Quest is a yearly campus-wide event during which faculty, staff, and students at SUNY Oswego present their research and their creative projects. This provides an opportunity for faculty, students, and staff to share their scholarly and creative efforts and communicate across disciplines. Each year approximately 170 talks, demonstrations, and other activities are presented at Quest. Any member of the campus community may submit a presentation for inclusion in the Quest program. Quest presentations feature talks, posters, panel discussions, performances, demonstrations or competitions. This collection features papers and presentation materials from the students and staff who have presented at Quest.
The foundation upon which ethics should be based is debatable in the field of philosophy. Nel Noddings proposes “An Ethic of Caring” which offers a feminist approach to ethics based on caring. Noddings’ ethic of care is not beneficial to feminism because it encourages caring as the sole basis of
ethics, hinders a woman’s ability to become autonomous, and reinforces traditional gender roles. Critiques offered by Victoria Davion, Jean Keller and Virginia Held offer insightful additions and modifications of
Noddings’ ethic of care. Noddings’ ethic of care, while beneficial to general ethical guidelines, is not appropriate for feminism because it encourages traditional gender roles for women, ignores virtues besides
care, and inhibits a person from becoming autonomous. The ethic of care could be improved by the addition of autonomy and justice into the theory.
Barbara Kruger explores feminist theory through artistic expression. Her continued use of black and white imagery combined with red blocks of text derive from her background in art and design and her previous careers designing and editing magazines such as Mademoiselle and House and Garden. Kruger voices her concerns over feminist issues through bold images and text and in consequence, she is able to gain the viewer’s attention in a manner that differs from that of many other artists.
This paper discusses patriarchal values, discourses of the gaze, and the crises in consumerism in relation to Kruger’s work. The problematic social norms that arise from patriarchy are exposed through her designs. In much of Kruger’s work, she reveals concepts with such an impact that the viewer is forced to further consider her or his own opinions and perceptions in relation to these issues. Kruger also works with the subject of the gaze and its relation to male power. Through the gaze, men are able to gain control over the bodies of women, creating a tension between the two sexes. Kruger ties this to a critique of consumerism, in that everything in Euro-American culture can be bought, sold, and owned. This ideology extends to relationships amongst individuals further causing struggles over control and power.
In this paper, I reply to Ward Churchill’s contention that, in struggles against tyrannical regimes and oppressive political systems, nonviolent resistance is ineffectual without either corresponding violence or the threat of violence. My response attempts to show why nonviolent resistance is an effective method in its own right, and can be superior to violent alternatives in terms of accomplishing both short and long term objectives. Finally, I address a peculiar aspect of Mr. Churchill’s position that, while insulating it from falsifiability, simultaneously limits both its credibility and usefulness.
Allegories of Vampire Cinema is a theoretical film essay involving the
issue of spectator relations to vampire films before, during, and after
viewings. The piece closely examines which character the spectators are
truly meant to connect with. This is an interesting and important issue to
raise as it offers a new analysis that had not previously been explored,
aligning the spectators not with the protagonists of these stories, but with
the vampire itself. In my research, I gathered dozens of books, magazine
articles, and journal entries to delve deeply into the horror genre and
vampire subgenre. I also screened over three dozen vampire films, though
only a handful are cited directly. The essay was pieced together from the
beginning of January through March when, upon completion, I presented my findings at the 2008 PCA/ACA National Conference in San Francisco. Implications that are brought to light upon the revelation that the spectator
is being aligned with vampires include the notion that the vampire film
may not be an isolated case. With further study, theories and analyses may bring about spectator relations and alignments with not only a myriad of other antagonistic horror icons, but antagonists throughout the entire scope of film.