boko Haram Internet messages Boko Haram’s mission reveals a movement of separatism, conservatism, and fascism. A movement based on the claim that its activism will establish a state in accordance with the dictates of Allah.Item Framing the presidency : presidential depictions on Fox's fictional drama 24(2014) Oliveira Campoy, Juliana de; Sheeler, Kristina Horn, 1965-; Dobris, Catherine A.; Rossing, Jonathan P.Framing theory is one of the most used theories in the discussion of media effects on how people make sense of issues, especially in the political environment. Although it is majorly used for the discussion of news media, framing theory can also be applied in other areas surrounding media production. This thesis uses this theory to discuss how presidents are framed in fiction and implications of race and gender in the assessment of presidential characters by analyzing Fox’s fictional drama 24. Although at first the show seems to bring new options for the presidency, the analysis points Presidents Palmer and Taylor as unfit for office and President Logan as unethical and power-hungry. Following Entman’s (1993) process for analyzing frames in media, embedded white male hegemony was identified in the show. As the show presented a postfeminist and postracial world, it continued to frame femininity and blackness as the opposite to effective executive leadership. Further, white masculinity was associated with power, ambition and ultimately corruption. As other races and gender were pointed as unfit, the status quo was questioned as being corrupt. The show both increases the cynicism that people may develop against politics and damages a more proper consideration of women and people of color to be elected president.Item How students display dialogue, deliberation and civic-mindedness(2014-04-02) Weiss, H. Anne; Sheeler, Kristina Horn, 1965-; Goering, Elizabeth M.; Rossing, Jonathan P.Item Representative form and the visual ideograph : the Obama "Hope" poster(2014-01-29) Terrell-Curtis, Kara Beth; Sheeler, Kristina Horn, 1965-; Karnick, Kristine Brunovska, 1958-; Dobris, Catherine A.In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.