8 research outputs found
"We Bring Thee Our Laurels Whatever They Be:" A Concise History Of Morgan State Student-Led Protest
No full textBlack students were major contributors in the fight for equality and civil rights. By the mid-1930s black college students were members of the “National Student League and the National Association for the Advancement of Colored People (NAACP) Youth and College division. These black colleges were places primed for a youth movement to develop. These campuses provided a ready-made army of students willing to march, protest, sit-in and in some instances die for the equality of all Americans. Most Americans, black and white, are aware of the student-led protest at the Woolworth's led by North Carolina Agriculture and Technical College students, the Free Speech Movement at University of California-Berkeley and the anti-war (Vietnam) protests at Kent State in Ohio. However, many Americans are unaware of the student-led protests prior to 1960 involving students from Historically Black Colleges and Universities (HBCUs). This dissertation is a study of the various generations of student activism that made Morgan State a forerunner in transforming youth culture and restructuring the social, political, and economic landscape of America. Not only did these students protest in the communities but also on their campus, which resulted in both changes to Morgan's and society's policies. This dissertation incorporates the most recent research in social movement history to examine the Civil Rights Movement in Baltimore and throughout the state of Maryland, with a focus on the impact of Morgan student activism. This activism began 1930s with Morgan students' involvement with the “National Student League” and with the creation of the Morgan NAACP chapter. Morganites have continued their crusade for civil, human, and equal rights to present day and have addressed the issues that plague African American communities. The study will examine the racial climate of “Jim Crow” era Baltimore and Maryland, and the problems the student population encountered attending an institution of higher education for blacks, situated in an all-white community and funded by a majority white state legislature. In order to capture a portrait of several generations and movements in flux, this dissertation will additionally explore the formation of Morgan's NAACP chapter and the Civic Interest Group, This work will analyze the unique impact of female activists, the evolution of student activists' agendas, strategies, and tactics; while examining relationships between the students and the other (adult) civil rights organizations. Lastly, this study will delve into the racial climate in Maryland, specifically Baltimore in recent years and its impact on Morgan's students. The objective of this study is to revise the history associated with black college activism to include Morgan State's contributions, while redefining the perception of black colleges and the protests led by these students
From Humble Beginnings To A Profound Impact: A Brief History Of Lovely Lane United Methodist Church And Its Effect On The African American Community Of Baltimore, Maryland
No full textThe first Methodist Episcopal Church (ME Church) of Baltimore, Maryland was founded in 1772 by Reverend Joseph Pilmoor, an English missionary and disciple of the founder of Methodism, John Wesley. Pilmoor was sent to America from England by Wesley in 1769, to teach the Methodist faith. He landed in Philadelphia and made his way to Maryland, Virginia and North Carolina, preaching the Methodist religion. While preaching in Baltimore, he was granted use of Otterbein Chapel also known as the Old Dutch Church. The people of Baltimore responded favorably to Methodism, so that in 1774 the Lovely Lane Meeting House was constructed at Redwood and South streets. In 1784, this became the site of the Christmas Conference which organized the American ME Church. The church moved several times from the Redwood and South Streets location to Light Street (two locations), Charles and Fayette Streets and was known as First Methodist Episcopal Church. Outpost churches known as The Baltimore City Station were established divided by race. The "Colored Methodist Society" was initiated in 1785. "The Colored Methodist Society" produced two of the oldest African American Methodist Churches in the country, Sharp Street Memorial Methodist Episcopal Church (1797) and Bethel African Methodist Episcopal Church (1815). The present location of Lovely Lane United Methodist Church is at 2200 North Calvert Street. It was erected as a centennial memorial of the 1784 Christmas Conference. In 1954, it assumed the name of Lovely Lane United Methodist Church after being named First Methodist Church for a number of years. It is known as the "Mother Church" of American Methodism. The Church currently serves as a place of worship for approximately two hundred members. It is also the home of the Methodist Historical Society and houses an active museum and archive. Additionally, it has initiated several institutions of higher education which include the Centenary Biblical Institute, now known as Morgan State University (MSU), which was established in 1867. MSU was the first institution of higher education for African Americans in Baltimore, Maryland and for the first seventy-two years it was partially funded and fully managed by Lovely Lane Methodist Church. Morgan State University is still in existence today and has conferred thousand of degrees since its inception in 1867. The purpose of this thesis is to examine the role that Lovely Lane United Methodist Church had in "birthing" the African American Methodist Community of Baltimore, Maryland, and its surrounding environs. The time period examined in this thesis includes the founding of Methodism in America in 1772, the establishment of First Methodist Church (Lovely Lane) from its beginning in 1774, founding of the "Colored Methodist Society" in 1784, Sharp Street Memorial Methodist Episcopal Church in 1797, Bethel African Methodist Episcopal Church in 1816, and the Centenary Bible Institute (Morgan College)1867
Behind the medical mask : medical technology and medical power
No full textThis thesis explores the role of technology as a resource in the
structure of medical domination of birth and death, stressing
technology's pivotal position at the intersection of control and
uncertainty.
