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«Philosophy (Barrilleaux, Religious Studies & Greek and Roman Studies Harris, Gysin, Kulkarni & Philosophy (Gregory, and History (Dove, Pevy, Kennedy ...»

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APRIL 30, 2010

URCAS 2010 - Schedule of Events (last names of presenters shown in parentheses for each oral session)

Location\Time 11:00 11:30 noon 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00

Societies & the Arts (Turner, Shedden, Baker, McCune,

Hassell 100

Holland, K. Miller)

Fine Arts

Film Images (Dove, Influence to Imagery (Seng, Ruiz, Bryant, Exner, Polovich, Ranson, Smith) Clough 417 Smith) (11:00-11:40) (1:40-4:00) Philosophy (Barrilleaux, Religious Studies & Greek and Roman Studies Harris, Gysin, Kulkarni & Philosophy (Gregory, and History (Dove, Pevy, Kennedy 205 Martin) Sandifer, Johnson, Clapp) Ricke, Gaudioso) English: Philology (Lawnin, English and Gender & Sexuality History (Garris, Gregory, Iwaskiewicz, Johnson, Studies (A. Miller, Yackulics, Jones, Kennedy 208 Carlson, Fox) Chambers) Black, Mansfield) Interdisciplinary Humanities Interdisciplinary Interdisciplinary French and Humanities: What is Humanities: Searching for Humanities: The Search for Francophone Studies the Search Program Frazier-Jelke C Values (Th

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April 29 3:30pm- Music: The Gladys Cauthen Competition Finals: Nicole Baker, flute; Tyler Turner, piano; Erinn Ogburn, piano (Tuthill Performance Hall) April 30 9:00- Hardie Auditorium: Awards Convocation URCAS Sessions 11:00am-12:15pm: Oral Sessions (varying locations- see schedule) 11:00am-1:00pm: Poster Session I & Lunch Reception (multisports forum) 1:00-4:00pm: Oral Sessions (varying locations- see schedule) 4:00-5:30pm: Poster Session II & Concluding Reception (multisports forum) 4:00-5:30pm: “On the Line” Student Film Presentation (Frazier Jelke A) 7:30pm- Art 166: Documentary Film Making Screening (Amphitheatre; rain location Frazier Jelke)

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This event is made possible through the generous support of the Robert and Ruby Priddy Charitable Trust of Wichita Falls, TX.

Undergraduate Research and Creative Activity Symposium – April 30, 2010 _____________________________________________________________________________________

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Film Images 417 Clough, 11:00-11:40am Session Chair: Bailey Romano 11:00 Inspiring Creativity through Community Outreach: Photography Club at The Neighborhood School Allison Dove, Shardé Chapman Faculty Sponsor: Liz Daggett, Department of Art The Neighborhood School is an elementary through middle school that serves students that are determined to be "the most likely to drop out of high school" in the Memphis area. It is located in the very impoverished Binghampton neighborhood. In order to bring a creative outlet to the underserved and at-risk students of TNS, CODA provided funding for an afterschool photography club where a group of students learned about photography, took photos on their own, and ultimately had an art show where they could invite family and friends to view the students' artwork.

The idea for the program was to provide an opportunity for students to begin thinking creatively in general and also allow them to see that they can find creativity at home as they take photos in their homes and around their neighborhood. Otherwise for these students, this opportunity would not otherwise exist.

11:20 The Ugly One Pieter Smith Faculty Sponsor: Julia Ewing, Department of Theater Have you ever noticed something so beautiful that your immediate desire is to destroy it? If so, why do we desire to destroy beauty? Can beauty become just as, or more, beautiful after it is destroyed? These are several questions that I explore in a short film entitled ―The Ugly One.‖

