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Horne, Victoria. "History of feminist art history : remaking a discipline and its institutions." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.
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Recognising art’s crucial function for reproducing economic and sexual differences, feminist political interventions - alongside a range of ‘new’ critical perspectives including Marxism, psychoanalysis and poststructuralism - have wrought historic changes upon the production, circulation and consumption of art. This is widely acknowledged in art historical scholarship. However, understanding that ‘art history’ (as a historically conditioned discipline) is concurrently reproductive of these ideological and material inequalities, feminist scholars have significantly and continually sought to intervene at the point of production – the writing of art’s history – to expose its social role and remake the fundamental terms of the discipline. This is a truth less widely acknowledged or, at least, less well-understood within contemporary scholarship. This thesis, therefore, seeks to examine the discipline of art history in Anglo- American contexts to assess the impact that feminist models of scholarship have had upon its knowledges and practices. This is attained through extensive literature overviews, archival research and, to a lesser extent, email interviews with key contributors to the discourse. Ultimately, this examination endeavours to address the production and regulation of feminist knowledge across a number of expanded (and interconnected) institutional sites. Case studies track the impact of feminist strategies upon the authoring of art history in the classroom, within scholarly professional organisations, academic publishing, the museum sector, and upon art-making itself. The research evaluates the mutable power structures of the discipline, how feminist interventions have had success in rethinking the limits of institutional knowledge, and how it may be possible to articulate critique under twenty-first-century conditions of institutional complicity and the hegemonic recuperation (or indeed ‘disciplining’) of radical practices. To date – and despite its prominence within much feminist writing - the importance of art historiography for the feminist political project has not been properly examined; the aim of this thesis is therefore to redress this omission and provide a timely and comprehensive critical reading of feminist knowledge production since around 1970.
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Kim, Bomyung, and Bomyung Kim. "Spatiotemporal Politics of Postwar U.S. "Feminist History": Manifestos, Histories, and Post-Feminisms." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621868.
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This dissertation examines postwar U.S. feminist narrative practices of "making," writing, and sustaining "feminist history" and their spatiotemporal figuration of the subject of "women of color." In so doing, I attend to three discursive genres of postwar U.S. "feminist history": manifestos of postwar U.S. women's movements, histories of postwar U.S. women's movements, and the discourse of "post-feminism." The term "feminist history," in this sense, relates to the various ways that postwar U.S. feminists theorized women's liberation (manifestos), historicized the past of postwar U.S. women's movements (histories), and countered the putative "end" of postwar U.S. feminism (post-feminism). First, I argue that manifestos and histories of postwar U.S. women's movements as well as the discourse of "post-feminism" commonly utilized narrative form of discourse within which spatiotemporal imagination of "feminist history" articulate. Second, I point to the spatiotemporal figuration of racial others within these postwar U.S. feminist narratives of "feminist history." Third, I question the political implication of the spatial mobility of "women of color" which is increasingly seized by the late-modern spatiotemporal politics of multiculturalism.
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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.
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VanNewkirk, Robbin Hillary. "Third Wave Feminist History and the Politics of Being Visible and Being Real." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/wsi_theses/1.
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This project works to illuminate some of the main theoretical claims that writers of the third wave make in order to understand these claims as rhetorical devices used to make themselves visible and real. Being visible is a common theme in third wave texts and realness is a site that is both contested and embraced. Being Visible and being real work together to situate third wave actors in a U.S. feminist continuum that is sprinkled with contradiction and ambiguity. This thesis will examine the contextual development of third wave feminism, and then using examples of realness and visibility in the three third wave anthologies, Being Real, Third Wave Agenda, and Catching a Wave, this thesis will interrogate at the rhetorical significance of those themes.
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Stephens, Toni. "Women and substance use a feminist perspective /." Phd thesis, Australia : Macquarie University, 1995. http://hdl.handle.net/1959.14/82702.
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"July 1994".<br>Thesis (PhD) -- Macquarie University, School of History, Philosophy and Politics, 1995.<br>Bibliography: leaves 400-462.<br>Women and substance use. An introduction -- Women and substance use from a different perspective. Feminist theory and methodology -- 'Fallen angels and moral heroines'. The historical construction of women and substance use -- 'When the normal is pathological and the pathological is normal'. Psychological explanations of women and substance use -- 'A foot in both camps'. Psychosocial explanations of women and substance use -- 'Violence as symptom and cause'. The role of substance use in the social control of women -- 'Breaking all the rules'. Legal responses to women and drugs-related crime -- 'When liberation is no liability'. Women as consumer targets -- 'A nice girl like you'. Women and substance use treatment -- Conclusion -- Bibliography.<br>In Australia today, as in many other comparable societies, women's use of alcohol and other legal drugs is not circumscribed as it has been in the past. On the face of it, this suggests that there has been a major shift in social attitudes towards use of certain substances by women in line with changes to women's social position that occurred in the last few decades. Despite these changes, however, or perhaps because of them, women's use of alcohol and other drugs still attracts different attitudes and social responses when compared to similar behaviour in men. -- The objective of this research is to investigate the reasons why women's substance use behaviour is viewed differently from that of men's, how this has come about, why it is so culturally pervasive, and what are the effects for women. It has involved exploring how the meanings attached to women's use of certain chemical substances have been socially and historically constructed through scientific discourse, and how these meanings continue to be reproduced, reinforced and legitimated within other interlocking discourses. They are reflected too in cultural images as well as in popular attitudes, held by both women and men. -- The research has been undertaken using a 'woman-centred' approach, within the framework of feminist analysis. Such approach provides an alternative way of understanding women's experience with substance use.<br>Mode of access: World Wide Web.<br>[9], 462 leaves
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Wallace, Aurora. "Of shadowboxing and straw-women : postfeminist texts and contexts." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26354.
