{"id":{"repo_id":"depaul","oai_identifier":"oai:via.library.depaul.edu:etd-1256"},"canonical_url":"https://search.dev.ndltd.org/etd/depaul/oai:via.library.depaul.edu:etd-1256","repository":{"repo_id":"depaul","name":"DePaul University","base_url":"https://via.library.depaul.edu/do/oai/"},"display":{"title":"Pauli Murray in the 1930s: portraits and post-soul eccentricity","abstract":"<p>In my thesis I follow the qualities in Murray’s life that suggest contrariety and eccentricity. In particular, I trace Murray’s performances in her portraits from the 1930s, which display her racial, gender, and sex reinvention. I illuminate these portraits as markers of Post-Soul Eccentricity to place Murray in a tradition in which her quare performance can be understood and suggest that her offbeat performances were part of her politics invested in Queer World-Making. I locate these ideas in portraits of Pauli Murray’s scrapbook viewed synchronously with her autobiography, Song in A Weary Throat: An American Pilgrimage (1987) and biographical sources.</p>","abstract_html":"&lt;p&gt;In my thesis I follow the qualities in Murray’s life that suggest contrariety and eccentricity. In particular, I trace Murray’s performances in her portraits from the 1930s, which display her racial, gender, and sex reinvention. I illuminate these portraits as markers of Post-Soul Eccentricity to place Murray in a tradition in which her quare performance can be understood and suggest that her offbeat performances were part of her politics invested in Queer World-Making. I locate these ideas in portraits of Pauli Murray’s scrapbook viewed synchronously with her autobiography, Song in A Weary Throat: An American Pilgrimage (1987) and biographical sources.&lt;/p&gt;","abstract_has_math":false,"creators":["Scriven, Sarah"],"institution":null,"degree_name":null,"degree_level":"Thesis","degree_discipline":"Women's & Gender Studies","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2018,"date_issued":"2018-06-01T07:00:00Z","date_published":"2018-06-01T07:00:00Z","updated_at":"2026-07-24T02:04:00Z","subjects":["Pauli Murray","queer world-making","African American history","black feminist intellectual history","LGBTQ history"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://via.library.depaul.edu/etd/249","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Scriven, Sarah"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2021-07-08T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Women's & Gender Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Pauli Murray","queer world-making","African American history","black feminist intellectual history","LGBTQ history"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://via.library.depaul.edu/etd/249"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["<p>In my thesis I follow the qualities in Murray’s life that suggest contrariety and eccentricity. In particular, I trace Murray’s performances in her portraits from the 1930s, which display her racial, gender, and sex reinvention. I illuminate these portraits as markers of Post-Soul Eccentricity to place Murray in a tradition in which her quare performance can be understood and suggest that her offbeat performances were part of her politics invested in Queer World-Making. I locate these ideas in portraits of Pauli Murray’s scrapbook viewed synchronously with her autobiography, Song in A Weary Throat: An American Pilgrimage (1987) and biographical sources.</p>"]},{"key":"dc:title","label":"Title","values":["Pauli Murray in the 1930s: portraits and post-soul eccentricity"]}]}],"canonical_facts":{"dc:creator":["Scriven, Sarah"],"dc:date.available":["2021-07-08T07:00:00Z"],"dc:description.abstract":["<p>In my thesis I follow the qualities in Murray’s life that suggest contrariety and eccentricity. In particular, I trace Murray’s performances in her portraits from the 1930s, which display her racial, gender, and sex reinvention. I illuminate these portraits as markers of Post-Soul Eccentricity to place Murray in a tradition in which her quare performance can be understood and suggest that her offbeat performances were part of her politics invested in Queer World-Making. I locate these ideas in portraits of Pauli Murray’s scrapbook viewed synchronously with her autobiography, Song in A Weary Throat: An American Pilgrimage (1987) and biographical sources.</p>"],"dc:identifier":["https://via.library.depaul.edu/etd/249"],"dc:subject":["Pauli Murray","queer world-making","African American history","black feminist intellectual history","LGBTQ history"],"dc:title":["Pauli Murray in the 1930s: portraits and post-soul eccentricity"],"thesis:degree_discipline":["Women's & Gender Studies"],"thesis:degree_level":["Thesis"]},"updated_at":"2026-07-24T02:04:00Z"}