The terrorist attacks of September 11, 2001 prompted the government to take drastic political action, such as the War on Terror, and inspired the American people to feel new cultural anxieties. Literature and popular culture also responded to 9/11 with attempts to make sense of such an unprecedented event. This thesis argues that superhero stories, both in comics and onscreen, are particularly well-suited to deconstruct and critique post-9/11 American society through their depictions of power and the question of how individuals with superpowers fit into society. Specifically, this thesis engages with Marvel Comics' Civil War (2006-07), its film adaptation Captain America: Civil War (2016), Dynamite Comics' The Boys (2006-12), and the first season of its television adaptation from Amazon (2019). Through examination of themes including accountability, corruption, and dominance, this thesis reveals how, in recent years, the tropes of the superhero genre have been portrayed in nuanced ways that do not allow for a simple binary between good and evil. As such, these stories reflect the difficulty Americans have faced in adjusting to the realities of post-9/11 America, as actions that were meant to provide security have proven increasingly fallible in the years since the terrorist attacks.
Shakespearean adaptations have long been an accessible mode of storytelling in theater, film, and music, allowing new writers to address contemporary concerns through the reimagination of familiar tales. Beyond straight adaptations that clearly take Shakespearean plots and reenvision them, there are also numerous works that utilize resonances from Shakespeare to add value for audiences. From Taylor Swift's song "Love Story" to The Lion King, Shakespeare's work is prominently featured in some of the most consumed media of the late 20th and 21st centuries. To fully discern both why the Bard has remained relatable to young audiences of popular cultural products and how this influence manifests itself, it is essential to understand the forces that impel some authors to fade from fame while others stay relevant. Using theoretical approaches to popular culture informed by the works of Theodor Adorno and Dwight Macdonald, this paper investigates the ways in which artists have molded and transformed Shakespeare's work to convey their own messages. It addresses why Shakespeare's work remains so commercially successful, and what specifically about it allows for it to span centuries yet remain pertinent to our culture. This paper contributes to conversations on the intersection of Shakespeare and popular culture by arguing that the Bard's work reflects the very core of human nature, lending itself to diverse interpretations by contemporary artists across various media platforms. The themes of Shakespeare's work are not limited to his time, but instead address the many triumphs and tribulations which artists today seek to capture.
“ … research project funded by Union College and supervised by Dan Venning pursuing the various career-based and monetary … ”
Abstract
In the era of pandemic-caused shut-ins, the question of how to provide communal experiences to people with disabilities has been answered. Connoisseurs of the arts have had to swallow their previous beliefs that art is unacceptable in a digitalized form and move art galleries to virtual tours, concerts to avatar-based gaming websites, and plays to zoom performances. These virtual events made for the quarantined able-bodied population have gathered people who struggle to attend in-person events because of their disabilities into their inclusive bubbles. But theatre-goers are missing the going part of theatre; Sarah Ruhl, playwright of the award-winning Eurydice, voiced what many were thinking in her 2020 Whiting Awards speech: "That magical substance—air—[is] which makes theater different from books, or films." With COVID-19 vaccines becoming rapidly available, theatres will likely start reopening. So what can we do to keep theatre accessibility trending? My 6-week research project "Theatre Accessibility" is an ongoing discussion on how to be accessible to people with mental and physical disabilities in the theatre community. Theatre is often considered a communal space, but being a patron of the art requires distinct privileges not everyone has. Changing the current aspects of inaccessibility in theatre requires a reckoning with existing privileges and a redistribution of power. Depending on someone's disability and job placement, different accommodations are required; for some, an elevator can help patrons get to the performance; for others, educating employers on the stigma surrounding disabilities can help playwrights get and keep jobs. The commonality is that accommodations only ever help the performing arts community as a whole. Whether you have a sensory issue or not, who doesn't want more comfortable chairs? Furthermore, accessibility isn't a far-off pipe-dream: we can bring accessibility to us. My research includes an action plan for Union College's theatre department, including physical alteration of the building where necessary and the implementation of new policies. The goal is to start small with us and move to local theatres like Proctor's Theatre. Accessibility is worth the work and the wait.