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This thesis is a discursive and historical analysis of the concept and usage of 'postfeminism' in contemporary feminist debates. The importance of the vocabulary used to frame these debates is demonstrated through a survey of popular feminist discourses in the 1920s, and the circulation of the term 'postfeminism' in 1980s and 1990s mainstream and feminist media, academic journals, and bestselling books. Foremost among these contexts are mainstream newspaper and magazine articles in which postfeminism is used as a descriptive term applied to trends in fashion, television and film. Through an investigation of the texts and contexts in which post feminism is used, associations to generational disparity, antifeminism, the 'death of feminism,' commercialism, and other 'post-' discourses such as postmodernism, will be illustrated. In the process, it will be demonstrated that feminism, as it is represented through discourses of postfeminism, resides in an area of cultural criticism which straddles the spheres of the academic and the popular.
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Prescott, Sarah Helen. "Feminist literary history and British women novelists of the 1720s." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361324.
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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.
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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Ayala, Rebecca. "A Path Towards Visibility: Chicana Feminist Organizing During the 1970s." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1945.
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During the late 1960s and early 1970s, Chicanas gradually began to politically organize. Through a significant focus on the political life of Francisca Flores and the CFMN, this thesis analyzes the specific political organizing tools she and other Chicana feminist leaders used during the decade between 1970 and 1980. Rather than evaluate the success or failure of the organizations, it instead examines the political methods they used including individual leadership, coalition building, community engagement, and art. It attempts to demonstrate that prominent Chicana feminist activists such as Flores, NietoGomez of Las Hijas de Cuauhtémoc and later Encuentro Femenil, former Brown Beret Gloria Arellanes, and Los Angeles based artist Judy Baca all used these methods in specific ways in order to promote the visibility of Chicana feminism and their communities, which has had an enduring legacy for the movement. Through a comparative analysis of these methods, this thesis illustrates how each of these figures and organizations developed a Chicana feminist movement that balanced grassroots and national organizing with a conscious commitment to visibility of community, rooted in intersectional theory.
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Zdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.
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<p> Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot’s paintings and applied feminist theory, including third-wave feminism (post-1960’s). My research was angled to approach and understand Morisot’s artwork as a contemporary woman would at an exhibition.</p>
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Todd, Susan Gayle. "MacBird! : a history and feminist critique of Barbara Garson's radical play /." View full text online, 2009. http://repositories.lib.utexas.edu/bitstream/handle/2152/6616/todds99780.pdf.
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Hopkins, Julie Marina. "The understanding of history in English-speaking western Christian-feminist theology." Thesis, University of Bristol, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280049.
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Lincicum, Shirley J. "The American Public Library Building : A Social History and Feminist Critique." Oberlin College Honors Theses / OhioLINK, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1379332068.
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Winter, Regina Beth 1945. "An integrative model for a discipline based feminist history of art." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276708.
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This thesis establishes guidelines and develops art historical instructional materials that answer requirements of discipline-based and feminist art education. Recent literature on the theoretical bases and curricular applications of DBAE,and feminist writings in art education and art history serve as conceptual sources for developing an integrative art historical model. This study applies this model to develop a variety of high school level instruction materials based on the lives of 19th century American neoclassical women sculptors. These materials contain biographies, sources of reproductions, and an analysis of these artists' particular positions as women, and as artists, in nineteenth century America. The last chapter provides information and suggestions for teachers on how to use the materials in a discipline based context. This kind of integrative approach can serve to broaden our understandings and experiences of the visual arts so that they are more truly representative of all humankind.
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Newton, Anne M. "Mother Knows Better: The Donna Reed Show, The Feminine Mystique and the Rise of the Modern Maternal Feminist Movement." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5458.