Society & the Arts100 Hassell, 1:00-3:00pmSession Chair: Rebecca Rieger

1:00 The Importance of the Chorus in Ancient Greece Tyler Turner Faculty Sponsor: Mona Kreitner, Department of Music This paper considers the importance of the chorus in society during the height of the Athenian empire. It examines the current musicological opinion towards ensemble singing in ancient Athens while proposing that this opinion is incomplete based on the evidence at our disposal. The sources used to support the paper include oratories that speak to the political and educational nature of the Athenian chorus as well as sources from distinguished Greek and Roman studies scholars. Additionally, current musicological research on the music of ancient Greece as well as Greek dramas from the time period will be examined. The case argued is that Greek choruses were a fundamental part of Athenian life in the 4th and 5th centuries BCE existing to provide education, competition, civil service, and entertainment. Much of the current musicological and philosophical research on this topic is in conflict; thus, this paper will explicate these differing views and provide information on the true importance of choral performance in ancient Athens.

Undergraduate Research and Creative Activity Symposium – April 30, 2010 _____________________________________________________________________________________

1:20 Giorgione's Portrait of a Young Woman (Laura) as Lucretia Brittney Shedden Faculty Sponsor: Victor Coonin, Department of Art When investigating early portraiture in Venice during the sixteenth century, one is hard pressed to concede that women portraiture in the city was nearly non-existent. There is one case though, that began an ambiguous standard for women portraiture for the rest of Venetian Renaissance art –Giorgione‘s Portrait of a Young Woman known as the Laura. The identity crisis of the Laura by Giorgione has been a long established controversy. Many determine the figure in the painting to be the poet Petrarch‘s lover Laura. Otherwise, scholars distinguish her as a Venetian courtesan or wife. Conversely, I claim to identify Laura as an allegory of Lucretia; a Roman legendary figure who maintains her chastity by committing suicide after she is raped by the king of Rome‘s son, Sextus Tarquinius.

Historically, her death liberates Rome from tyranny, establishing a Republic by the people. By eliminating other skeptical claims to the identity of the Portrait of a Young Woman analytically, investigating other Italian Renaissance paintings of this same type of figure, and attributing certain aspects of the painting to the legend of Lucretia, one can come to distinguish her as Venice‘s Lucretia; a symbol of liberty for a distinct Italian society during Renaissance times.

1:40 Presbyterian Hymnody Since the Scottish Reformation Nicole Baker Faculty Sponsor: Mona Kreitner, Department of Music My paper investigates the history of the Presbyterian Church at the time of the Scottish Reformation, exploring both religious and historical sources. Through this historical research the causes of the reformation and its resulting theologies and corresponding musical considerations are determined. Furthermore, I look into the movement of Presbyterianism from post-reformation Scotland to the United States. Once in North America, these theological ideas and concepts of musical practice continued to be shaped by ever-changing social factors. I am interested in what is being sung, by whom, and for what theological purpose. Secondly, I examine published hymnals and songbooks. The focus of this study is to determine how the influences of theology and social factors manifest themselves in the music and text of hymns. Moreover, I consider how these hymns may have been sung and used in the context of a worship service from the time of their publication to today. More generally, I map out the progression of various editions and how they correlate to the major theological and social issues of their time.

2:00 The Ideal in Italian Renaissance Family Portraiture Melanie McCune Faculty Sponsor: Victor Coonin, Department of Art A form of Italian Renaissance portraiture that has been given less attention by art historians is that of the family.

However, the family unit in sixteenth century Italy was vital as a social and political force. Therefore, one can surmise that portraits of such powerful groups carried planned compositions and intentional meanings. By studying portrait groups involving one parent and their children, a trend emerges which reflects the relationship dynamics in wealthy, traditional Renaissance families. In the fifteenth and sixteenth centuries, the father continued to provide for the family and deal with societal and political aspects as head of the household. Whereas the mother remained in more of a domestic role in which her responsibilities were raising the children and managing the daily duties of the home. By looking at a series of family portraits in which a single parent is present with his or her children, a trend emerges translating into paint the ideal family dynamics of fathers with their children versus mothers with their children. In paintings of a father with his children, usually with his male heirs, the father tends to be behind the child as if presenting his offspring to the public as his successor. Portraits of women and their children, however, differ by placing the mother in the foreground while her child peaks around from her skirt or from under her protective hand, denoting her role as the protector and source of comfort in the family. These compositional trends, which appear in portraits from several Italian cities in the fifteenth and sixteenth centuries, convey in portraiture the ideal role of the father versus the mother in an Italian Renaissance family.

