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Spotted Tail: Warrior and Statesman
Full text linkReview of: Spotted Tail: Warrior and Statesman, by Richmond L. Clow
The Interior Borderlands: Regional Identity in the Midwest and Great Plains
No full textReview of: The Interior Borderlands: Regional Identity in the Midwest and Great Plains, edited by Jon K. Lauck
The Frontier Army: Episodes from Dakota and The West
No full textReview of: The Frontier Army: Episodes from Dakota and The West, edited by R. Eli Paul
Saving Rawlsian Selfhood
Full text linkOften lauded as one of the most rigorous contributions to American political philosophy during the post-war period, John Rawls\u27 Theory of Justice is a natural starting point for those interested in liberalism. In light of commitments made by Rawls to a Kantian ideal of individualism; however, especially for those concerned with selfhood, at times Theory also proves to be an obstacle to overcome. Communitarians, critical race theorists, and liberals alike have viewed Rawls\u27 conception of selfhood from his early work as a holdover from a bygone Enlightenment era to be abandoned at all costs. That response, however, is premature as Rawls\u27 Theory nevertheless possesses a stronger justification for its conception of selfhood than the politically free-standing model adopted by the later Rawls. This thesis re-imagines that longstanding, often tacitly assumed, vision of self-hood which is at the core of many forms of liberalism by finding a workable account of selfhood that is compatible with the overall project of Rawlsian liberalism presented in Theory, yet remains sensitive to its critics; a project which proves essential for reconstructions of liberalism or any Rawlsian derivative thereof
One Day There Will Be No Such Thing as Religious Intolerance : Anti-Catholicism During the Election of 1960
Full text linkThe Anti-Catholicism sentiment during the mid-1900’s influenced many aspects of United States’ history. The campaign and election of the first Catholic President, John F. Kennedy is one example.
This essay examines anti-Catholic sentiment and its impact on the campaign and the election of John F. Kennedy. Catholics have held a tenuous relationship with Protestants, as seen in the anti-Catholic sentiment during the Irish immigration of the nineteenth century of the growth of nativist organizations, who brought the sentiment to the public. During the campaigns of Kennedy and Richard Nixon leading up to the 1960 presidential election, anti-Catholic groups voiced their anxiety over the issues of the separation of Church and State, including the influence of the Vatican in US domestic affairs and the funding of parochial schools. Many journalists fueled the paranoia through strengthening the legitimacy of anti-Catholic claims of future religious policies that could be implemented if Kennedy was elected. Such public discussion of anti-Catholic groups led to the re-emergence of old fears amongst the Protestant population and forced Kennedy’s campaign to address them, such as Kennedy’s loyalty to the public office rather than faith. Kennedy’s arguments countering the “Catholic Question” truly influenced his victory in the 1960’s election
Hit the Wall
No full textAs the cast prepares themselves for a night out, individual characters address the audience. They offer a window into their motivations for going to the Stonewall Inn. As each one speaks, a pool of light illuminates them.https://ir.uiowa.edu/lighting_design/1170/thumbnail.jp
Hit the Wall
No full textHit the Wall was a part of the 2019/2020 Mainstage Season. Written by Ike Holter the play dives into the widely unknown and unrecognized history of the New York 1969 Stonewall Inn riots. Exploring LGBTQ+ history and the injustices that led to Pride month and Pride parades, Hit the Wall aims to tell a fictionalized retelling of what happened on June 27,1969 at the Stonewall Inn.
The costume design of this production focuses on the ability for clothing to act as a mask that allows us to hide and reveal the parts of ourselves that we choose for the world to see. This was an important aspect of the design because in 1969 it was illegal for a woman to dress like a man and vice versa; being openly queer or gay would lead to arrest and more often than not brutal physical and emotional abuse. To emphasis the serious consequences one would face for being themselves, I had to create two costumes for each character; daywear looks that would be socially acceptable in 1969, nightwear that would be worn in a gay club and allowed them to more freely express themselves. For many characters the daywear costumes were more modesty despite the intense summer heat, and often in a muted color palate. These costumes also lacked in patterns and sheen to reflect how characters were masking their sexuality as well as to avoid unnecessary attention.
This was all juxtaposed by the costumes seen at the Stonewall Inn at night. This bar was considered a safe space, allowed people to be themselves. Here the costumes were saturated with bold and bright colors, loud patterns, sequins, and sparkling accessories. The nightwear had to have a dramatic difference from the daywear so when the police violently raided the bar the unjust treatment of the characters could be felt across the audience.
In contrast to the characters who were attempting to mask their identity, some characters bravely expressed their identities in the daylight. For these characters, I created costumes that pushed what was expected by society and was could be accepted in the Village in New York City. For the characters, who were not members of the LGBTQ+ community, I had them follow the opposite costume path, they were more open and dressed brightly on the street in the daytime, and more covered and reserved at night.
To complete this design, I was allotted the budget of $4200. There were twenty-one actors, playing thirty roles, totaling to forty-two costumes, and over 200 pieces. The show had two weeks, to be built in the shop, during the fall semester and two weeks in the spring semester. To best manage this time, I pulled as many garments as I could, prior to casting, to give myself a array of options to choose from, once I had the cast’s measurements. Most of the garments that were in the show were bought vintage or pulled from our stock. Two dresses were built, both for the lead role of Carson. The challenge of these designs was designing dresses that would create a feminine silhouette and fit, on my male actor’s body. To do this I took some references from drag fashion, as well as, aiming to create soft lines on the body, staying away from anything to straight or harsh. I also aimed to create fullness in the skirts, while keeping the bodices form fitting, to aid in creating an hourglass silhouette.
In addition to making my lead look more feminine, the show also presented the challenge of a ripping dress. This dress would get ripped while the character was assaulted at the bar. It needed to be able to rip twice, and sound like it was ripping, which meant it could not be rigged with magnets or snaps. To accomplish this, I designed Carson’s green dress to have seams in the center front bodice, a yolk along the shoulder seam, and gores in the skirt. This allowed the dress to have multiple points that could be ripped. The seams of the dress were reinforced with hem tape, and were hand basted together every night, to ensure that the actor ripping the dress could do so with ease. To make sure that the dress could not rip beyond the desired point, the seams were reinforced, at that point, with rows of machine stitching, forming a triangle, to provide extra strength.
Overall, my designs for Hit the Wall aimed to represent a part of American history that is often overlooked and gave a face and a voice to all of the actual people who fought for equality fifty years ago. I relied heavily on the research I did on people who were actual at the Stonewall riots along, with photographs from the time period, to create this glimpse into our American past