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In 1958, actress Donna Reed formed her own production company to create The Donna Reed Show, which ran successfully until 1966. One of only two female television producers working in Hollywood, Reed’s show foreshadowed much of the discontent illustrated in Betty Friedan’s The Feminine Mystique. The series explored Donna’s frustrations with housework, her interest in professional activities outside the home, and her determination to be an equal in her marriage. However, The Donna Reed Show also diverged from Friedan on key issues by elevating the housewife and establishing her moral authority, thus foreshadowing more conservative “maternal” feminism as identified by Christina Hoff Sommers. The Donna Reed Show has been falsely grouped with other family sit-coms as conformist and has been largely overlooked for its contributions to the feminist movement by scholars, when in fact Reed created the most complex mother character on television at the time.
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Barriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.
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<p> Feminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: “How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?” Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.</p>
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Zdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.
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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.
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Yount, Lisa Michelle. "Remembrance, representation and feminism : toward a politics of memorial curation /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192184061&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2006.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 169-176). Also available for download via the World Wide Web; free to University of Oregon users.
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Sutton, Summer. "Entangled Bodies: Tracing the Marks of History in Contemporary Science Fiction." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5421.
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Chapter one, “Narrating Entanglement: Posthuman Agency and Subjectivity in Shane Carruth’s Filmography,” considers the resonances of independent filmmaker Shane Carruth’s two SF films, Primer (2004) and Upstream Color (2013) with the ethos of quantum entanglement through close-readings of Primer’s anti-individualistic portrayal of scientific invention and Upstream Color’s metaphorically entangled human-pig character system. Chapter two, “Race and Schrödingers’s Legacy: History is Both Alive and Dead in Hari Kunzru’s White Tears” analyzes the 2017 novel White Tears as a narrative figuration of of the political, racial, and cultural entanglements set in motion by the economic structure of slavery, ultimately arguing that Kunzru’s entangled plotlines and histories critique the entanglement of contemporary U.S. capitalism with its past and present exploitation of black bodies. The third and final chapter, “Problem Child: Untangling the Reproduction Narrative in Lai and Phang’s SF Bildungsromans” uses close readings of two SF bildungsromans, Larissa Lai’s 2002 novel Salt Fish Girl and Jennifer Phang’s 2015 film Advantageous, both of which follow women of color protagonists not permitted to grow up in the ‘right’ ways, to shed light on the instability of a social order simultaneously grounded in the exploitation of marginalized bodies and the illusion of a reproducible, homogenous nation. Ultimately, “Entangled Bodies” uses a literary exploration of quantum entanglement to reveal both the limits of seemingly-totalizing power structures, narrative or otherwise, and the collective possibilities for re-definition that can, in part, be kindled by a favored tool of Western science: the human imagination.
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Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.
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Quilter, Julia 1970. "Re-inventing rape : an analysis of legal, medical, feminist and governmental discourses." Monash University, Dept. of Literary, Visual and Cultural Studies, 1999. http://arrow.monash.edu.au/hdl/1959.1/8572.
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Browne, Victoria. "Feminist historiography and the reconceptualisation of historical time." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/9297/.
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This thesis conducts a reconceptualisation of historical time as a means of reorienting feminist historiography and changing the ways that we construct and approach histories of feminism. Various feminist theorists have argued that feminist theory requires a multilinear, multidirectional model of historical time, to enable productive encounters and exchanges between past and present feminisms, and account for the coexistence of parallel, intersecting feminist trajectories. This is particularly crucial in light of the continuing dominance of the phasic ‘wave’ model of feminist history, which is bound to notions of linear succession and teleological progress, and severely curtails the ways in which diverse feminist histories can be mapped, understood and related to one another. However, whilst alternative, multilinear, multidirectional notions of historical time have been mooted, there is rarely any clarity or elaboration on what exactly what this might mean or how it might work. This, I suggest, is because ‘historical time’ is itself an under-investigated and under-articulated concept. My contribution in this thesis, therefore, is to offer a detailed study of historical time, which makes sense of the idea that historical time is multilinear and multidirectional. In the course of this investigation, I develop a ‘polytemporal’ model of historical time, arguing that historical time is generated through a mix of different temporalities and fields of time, including the ‘time of the trace’, ‘narrative time’, ‘calendar time’ and ‘generational time’. Analysing each of these ‘times’ in turn, the thesis offers a thorough and internally complex account of historical time, demonstrating how thinking history ‘polytemporally’ can work, and how historical time can be understood as multilinear and multidirectional. Further, it offers concrete suggestions as to how this reconceptualised model can translate into a more nuanced and effective feminist historiographical practice, which opens up conversations between past and present feminisms in order to positively transform our presents and futures.
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Fraser, Jennifer A. "Claims-Making in Context: Forty Years of Canadian Feminist Activism on Violence Against Women." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30651.