Based in Intensive Care and Obstetrics (between which the health status
of patients diverges sharply), it notes the convergence of technology
used and examines the contest for control within the labour process.
This includes using technology to facilitate a 'standardized' birth or
death; a more retrospectively defensible event. In general, the
'burden of proof' is concluded to lie with those wishing not to
intervene rather than the reverse.
Given the (cognitively male) biomedical model, mind-body dualism is an
assumption embedded in medical technology: this is especially
significant in childbirth, where it fractures the woman's ontological
experience of giving birth. Its positivistic and pathological
emphasis is associated with a reification of processes and a
commodification of their 'solution': which becomes located in
technology. It is argued that commodification in health provision will
increase with the further application of market principles to the NHS.
It is concluded that 'uncertainty', endemic to medicine and a possible
challenge to control, is proactively manipulated and pressed into the
service of medical domination. Technology is used to mask uncertainty
and aid the medical profession's control of patients/relatives, and
subordinate work groups.
A technological fix may be viewed as the opposite to re-discovering
societal dreams and myths, however, more paradoxically, it is concluded
that dreams and myths have become attached to technology. Thus, the
symbolic role of technology is: to provide hope of continued survival
(or cure), the veiling of existential uncertainty and the offer of
'absolution' - should all efforts fail (a freedom from guilt in the
assurance that "everything possible was tried"). Its 'heroic' project
is viewed as an existentially 'masculine' health provision and
'feminized' health care is posited as an alternative
From flesh to fiction : the visible and the invisible in the work of Maurice Merleau-Ponty, Eudora Welty and Elizabeth Bowen.
No full textPhDOur ways of thinking modernism and its legacy are imprinted with the pattern of an
opposition, a struggle between two sets of extremes: objective and subjective; form
and feeling; mechanistic and organic; mind and body; knowing and being; self and
world; aesthetic and historical. The three writers whose work I explore in this thesis
challenge prevailing notions of this oppositional discourse. Entering the scene of
modernism late in its history, Elizabeth Bowen, Eudora Welty and Maurice Merleau-
Ponty develop a new kind of vision that makes us rethink the relationships between
perceiver and perceived, between mind, body and world. All three writers undertake a
fundamental reorganisation of the relationships between internal consciousness and
external things through the narration of a perception that is outside the limits of
discrete sensations or causal relationships. Physical things are neither pure objecthood
nor merely external triggers for the ramblings of a solipsistic consciousness, rather
they infringe on a consciousness whose own edges are indistinct. This writing
establishes an interdependent and interlocutory relationship between subject and
world, which become not opposite ends of a perceptual scale, but aspects of a common
flesh. The intimate connection to the world is both comforting and threatening, both
reinforcing subjectivity and de-centring it.
The re-ordering of the connections between self and world leads to a reassessment of
collective identity and historical agency, as well as impacting upon approaches to
modes of representation. In trying to express the pre-linguistic experience of embodied
consciousness, this writing looks to models of mute expression found in visual images.
Exploring how the invisible aspects of experience emerge within the visible realm, the
writing takes on an often hallucinatory or uncanny character. Charting the passage
from being to doing, from perception to creation, from the style of the flesh to the style
of fiction, Merleau-Ponty, Welty and Bowen dissolve received boundaries and
distinctions at every level
Music Ensemble: a large dataset on musicianship, cognition, and personality in musicians and nonmusicians.