Undergraduate Research and Creative Activity Symposium – April 30, 2010 _____________________________________________________________________________________

2:20 Construction of the Third Reich for Cultivation of Neo-Wagnerian Values in Nazi Germany Josie Holland Faculty Sponsor: Mona Kreitner, Department of Music The leaders of the Third Reich institutionalized musical aesthetics in order to exemplify a specific version of German nationalism. Wagner's music, steeped in sentiments of antisemitism, epitomized for Hitler the ultimate expression of German pride and formed a model for public and musical leaders alike. In my paper, I examine the polices which gave rise to government control over music, the composers who aligned themselves and their music with these clearly articulated Party values, and public reaction to governmentally strangled sound.

2:40 Revealing the Life and Work of Reverend Dr. William H. Brewster Kayla M. Miller Faculty Sponsor: Carole Blankenship, Department of Music My work on Reverend Dr. William Herbert Brewster, a Memphis preacher, activist and gospel music composer, began the summer of 2009 as a fellow in the Rhodes Institute for Regional Studies under the mentorship of Dr.

Carole Blankenship. Our leading objectives in this research were to find ‗definite‘ information about this figure, and we hoped to recover unpublished work and primary documentation of his life and activities as a Memphis leader, gospel music composer, civil rights activist, author and reverend from the late 1930s to the early 1970s. During these eight weeks, we gathered a substantial corpus of biographical information from rare publications, archival material in Memphis and in Nashville and, most importantly, oral narrative from individuals in the community who were familiar with Brewster and his work. After discovering an untapped mine of information, music and poetry collected in the past 70 years by friends, relatives and congregation members, our project has continued and expanded to include the digitization of recorded music, sheet music and other pertinent documents into a digital archive; interviewing and re-interviewing congregants and associates of Dr. Brewster; and plans to re-introduce his music to the Memphis and larger academic community.

Influence to Imagery417 Clough, 1:40-4:00pmSession Chair: Amy Auginbaugh

1:40 Paper Houses Mempheany Seng Faculty Sponsor: Erin Harmon, Department of Art My paper sculptures are a means to a rediscovery of my identity. As a first generation American, I was far removed from the world I had only heard of in the stories my parents told. Growing up, concrete and steel buildings instead of golden ornate temples formed my skyline. In my recent work, Cambodian architecture have come to represent what has always been a part of me but still remains foreign. Acknowledging Southeast Asian shadow puppetry, light and shadows are ways to construct my narrative. I address the ideals, traditions, and history I grew up with but never took careful detail of. Only in my paper spirit house will ancient Cambodian temple ornamentation and contemporary architectural motifs exist side by side. In my work, as well as in my search for cohesion between my two identities, I hope to create a space where two separate and distinct entities can live in conjunction.

2:00 Popular Objects Esther Ruiz Faculty Sponsor: Erin Harmon and Ben Butler, Department of Art My artwork is an exploration and documentation of the way our sensory memories collect and store objects and images. The sculptures I make are derived from things most of us have seen in science, history, or religion. Usually, Undergraduate Research and Creative Activity Symposium – April 30, 2010 _____________________________________________________________________________________

I adapt a certain object into my work and alter it by adding to it some aspect of my personal interests: fashion, space operas, trendy music, modern design and parties. The forms become distorted by their marriage with my personal interests thus, producing new objects. The sculptures act as props, clues or remains from my investigation of classic forms paired with contemporary trends. I have found that in modern forms of communication and entertainment we are hardly given time to contemplate the history or development of form. My intent is to excavate and reinvent classic forms and symbols by pairing them unexpectedly in a way that the modern world can approach. In viewing these objects the audience has to search their memories to find what is familiar to them about each piece and how their altered states affects their present function. In making this work I hope to both engage and inform the viewer by bridging the gap between past and present.

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