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Feminist activism has a rich history in Canada, but mobilization on the issue of violence against women specifically gained considerable momentum during what is often referred to as the “second wave” of the feminist movement. Since this time, the Canadian provinces of Ontario and Quebec have seen a proliferation of both grassroots and public policy responses to intimate partner violence and sexual violence. This study is an effort to construct a feminist history of the activism that occurred between 1970 and 2010, as well as to make sense of feminist claims-making strategies using a social constructionist approach to social problems and to make sense of feminist activism as a social movement using social movement impact theory. In constructing a feminist history, documents from the Canadian Women’s Movement Archives were consulted and interviews with current and former feminist activists were conducted. The historical component of this study focuses on how feminist activists first recognized and responded to the problem of violence against women.
This analysis suggests that throughout the last forty years, feminist activists have engaged in a multi-pronged project of providing feminist services for victims of intimate partner and sexual violence, advocating for social and legal change as the “official” response to violence against women, and conducting their own research on the extent and nature of violence against women. Various strategies were used in this process, including forming partnerships and coalitions, but activists also faced challenges from within and outside the movement, including internal debates, struggles to fit in, and backlash from counter movements. The final chapter discusses how the history of feminist activism on violence against woman cannot easily fit into strict constructionist approach to understanding social problems and, as a social movement, is difficult to evaluate given the myriad goals, mechanisms for reaching those goals, and interpretations of success associated with the movement. Future research directions are also suggested, including looking at evidence of claims-making from other sources; bridging the gap, theoretically and pragmatically, between the “mainstream” feminist movement and other streams of women’s activism; and, more conceptual work on feminist movements and the separation between intimate partner and sexual violence.
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Rushing, Jenny. "Jessie Ackerman, 'The Original World Citizen': Temperance Leader, Suffrage Pioneer, Feminist, Humanitarian." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0716103-141354/unrestricted/RushingJ073103f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2003.<br>Title from electronic submission form. ETSU ETD database URN: etd-0716103-141354. Includes bibliographical references. Also available via Internet at the UMI web site.
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Crabb, Dawn Nora. "Navigating the Wreck: Writing women’s experience of the Japanese Occupation of Singapore. Salvaged from the Wreck: A novel -and- Diving into the Wreck: A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2416.
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This thesis is in two parts. The first and major part consists of a historical novel followed, in part two, by an essay. The title of this thesis, “Navigating the Wreck”, refers metaphorically to the Fall of Singapore in 1942, the ensuing human tragedy unleashed on the people of Singapore and Malaya, and the literary and historical processes of exploring, interpreting and depicting the past. The Japanese occupation of Singapore has, to date, been described mostly by Western historians and former prisoners of war who have forged a predominant patriarchal narrative. In that narrative—despite the all-encompassing nature of the occupation and the cataclysmic effect it had on civilians—women are virtually invisible.
The objective of this thesis is to privilege women’s experiences by ethically gathering, analysing and re-imagining the accounts of a group of women of different ethnic and cultural backgrounds—Chinese, Indian, Malay, Eurasian—who lived through the occupation, using historical fiction to engage as broad a readership as possible. As well as literary praxis, research centres on analysis of relevant literature, including eight ethnically diverse published female memoirs and eleven women’s oral histories held by the National Archive of Singapore.
The essay discusses the artefact-centred, pragmatic and self-reflexive bricolage approach of this thesis, its feminist and phenomenological framework and my ethical responsibility and outsider authorial position as a white Australian woman reliant on local witness accounts. Feminist concerns addressed in the thesis are invisibility, plurality and intersectionality and I adopt a critical feminist phenomenology based on five aspects of Simone de Beauvoir’s The Second Sex to discuss the aims and the research and writing processes of the thesis.
Working within that framework, I summarised and categorised female oral interview data from audio and written transcripts enabling comparison of each woman’s individual experience of the war and the effects that the occupation had on each woman’s life situation, revealing a diverse set of experiences, some of which influenced my literary choices. By immersing myself in the particular remembered experiences of each of the female interviewees and considering their stories against the tapestry of my own extensive lived experience of the physical, cultural and social world of Singapore, as well as an in-depth investigation of other historical data and male and female written memoirs, I identified gaps and silences that needed to be addressed. These include the strategic household, wage earning, food-supplying and charitable role that women played in the dangerous and difficult situation of the occupation as well as the ignored or marginalised active participation of women in Singapore’s pre-war anti-colonial communist movements, support for and armed participation in anti-Japanese activities in China as well as the jungle-based guerrilla militias in Malaya, and the urban anti-Japanese underground in Singapore.
The essay weaves the creative thinking and practical processes of researching and writing the novel through discussion of practice, literature, theory, methodology and craft, retrieving and exposing what is usually submerged in the creative process to indicate a matrix of production.
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Hamm, Jean Shepherd. "We Can't Die Without Letting Them Know We Were There: Oral Histories of Konnarock Training School Alumnae and Faculty." Diss., Virginia Tech, 2003. http://hdl.handle.net/10919/27358.
