This research project studies ways that space shapes identity by examining a contemporary sculpture using a multicultural theory. The author focuses on analyzing the role of physical space in the construction of cultural identity across time by studying Mariana Castillo-Deball’s No Solid Form Can Contain You (2010) through Gloria Anzaldua’s Nepantilism theory.

This study explores the role Comunidad Milpa (Milpa) plays in implementing agroecology food systems in Comunidad Pacheco, Argentina. From teaching residents about food cultivation practices, to the importance of a healthy diet and developing relationship with local agroecology producers, the method builds upon the idea of food sovereignty and self-governance. Research conducted for this study focused on obstacles residents encountered while seeking to incorporate local agroecology foods into their diet. Incentives encouraging residents to support area agroecology efforts were also investigated, as well as barriers producers experienced while marketing their products. Design methods used for the investigation included both qualitative and quantitative methods in the form of surveys and interviews with members and participants of Milpa. Data gathered through both methods resulted in identifying the perspective Milpa participants have of the organization, their food practices and choices, and obstacles food producers encounter within the community.

Observations of quasars at the highest accessible redshifts have revealed supermassive black holes (SMBHs) with masses much too massive to be accounted for by the growth mechanisms observed in the local universe. Masses up to 10 10 M ⊙ up to z~7 seem to suggest some type of secular evolution or external influence to feed the earliest SMBHs at extremely high rates. Observations at such redshifts come at expensive technical cost and require significant dedicated space-telescope observing time. However, in the z~4 regime, SMBHs are still relatively young, exhibit extreme growth rates, and are economically accessible for both frequent shallow snapshots as well as deep observations. In this dissertation, the accretion mechanisms of z~4 quasars and the structure of their host galaxies and nearby companions are investigated to search for evolution over cosmic time as well as outside influence on star formation rates (SFRs) and SMBH growth. Building the longest available X-ray light curves of four representative radio-quiet quasars, X-ray variability is evaluated at timescales from days to years in the rest frame, and robust simulations allow both qualitative and quantitate measurements of variability to compare with samples at lower redshifts. At all timescales, X-ray variability is consistent with or …

Like numerous other Baroque pieces, the Ciaccona attributed to Tomaso Antonio Vitali (1663-1745) was transformed in the nineteenth and twentieth centuries. The German violinist and composer Ferdinand David (1810-1873) was the first to edit and publish the piece. The composition became popular after being included in the second volume of his Die Hohe Schule des Violinspiels [The Advanced Method of Violin Playing] (c.1867). Since then, Vitali Ciaccona became an essential work in the violin repertoire and is often heard in concert halls. However, what many audiences hear in concerts is essentially an arrangement of the Ciaccona. Acknowledging the "double life" of the piece as both Baroque and Romantic, this dissertation examines the advantages and disadvantages of playing the Ciaccona attributed to Vitali on both the Baroque and modern violins.

The trope of the queer cannibal recurs throughout fiction as well as film and television. While literature scholars such as David Bergman and Caleb Crain have written about this figure in American literature, the queer cannibal remains unstudied in the realm of media studies. This thesis analyzes six media texts that feature queer cannibals: Hannibal (2013-2015), Ravenous (1999), The Terror (2018), Yellowjackets (2021-), Raw (2016), and Bones and All (2022). Through these analyses, this thesis establishes a genre termed "queer cannibal texts." These texts function on two different levels: they include a cannibal character who is or can be read as queer, and they in some way cannibalize and queer an existing story or societal script. The presence of a queer cannibal character often signals that the work itself is a queer cannibal text. These texts are built on an awareness of existing power structures and narratives. By cannibalizing these narratives—whether they be a fictional narrative that is being adapted, or societal narratives of white supremacy, heteronormativity, and so on—and interrogating them from a queer perspective, queer cannibal texts create reparative narratives that speak from the margins. Queer cannibal characters act as a textual manifestation of this framework, providing a …