No full textThe Music Ensemble dataset is a large-scale, cross-national database that provides detailed information about the musical, cognitive, personality, and demographic profiles of young adult musicians and nonmusicians. Data were collected from 1438 participants (aged 18-30) across thirty-five research sites in Europe, North America, South America, and Australia. Participants completed an in-person, in-lab battery of objective tests, including measures of verbal, visuospatial and musical short-term memory, executive functions (updating component), nonverbal reasoning, verbal comprehension, and music perception skills. The battery also included standardized and custom self-report questionnaires assessing music sophistication, music reward, personality traits, socioeconomic status, and demographic characteristics. Music Ensemble was preregistered, and the research protocol followed a standardized procedure across sites. The dataset also includes a large subsample of musicians and nonmusicians that are pair-matched for age, gender, and education (678 pairs). It enables well-powered investigations into the relationship between musical expertise and individual differences in cognition, personality, and demographic variables. It is also suitable for training in statistical and psychometric methods. [Abstract copyright: © 2026. The Author(s).
Women in the French Revolution: Bibliography. Women of Europe Supplement No. 33, January 1991
No full textConfiguraciones de las imágenes de las enfermedades mentales en la serie animada BoJack Horseman
No full textEsta investigación identifica y sugiere relaciones entre la enfermedad mental y las series animadas para adultxs, producidas por plataformas televisivas de streaming, puntualmente trata la enfermedad mental en la serie BoJack Horseman de Netflix. En la aproximación metodológica, realizada desde los estudios culturales, la autoetnografía, la investigación visual y los estudios de serialidad se mezclaron para dar cuenta de la coexistencia, que podría decirse necesaria, de la enfermedad mental como experiencia vivida —en este caso por una mujer y su familia—, con la de la enfermedad mental como experiencia animada —de la ficción, protagonizada por un caballo—, coexistencia en la que la presencia de las mujeres resulta, según mi opinión, ser parte clave para explicar lo que lxs críticxs, especialistas y seguidores consideran uno de los logros de la serie: tratar la enfermedad mental eludiendo los estigmas comunes, y hacerlo en un entorno mediático transmedial y transnacional.
La inclusión de la enfermedad mental en las producciones televisivas de Netflix, HBO y Amazon incrementó en los últimos diez años, a la par que la enfermedad mental como experiencia institucionalizada y medicalizada en empresas y universidades, más allá del contexto familiar. BoJack Horseman es una de las producciones que trata la enfermedad mental como una experiencia en la que se reconocen numerosas personas diagnosticadas con trastornos mentales en distinto grado. En la serie, la mayoría de los personajes diagnosticados son mujeres, de una misma línea genealógica que comparten la herencia genética y las preguntas por el sentido de la vida, la maternidad, el aborto, el éxito y la felicidad. Lo que sugiero es que las mujeres animadas de la serie tuvieron todo que ver con el equipo de mujeres directoras, creadoras, realizadoras, productoras e ilustradoras que dieron vida a BoJack Horseman y que reorientaron y modificaron sus propios diagnósticos sobre la enfermedad mental, para llevarlos a sus trabajos creativos en un proceso terapéutico y público que amplió la discusión sobre la enfermedad mental en la televisión y fuera de ella. Se trata desde los estudios culturales, de mujeres que tomaron agencia sobre sus propios diagnósticos.This research work identifies and suggests relationships between mental illness and adult animated TV series, produced by television streaming platforms, specifically I address mental illness in the original Netflix series BoJack Horseman. In the methodological approach, carried out from the field of cultural studies, autoethnography, visual research and seriality studies are mixed to account for the coexistence, which could be said to be necessary, of mental illness as a lived experience —in this case, of a woman and her family—, with that of mental illness as an animated experience — of fiction, starring a horse—, a coexistence in which the presence of women is, in my opinion, a key part in explaining what the critics, specialists and followers consider one of the achievements of the TV series: treating mental illness avoiding common stigmas, and doing it in a transmedia and transnational media environment.
The inclusion of mental illness in the television productions of Netflix, HBO and Amazon has increased in the last ten years, along with mental illness as an institutionalized and medical experience in companies and universities, beyond the family context. BoJack Horseman is one of the productions that treats mental illness as an experience in which numerous people who are diagnosed with mental disorders, to varying degrees, are recognized. In the series, most of the characters that are diagnosed are women, of the same genealogical line who share genetic inheritance and question the meaning of life, motherhood, abortion, success and happiness. What I suggest is that the animated women in the series had everything to do with the team of female directors, creators, filmmakers, producers and illustrators who were part of BoJack Horseman and who reoriented and modified their own diagnoses of mental illness, and took them to their creative works in a therapeutic and public process, which broadened the discussion about mental illness on the television screen and outside of it. From the field of cultural studies, this observation is about women who took agency over their own mental illness diagnoses.Línea de investigación: Códigos y prácticas expresivas y estéticasMaestrí