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From 1924-1959, the United Lutheran Church of America operated a girls" boarding school in Southwest Virginia. When Konnarock Training School opened, there were few educational opportunities in the isolated mountains, especially for girls. Students from five states came to Konnarock, with some receiving eleven years of education there. Konnarock Training School recruited faculty from throughout the United States and at least one teacher from Europe. These individuals lived in the Virginia mountains, taught academic classes, and engaged in extensive community outreach. A unique level of cooperation existed among church, public schools systems, and government agencies during the school's existence.
The mission of Konnarock Training School was to help women reach their potential and to become leaders in their families, their church, and their communities. Students were taught, by example and by word, that they had a place in the church, that women did not have to accept prevailing social and economic circumstances, and that they could make decisions about their own lives. The day-to-day examples given to the students became a scaffold for social change; KTS encouraged the women to become authors of their own lives.
This research is essentially a case study using a feminist oral history methodology. A total of twenty-three interviews with eight women alumnae and faculty of KTS provides the basis for the study. Interviews were transcribed and analyzed using the constant comparative method. In addition, extensive archival material provided data for analysis.
The central argument presented is that KTS was a community embodying both Christian and feminist ideals, one that looked toward the vision of a just, equitable world but that persisted in the real and imperfect world. Overlapping themes leading to a view of the school as an example of feminist theology in practice are Family and Friends, Community, Identity, A Tradition of Leadership, and An Eschatological Focus. The role that memory plays in the telling of one's oral history is also considered.<br>Ed. D.
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Roome, Patricia Anne. "Henrietta Muir Edwards, the journey of a Canadian feminist." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq24346.pdf.
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Katona, Leah Andrea. "The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill Films." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/2759.
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For the purpose of this thesis, the main focus of the feminist rhetorical criticism method was specifically linked to gender-related power inequities. This method was especially appropriate for the analysis of how film violence is used as a feminist rhetorical strategy in the Kill Bill films. This thesis is more closely aligned with challenging rhetorical standards as it sought to identify feminist counter positions of rhetoric in film violence.
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Lawrence, Anne. "Feminist Design Methodology: Considering the Case of Maria Kipp." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc5538/.
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This thesis uses the work and career of the textile designer Maria Kipp to stage a prolegomena concerning how to write about a female designer active during the middle of the twentieth century. How can design historians incorporate new methodologies in the writing of design history? This thesis explores the current literature of feminist design history for solutions to the potential problems of the traditional biography and applies these to the work and career of Kipp. It generates questions concerning the application of methodologies, specifically looking at a biographical methodology and new methodologies proposed by feminist design historians. Feminist writers encourage scholarship on unknown designers, while also they call for a different kind of writing and methodology. The goal of this thesis is to examine how these new histories are written and in what ways they might inspire the writing of Kipp into design history.
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Nugent, Lynn Louise. "The search for the goddess, an analysis and critique of feminist Wiccan goddess history." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ34904.pdf.
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Plowman, Nicola Streeten. "A cultural history of feminist cartoons and comics in Britain from 1970 to 2010." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/70775/.
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Cheng, Huei-Chun. "A life history study of Taiwanese female teachers' identities from a poststructural feminist perspective." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610081.
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Nugent, Lynn Louise. "The search for the goddess : an analysis and critique of feminist Wiccan goddess history /." Ann Arbor (Mich.) : UMI, 1999. http://catalogue.bnf.fr/ark:/12148/cb376334793.
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Niles, Krista Joy. "An Arranged Deconstruction: The Feminist Art Practice of Louise Lawler." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/565894.
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The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler's work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler's dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images that "document" art objects in situ. She has made her art in all the places in which artworks circulate or are displayed, be it the curated spaces of museums, an auction house or a private house, well-lit gallery show room walls or crowded and dark storage rooms. Throughout her forty-year career Lawler has worked to disrupt the patriarchy of the art world by drawing attention to philosophies of display and exhibition. She has shown us what is not on display within art systems by consistently showing us what is on display. She has refused to comply with systems or organization, crafting textual interventions that disrupt the linguistics of wall labels and titles of artworks. She has fragmented and dislocated the authorship of artists to their works, and she has appropriated curatorial practices to claim both the physical spaces of display and gain control of what objects are deemed valuable enough to be shown there. Lawler's work has consistently interrupted normative practices of art institutions, effectively disrupting the patriarchy inherent within the systems and structures to define art.
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Tauchert, Ashley. "Mary Wollstonecraft in her time and our time." Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264200.
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Donovan, Kathleen McNerney. "Coming to voice: Native American literature and feminist theory." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186769.
