Immersion (tevillah) in a special pool of water (mikvah) is an ancient Jewish ritual act of purification. Rumors of personal healing through mikvah immersion are often presented as Jewish folklore or urban legends. Yet, my research shows that a surprising percentage of immersing respondents –both Orthodox and non-orthodox— have experienced mikvah immersion as either spiritually, emotionally, psychologically, or physically healing. My study investigates what it means to experience mikvah as healing; and whether these experiences correlate with other attitudes and personal practices that signal patterns in how Jews think about Self, purity, wellbeing, and healing. I conducted a survey (N=283) and 34 in-depth interviews in the United States, and an additional survey (N=239) in the United Kingdom –to determine how relevant the U.S. findings could be for the aspiring mikvah organization, Wellspring UK, that plans to incorporate mikvah as a central modality of care in a center for wellbeing in London. I interpret these findings through a ritual ecological analysis –integrating embodiment, ritual studies, history, and religious studies— that centers participants’ sensory-emotional descriptions of their immersion as centering and affirming, in the midst of personal suffering. I then seek to understand how immersers interpret these sensory experiences by framing their mikvah stories in the historical context of new conceptual constructs about body, self, wellbeing, healing, and purity that emerged from multiple Jewish engagements with the American Great Awakening (1960-1990). That sensory experiences of centering and affirmation are identified as healing reflects a holistic self-concept, observed among the majority of participants –immersers and non-immersers alike. Specifically, the contemporary Jewish self is a holistic body-self, integrating physical, spiritual, emotional, psychological, and relational aspects. Such holism means that upset in one aspect of the self produces difficulties in one or more of the other aspects. Thus, maintaining one’s sense of wellbeing requires continual balancing and rebalancing, a self-making project that dovetails with respondents’ high value for an emergent ideal of spiritual purity, defined as the alignment of one’s inner values with one’s outer speech and actions. Together, wellbeing and spiritual purity constitute an ideal state of radical shalom, as experienced during healing mikvah immersions.

People in college are made vulnerable to sexual, domestic, and relationship violence by narratives of individual “bad apples” that obscure violence as a cultural condition. Scholars in Gender Studies have worked to name and identify the extent of the problem of sexual, domestic, and relationship violence and argue that victims must be centered in campus-based research. Cultural Geographers have investigated violence as socially re/produced through the relationships between culture, community, and space. However, few works have engaged survivors as research partners to investigate survivorhood, relationality, and trauma to understand how to undo rape culture, thus endorsing survivors as passive subjects rather than active agents for social change. My dissertation asserts that home work is the personal and relational labor of practicing community and enacting justice that survivors engage in to come to feel at home in our bodyminds and relationships. My interlocutors are 10 survivors of sexual violence experienced while attending university in Minneapolis and five survivor-advocacy practitioners. To be survivor-centered and uplift survivor-voice, this project partners with my interlocutors as co-researchers and is built upon critical ethnography and Indigenous methodologies. I utilize semi-structured interviews, walking conversations, and group discussions in which I co-performatively witness survivorhood with my interlocutors. Chapter 1 situates sexual violence in the United States, discusses survivor-voice and the project’s method/ologies, and the significances of Minneapolis as the site of study. Chapter 2 explores “why” my interlocutors “do community”: To meet various needs, to support their growth, and to engage in mutual aid. Chapter 3 explores “how” my interlocutors do community: Showing up, vulnerability, and mutual care. In Chapter 4, my interlocutors and I build our theory of justice as a process of doing community rooted in accountability, responsibility, and relationships that allows us to feel at home in our bodyminds, relationships, and encounters. My research shows that active community engagement is the core variable for pursuing justice, shifting views on community building, campus policies, and processes of justice related to sexual violence. Situated in Minneapolis, my research connects rape culture, white supremacy, and state violence to the crisis of sexual violence on campus.

