Master of Arts, The Ohio State University, 2008, Music

In the face of increasing consolidation of the radio market, a more conservative political climate, and growing sensitivity to public dissent in the wake of the Patriot Act, there has been a dearth of anti-war music in the mass music market since 2001. While country radio has provided a platform for the musical articulation of pro-war positions, YouTube, a video-sharing website, has become a place where the increasingly individual experience of listening to anti-war music can be supplemented with more communal listening. On YouTube, users on both sides of the war debate can create their own political mashups, a medium comprised of mixed audio samples and/or mixed video samples preserved for public consumption. Observing the behavior as a silent participant on the message boards corresponding to mashups of Toby Keith's "Courtesy of the Red, White, and Blue (The Angry American)" and John Lennon's "Imagine," I demonstrate that political communities with specific communication and aesthetic values are being formed around these multimedia signs. Online communities offer a somewhat more democratic alternative for public articulation of political positions; however, the rhetoric of the online communities and of the larger musical-political climate post-9/11 is considerably parallel. Examining mashups from an aesthetic perspective reveals postmodern principles at work on multiple levels. The lines that once separated creators, producers, and consumers are blurred as editing software becomes available to more people, and as the flow of information increases. Producers and consumers no longer negotiate the meanings of particular signifiers within the confines of hierarchical corporate structures: these signifiers are now easily resignified, and reappropriated to make new meanings in different contexts. The increasing flow of information and postmodern principles of fragmentation and multiplicity that characterize mashups position users differently than more coherent, narrativ (open full item for complete abstract)

Committee: Danielle Fosler-Lussier PhD (Advisor); Daniel Avorgbedor PhD (Committee Member); David Staley PhD (Committee Member) Subjects: American Studies; Mass Media; Music

Doctor of Philosophy, The Ohio State University, 2013, Spanish and Portuguese

Gay Chicano authors have been criticized for not forming the same type of strong literary identity and community as their Chicana feminist counterparts, a counterpublic that has given voice not only to themselves as authors, but also to countless readers who see themselves reflected in their texts. One of the strengths of the Chicana feminist movement is that they have not only produced their own works, but have made sense of them as well, creating a female-to-female tradition that was previously lacking. Instead of merely reiterating that gay Chicano authors have not formed this community and common identity, this dissertation instead turns the conversation toward the reader. Specifically, I move from how authors make sense of their texts and form community, to how readers may make sense of texts, and finally, to how readers form community. I limit this conversation to three authors in particular—Alex Espinoza, Rigoberto Gonzalez, and Manuel Munoz—whom I label the second generation of gay Chicano writers. In Gonzalez, I combine the cognitive study of empathy and sympathy to examine how he constructs affective planes that pull the reader into feeling for and with the characters that he draws. I also further elaborate on what the real world consequences of this affective union—existing between character and audience—may be. In Munoz, I consider how, through the destabilization of the narrator position, the author constructs storyworlds that first pull the reader in, and then push them out of the narrative in a search for closure. Here, I theorize that he forces the reader to mind read his narrators in order to discern their true intentions. In Espinoza, I explore the typification of Latino/a literature in the marketplace and how it has become tied to magical realism. Here, I posit that Espinoza has created a magic realized novel, one that presents itself as something magical realist, but systemically discredits the notion of magic throughout the work. I use co (open full item for complete abstract)

Committee: Ignacio Corona (Advisor); Frederick Aldama (Committee Member); Fernando Unzueta (Committee Member) Subjects: American Literature; Glbt Studies; Hispanic American Studies; Literature; Rhetoric; Web Studies