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This dissertation argues that numerous parallels exist between Native American literature, especially that by women, and contemporary feminist literary and cultural theories, as both seek to undermine the hierarchy of voice: who can speak? what can be said? when? how? under what conditions? After the ideas find voice, what action is permitted to women? All of these factors influence what African American cultural theorist bell hooks terms the revolutionary gesture of "coming to voice." These essays explore the ways Native American women have voiced their lives through the oral tradition and through writing. For Native American women of mixed blood, the crucial search for identity and voice must frequently be conducted in the language of the colonizer, English, and in concert with a concern for community and landscape. Among the topics addressed in the study are (1) the negotiation of identity of those who must act in more than one culture; (2) ethnocentrism in ethnographic reports of tribal women's lives; (3) misogyny in a "canonical" Native American text; (4) the ethics of intercultural literary collaboration; (5) commonality in inter-cultural texts; and (6) transformation through rejection of Western privileging of opposition, polarity, and hierarchy.
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Bly, Elizabeth Ann. "Generation X and the Invention of a Third Feminist Wave." Cleveland, Ohio : Case Western Reserve University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1259803398.
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Thesis (Ph. D.)--Case Western Reserve University, 2010.<br>Title from PDF (viewed 2009-12-30). Department of History. Includes abstract. Includes bibliographical references and appendices. Available online via the OhioLINK ETD Center.
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Pomerleau, Catherine A. "Among and between women: Califia Community, grassroots feminist education, and the politics of difference, 1975-1987." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280736.
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This dissertation assesses a Los Angeles-based feminist educational alternative called Califia Community in the context of a cultural war between Second Wave feminists and members of the New Right. Analysis of oral histories with thirty-two participants (narrators) is supported by archival sources and narrators' personal files to historicize U.S. divisions over cultural mores and to shed light on the diversity and tactics among Second Wave feminists. In contrast to foundational scholarship, a reevaluation of National Organization for Women sources in association with California participants' actions and writings clarifies that the lesbian-straight split continued to divide the movement well into the 1980s and that the role of eastern leadership in feminism has been overstated. Califia Community demonstrates that lesbian feminists engaged in a complex attempt to combat multiple oppressions and to address the whole person in relation to society. Califia's diversity of attendees and education on sexism, homophobia, racism, and class bias reveals that a grassroots group could sustain heterogeneity but that identity-based politics exacerbated problems.
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Long, Catherine. "A feminist dialogue with the camera : strategies of visibility in video art practices." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12060/.
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This is a practice–based PhD that seeks to contest limited and reductive tropes of female representation in a contemporary Western context. The focus of the thesis is on video art, which, I argue, can be both a radical tool for deconstructing dominant mainstream images of femininity and play a role in developing progressive re–presentations of female subjectivities. This thesis argues that there is a need to revisit feminist artworks from the 1970s and 1980s, the critical potential of which remains under–examined. Video as an artistic medium emerged during the late 1960s to 1980s over the same period that the women’s liberation movement gained momentum and achieved historic societal and legislative change in the West. Women artists used the medium of video as a means to contest the representational economy of traditional gender roles that placed a broad array of limitations upon women. The camera apparatus allowed women to control the production of their own image, articulate their subjective experiences and directly address the spectator. The re–imaging of female subjectivities progressed by feminist artists was, however, largely halted by the backlash against feminism in the 1990s. The issues raised by feminism, particularly in relation to female representation, therefore remain unresolved. This thesis argues that artistic strategies deployed by feminist artists in the 1970s and 1980s, underpinned by the radical principle ‘the personal is political’, which emerged in the 1970s, are still useful today. Through in depth analysis of selected video works from the 1970s onwards as well as reflection on my own art practice research, this thesis investigates how formal strategies employed by feminist artists can operate to undermine the status quo of hegemonic gender representations and to propose new potentialities of female subjectivities and gender identities.
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Bailey, Judith Anne Bledsoe. ""Strength for the Journey": Feminist Theology and Baptist Women Pastors." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539623641.
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This dissertation grows out of an interest in the women who are pastors in formerly Southern Baptist churches. Because they continue to face opposition to their role as pastors I wanted to know the sources of their strength and determination. Specifically, how did feminism and feminist theology influence their decision to be pastors and their continuing ministry?;I interviewed twenty woman pastors in five different states representing two generations of pastors. These women are among the very few who grew up in Southern Baptist churches and are now pastors, since the Southern Baptist denomination has officially banned women from the pulpit since 1984. I found that their experience of call was nurtured in the church and their plans for ministry were encouraged until the plans included being pastors of churches. Faced with opposition, the women claimed their calling, joined networks of support and turned to feminist theology for alternative biblical interpretations, validation of their role as ecclesial leaders, and inspiration for non-hierarchical models of theology and ministry. These pastors embody feminist theology.;This dissertation explores Southern resistance to evangelicalism, the gendered and racial dynamics in the formation of the Southern Baptist Convention, as well as the post World War II changes wrought by the civil rights, women's movement and women's ordination movements; documents the ways Baptist women employed feminist theory and theology to counter the backlash and Southern Baptist controversy of the 1980s; and relates these women pastors' narratives of call, ordination and ministry.
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James, Sarah J. "Not without my body : feminist science fiction and embodied futures." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14613.