Despite his critical role in the development of American Surrealism, Abstract Expressionism, and Postwar Assemblage, gay Filipino-American artist Alfonso Ossorio remains at the margins of the historiography of these movements. Born in Manila, Philippines, the artist immigrated to the United States in 1930 where he lived and worked until his death in 1990 at his home city of East Hampton, New York. He is among the few Philippine-descended artists living in 20th-century America producing museum-collected works. Since America’s colonial occupation of the Philippines in the 19th-century, immigration has been increasing as a result of migrant labor, military recruitment, and economic exchange. However, the Philippine diaspora’s artistic contributions and visual identity before 1980 are largely under-researched in the United States. Queer artists of color, especially Filipinx-Americans, rarely feature in the dominant narratives of American modernity. Ossorio deeply inflected the trajectory of the American avant-garde yet his marginal place in the history demonstrates how art communities excluded queer and Philippine-American identities in the 20th-century during the development of two major American modernist movements. The scholarship has increased since Ossorio’s death in 1990 as a result of museum and gallery exhibitions. Previous writers focus on biographical description or contextualize Ossorio’s work within a broad movement category without considering Ossorio’s Filipino-American and gay identities in advanced detail from queer and critical race frameworks. These studies lack specific theoretical analysis around race, sexuality, and colonialism on Ossorio’s identity and his artistic communities. Through the analysis of his paintings and archival documents, this thesis argues that Ossorio’s negotiation of these intersecting minority categories is central to understanding his artistic production and his relationship to the American avant-garde. This research applies the current literature on queer theory, critical race theory, and postcolonial theory on Filipinx-American identity to Ossorio’s life and artwork. I center the work of Philippine psychologist Virgilio G. Enriquez with additions from Filipinx-American scholars Martin F. Manalansan IV, Vicente Rafael, Denise Cruz and American scholars art historian Richard Meyer and queer theorist Judith Butler when examining the artworks Untitled 1944 (1944) and Astonished Mother (1950) in the context of Surrealism and Abstract Expressionism respectively.

In the wake of the post-2000s internet and technology boom, with the nearly simultaneous introduction of smartphones, tablet, IPads, and online video streaming, another moral panic around pornography has reared its head. While much has been written about pornography from the perspective of media analysis and, more recently, ethnographic work of the industry and with performers themselves, very little work has been done with consumers. What has been undertaken, by psychologists and antiporn academics in particular, suffers an unfortunate lack of diversity in terms of how consumers are defined. That is, psychologists and antiporn academics alike appear to think only white hetero men consume porn. This research realizes its significance through the idea that porn looks and feels differently, and expresses different meanings through the historical and intersecting relations to power of a consumer, even in the young heterosexual men that antiporn feminists are so keen on using as a strawman for all porn consumption. With the help of an intersectional affects framework, I am able to articulate the manner in which pornography puts bodies in motion before the mind undertakes a hermeneutical exercise fundamentally framed by the consumer’s knowledge and subjectivity, which muddles how antiporn’s speech act approaches presume a direct propositional transmission from a pornographic object to the consumer. Moreover, a digital object of any kind becomes pornography when it is used as such (Magnus Ullén, 2013); there is no necessary or logical consequence that outside of such a context the object remains inherently or intentionally an object of pornography (Mary Mikkola, 2017). With the help of my participants, I expose the manner in which subjective and intersubjective flows of affects expose entanglements of hope, possibility, and cruelty for porn consumers qua affective subjects. This is particularly the case for those non-majoritarian subjects whose promise of sexual citizenship and/or legibility, within neoliberalism’s single-issue progress narrative and linear temporality, rests on both the transposition of illegibility and non-citizenship elsewhere, as well as the subject’s willingness to fix, label, and thereby commodify their desires as affective labor.

The requirements for a gender dysphoria diagnosis, and therefore access to medical interventions such as surgeries or hormones, reinforce a male/female binary and do not allow room for variability in how a transgender person identifies. Transgender individuals who wish to access medical interventions must reflect these regulatory requirements in order to receive a diagnosis of gender dysphoria. So what is the experience of transgender individuals who do not reflect this narrative? How do they develop identity, form community, and make decisions regarding their transition? Using feminist methodology and grounded theory methods, I conducted a research study with ten transgender-identified individuals from Phoenix, Arizona in order to address these questions. In interviews with these participants, I found that perceptions of others, normativity, and horizontal transphobia all affected how participants identity and decision-making. Further, I also found that these themes contributed to creating transgender authenticity, or the false sense that there is only one way to be truly transgender.