“ … American literature. ADVISORS: Dr. Claire Bracken and Dr. Dan Venning … ”
Abstract
Despite the recent rise in Latin American representation on the stage, there continues to be limited theatrical work that focuses on the Latinx narrative. This thesis aims to shed light on the underrepresented voices of the Latinx community by focusing on six plays, written by Quiara Alegría Hudes, George Brant, María Irene Fornés, Tanya Saracho, Luis Alfaro, and Kristoffer Diaz. Each of the plays cast a Latin American individual as the play’s main character, and deliver a unique message about what it means to be Latinx in the United States. While some of these plays tackle the realities of immigration, others focus on the under-resourced communities many Latinx youth grow up in, while others shed light on the ways in which racist stereotypes affect the American perception of Latinx people. The first chapter of the thesis focuses and analyzes plays which portray broken Latinx families. These plays include "Water By Spoonful" by Quiara Alegría Hudes, "Tender Age" by George Brant, and "Letters From Cuba" by María Irene Fornés. Each of these play’s main conflict originates from a character’s prioritization of their personal benefit, a practice that is often frowned upon in traditional Latin American households. At the end of each play, each family is unable to heal from their trauma, and ultimately remains broken. The second chapter of the thesis analyzes "Fade" by Tanya Saracho, "Oedipus El Rey'' by Luis Alfaro, and "The Elaborate Entrance of Chad Deity" by Kristoffer Diaz. Each play follows a Latinx character who is determined to achieve a personal goal, but is suddenly met with the harsh realities of systematic racism. The chapter takes a deep dive into each play’s main character and discusses how their Latinx identity contributes to their destiny of failure. Through the analysis of these six plays, this thesis aims to unpack one of the most underrepresented voices in American literature.
“ … June 2020. ADVISORS: Judith Lewin, Bradley Hays, and Dan Venning The terrorist attacks of September 11, 2001 … ”
Abstract
The terrorist attacks of September 11, 2001 prompted the government to take drastic political action, such as the War on Terror, and inspired the American people to feel new cultural anxieties. Literature and popular culture also responded to 9/11 with attempts to make sense of such an unprecedented event. This thesis argues that superhero stories, both in comics and onscreen, are particularly well-suited to deconstruct and critique post-9/11 American society through their depictions of power and the question of how individuals with superpowers fit into society. Specifically, this thesis engages with Marvel Comics' <em>Civil War</em> (2006-07), its film adaptation <em>Captain America: Civil War</em> (2016), Dynamite Comics' <em>The Boys</em> (2006-12), and the first season of its television adaptation from Amazon (2019). Through examination of themes including accountability, corruption and dominance, this thesis reveals how, in recent years, the tropes of the superhero genre have been portrayed in nuanced ways that do not allow for a simple binary between good and evil. As such, these stories reflect the difficulty Americans have faced in adjusting to the realities of post-9/11 America, as actions that were meant to provide security have proven increasingly fallible in the years since the terrorist attacks.
As a Filipina American from Southern California, my cousins got to experience our Philippine culture through their college's Filipino American Student Associations, while I had a hard time learning about our culture as I attend a school that has a low Asian American population and miniscule Filipino American population. Although the populations are small, my senior thesis has pushed me to learn about my ethnic identity through the arts and especially through the power of storytelling. This journey in learning the importance of authentic folklore untouched by the western influence has shown me as a Filipina American, that the original folktales and myths are fading away or blending into the Western stories. This ultimately poses the questions I tackle in my thesis on the internal conflicts I have about my identity which are; "What does it mean to be Filipina American and am I Filipino enough?", "How do I connect to my homeland that I have never been to and barely speak my parents' native tongue?", and "How can I keep my Filipino heritage alive in a small community?". To answer these questions, I have created a performative narrative piece to go alongside an animated short film of an original Philippine folktale. The performance will engage with the Union community during the Visual Arts Senior Art Show opening. Whereas my thesis paper will cover my discoveries and struggles throughout the creative process and emphasize the power of fables, myths, folklore, and legends have on a person's identity. Adults were once kids too and listening to a fable or myth from their heritage can remind them of a time when they were a child listening to bedtime stories from their parents and grandparents. Bedtime stories to myths and legends vary from place to place. Some may have the same messages depending on the influence of the West but the characters and creatures are different because they are based on the location and at times religion. Original and raw stories, myths, and legends need to be shared to honor our indigenous community and the rich history of our ethnic background whether we are from that homeland or not. The more stories that are shared, the more likely your own cultural history and roots will be kept alive. Through the art of storytelling, I hope the audience for my performance will be captivated and inspired by these stories of the past and will be willing to ask questions about the tales, especially with the younger generation. Hopefully the audience will also want to research the mythology and superstitions from their own heritage to keep the memory of their ancestors alive. At the end of the performance, I will provide answers to the questions mentioned above.