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This study explores the interaction between feminist science fiction and feminist theory, focusing on the body and embodiment. Specifically, it aims to demonstrate that feminist science fiction novels of the 1990s offer an excellent platform for exploring the critical theories of the body put forward by Judith Butler in particular, and other feminist/queer theorists in general. The thesis opens with a brief history of science fiction's depiction of the body and feminist science fiction's subversions and rewritings of this, as well as an overview of Judith Butler's theories relating to the body and embodiment. It then considers a wide range of feminist science fiction novels from the 1990s, focusing on four key areas; bodies materialised outside patriarchal systems in women-only or women-ruled worlds, alien bodies, cyborg bodies and bodies in cyberspace. An in-depth analysis of the selected texts reveals that they have important contributions to make to the consideration of bodies as they develop and expand the issues raised by theorists such as Butler, Elisabeth Grosz, Luce Irigaray and Julia Kristeva.
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Ballard, Catherine Alison. "Can't Be Tamed: A Feminist Analysis of Apocrypha and Other Scripture." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/104.
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This paper is my own unique feminist analysis of certain apocryphal texts. Though the texts I use have common themes, they are divided into what I consider the three most societally important aspects of an ancient woman’s identity: virgin, mother, and whore. The Acts of Thecla and The Acts of Xanthippe and Polyxena deal with virginity. II Maccabees, The Martyrdom of Perpetua and Felicitas, and select chapters of Augustine’s Confessions represent motherhood. Finally, the hagiographies Life of Pelagia and Life of Mary navigate through the mire of sexualities that deviate from norms.
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Delchamps, Vivian. "“Of the Woman First of All”: Walt Whitman and Women's Literary History." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/420.
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This thesis contemplates Walt Whitman's role in the lives of 19th and 20th century women writers and his significance to early American feminism. I consider the ways women inspired him to develop pro-feminist ideas about maternity, womanhood, and female liberation.
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Tolley, Rebecca. "Journal of Women’s History." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5600.
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The third revised edition (2004) of Annotations, the Alternative Press Center's Guide to the Independent and Critical Press edited by the staff of the Alternative Press Center in collaboration with Marie Jones, M.L.S. is available. Foreword by Robert McChesney.
This companion to the Alternative Press Index has been dubbed by librarian Sandy Berman as "the best single way to make the Library Bill of Rights real: providing access to the myriad opinions, movements, and activities that the orthodox, conventional media either distort or ignore." This expanded third edition of Annotations surveys 385 periodicals of the Left from around the world and provides detailed descriptions of content, history, noted contributors, contact information, guidelines for writers and detailed statistics for each publication.
Entries are accompanied by concise, insightful annotations that fill out the history, ideology, content, and unique features of each of these important periodicals.
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Schaaf, Meggin L. "Women and the Men Who Oppress Them: Ideologies and Protests of Redstockings, New York Radical Feminists, and Cell 16." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2142.
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The American civil rights movement created a ready environment in which exploited people protested their social status and demanded change. Among the forefront, women contended against their male oppressors and demanded autonomy. Ultimately, however, women disagreed amongst themselves regarding the severity of their oppression and the ideal route to implement change. Thereafter, radical feminism became a strong force within the women's liberation movement. Group members denied that capitalism oppressed women, and countered that women's status as a sex-class remained the essential component in their subjugation. To obtain true freedom, women had to reject the deeply ingrained social expectations. As radical feminists, Redstockings, New York Radical Feminists, and Cell 16 shared the goal of female freedom, but the process of acquiring freedom remained unique to each group. Nevertheless, although they focused on distinct issues, they each identified men as the source of female oppression and offered legitimate alternatives to social expectations.
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Leland, Jennie. "The Phoenix Always Rises: The Evolution of Superheroines in Feminist Culture." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/LelandJ2007.pdf.
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Jones, Claire. "An Intersectional Feminist Perspective of Emmett Till in Young Adult Literature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3413.
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Emmett Till’s murder inspired many novelists, poets, and artists. Recently, Till has inspired several feminist young adult novelists who are introducing his case in an intersectional way to a new generation of readers. The works that I have studied are A Wreath for Emmett Till (2003) by Marilyn Nelson, The Hunger Games Trilogy (2008-2010) by Suzanne Collins, and Midnight without a Moon (2017) by Linda Jackson. By examining how the authors employ a feminist perspective, readers can understand how they are striving for a more inclusive, intersectional feminist movement. This is significant because the publishing industry, specifically for Young Adult Literature, is not diverse. These works, while often overlooked by critics, may be the first exposure most young readers have to Emmett Till. Each of these novels could be used to teach readers not only about Till’s case, but also about current events to help foster a multicultural consciousness.
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McKay, Ailsa. "Arguing for a citizens basic income : a contribution from a feminist economics perspective." Thesis, University of Nottingham, 2000. http://eprints.nottingham.ac.uk/12283/.
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Current debates concerning the future of social security provision in advanced capitalist states have raised a citizens‟ basic income (CBI) as a possible reform package. The proposal is based on the principles of individuality, universality and unconditionality and ensures a minimum income guarantee for all members of society. Implementing a CBI, thus, entails radical reform of existing patterns of welfare delivery and would bring into question the institutionalized relationship between work and welfare, upon which modern welfare states are premised. It follows that the practice of arguing for a CBI has tended to concentrate on issues regarding the role of the state in providing income security for all citizens and, in particular, to issues pertaining to the world of paid work. However such a concentration indicates bias in the approach to study and serves to confine the welfare reform agenda. The purpose of this thesis is to make a positive contribution to the CBI literature by examining the proposal from a feminist economics perspective. It is argued that a CBI has the potential to promote equal rights of freedom for men and women and provides the basis for the development and sustainability of new and liberating patterns of working and living. However, this particular aspect of the proposal will never be fully considered as long as the analytical framework employed is dominated by an adherence to neo-classical economic theory. Embracing a feminist economics perspective allows for the identification of the androcentric bias inherent within the neo-classical construct and further provides an alternative methodological approach that serves to open up the debate to incorporate a more realistic vision of the nature of modern socio-economic relationships.
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Rivers, Nicola. "Beyond the boundaries : exploring diversity within contemporary feminist thought." Thesis, University of Gloucestershire, 2014. http://eprints.glos.ac.uk/2458/.
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At a time of heightened awareness and public interest, post-9/11, with increased concerns surrounding the ‘other’ and pronouncements of the ‘death of multiculturalism,’ this thesis stresses the renewed relevance of cross-cultural feminist discussions. I examine a broad range of sources to show how the rhetoric of feminism is being co-opted to support the promotion of an ‘us’ and ‘them’ perspective, particularly in the media. By returning to well established feminist debates on difference, and the importance of adopting an intersectional position in order to avoid suggesting a singular experience of oppression based solely on gender, I argue for an intergenerational approach to current issues affecting feminism as we move into the fourth wave. Providing an original contribution, both by applying existing theory to highly contemporary debates, and by exploring the possibilities (and pitfalls) offered by online media to fourth wave feminism, I claim that the co-opting of a feminist position in an attempt to shore up national identity and discredit multiculturalism, has, in fact, created a resurgence of interest in feminism, but without a foundational understanding. Taking the opportunity provided by this resurgence of interest to critically examine Western feminism through current debates surrounding FGC, ‘honour’-based violence and veiling, offers a lens through which to explore assumptions of the ‘post-feminist’ West, and emphasize the renewed importance of engaging with the ‘other’ in feminist discussions. Globalization and multiculturalism, as well as the global communities forged on the internet, increasingly offer ‘insider voices’ whilst simultaneously questioning the myth of a pure ‘other,’ or a universal feminism. By looking back on previous debates and ‘waves,’ this thesis advocates the need to think across the boundaries of generations, as well as cultures, suggesting that an intergenerational and cross-cultural approach is key to moving discussions forward with the arrival of feminism’s fourth wave.
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Haley, Jennifer M. "Encomium, agency, and subversion : the feminist recovery of baby books as women's domestic rhetoric." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1370879.
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In this dissertation I conduct a feminist recovery of the baby book as one kind of ordinary women's domestic rhetoric. I analyze the ways in which the baby book's evolution reflects changes in cultural practices over time and the means by which the baby book constitutes acts of potentially subversive agency in its power to resist patriarchal structuring. I classify the baby book within the ancient rhetorical genre of encomium, allowing us to perceive how a culture, situated in time and place, values the perception and presentation of an infant and the culturally-assigned role of the mother in the formation of that presentation. The genre of encomium must be redefined as an ongoing, dynamic, adaptive genre.I conduct an interpretation of more than the mere artifact, but of the production and experience of that artifact as well. Thus, this study establishes a unique and significant role for a de-reading methodology as a viable introduction and theoretical foundation to approaching domestic texts, involving self figuration on the part of the researcher and an empathic approach to reading that privileges a loving, appreciative standpoint.My analysis of over fifty baby books from 1885 through 2007 reveals that the role of the baby books and the role of the mother are assigned, to a great extent, by the definition of "family" and shaped by socioeconomic forces. Mothers subvert or comply with the directives from the publishers, thereby implying rejection of or compliance with the maternal script through such strategies as appropriation of space, inclusion of artifacts, and omission. This discovery expands our notion of agency in terms of the power of form, the role of the audience, and the connections to material and symbolic cultural context.My research establishes a line of inquiry into the material practices of production and simultaneously brings into view an array of texts that have been outside the conventional purview of rhetorical scholarship. For those who want to recover women's rhetoric and to extend an understanding of rhetorical praxis, baby books are a valuable primary and, until now, untapped source, as well as a "new" type of rhetorical evidence.<br>Department of English