Relevant bibliographies by topics / Women in American art / Dissertations / Theses
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Dissertations / Theses on the topic 'Women in American art'

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Published: 4 June 2021
Last updated: 14 February 2022

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1

Moham, Carren D. "The contributions of four African-American women composers to American art song." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250881412.

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2

Moham, Carren Denise. "The contributions of four African-American women composers to American art song /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945015618126.

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3

Long, Jessica X. "She Inked! Women in American Tattoo Culture." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1588796599281498.

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4

McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.

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Thesis (Ph. D.)--North Texas State University, 1986.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
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5

Xue, Grace H. "Space Between: Asian-American Women Identity, Culture and Contemporary Art." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/765.

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An exploration and analysis on the connections between identity, culture and contemporary art. A number of critical race theories are examined as possible constructions of Asian-American women identities. This paper seeks to understand how Asian-American women reconcile with these strivings and limitations and how they maintain their native racial identities despite their conflicting desire to conform to the mainstream culture. This paper also examines two contemporary women artists who promote a dialogue regarding transcultural identities.
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6

Hood, Yolanda. "African American quilt culture : an afrocentric feminist analysis of African American art quilts in the Midwest /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974639.

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7

Hargro, Brina. "Hair Matters: African American Women and the Natural Hair Aesthetic." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/95.

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This thesis addresses the negative cultural and social connotations of natural hair for African American women. This issue is examined throughout history from slavery to present day with a visual analysis of hair care advertisements. Presently, natural hair is gaining more positive implications; which can be affected by creating more positive images with natural hair. Using art as the vehicle for social change and using research to inform art has a positive impact on teaching and learning in the art classroom.
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8

Muente, Tamera Lenz. "Repose, Reflections, and “Girls in Sunshine”: Frederick Carl Frieseke’s Paintings of Women, 1905–1920." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147531632.

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9

Thomas, Shannon L. "“An Obtrusive Sense of Art”: The Poetess and American Periodicals, 1850–1900." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280934312.

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10

Malone, Kelsey Frady. "Sisterhood as Strategy| The Collaborations of American Women Artists in the Gilded Age." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877154.

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<p> This dissertation employs four case studies&mdash;illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans&mdash;to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the &ldquo;professional&rdquo; artist.</p><p> &ldquo;Sisterhood as Strategy&rdquo; intersects with important work in the fields of American History, Women&rsquo;s and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women&rsquo;s artistic production and more focused scholarly studies on women&rsquo;s labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists&rsquo; letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies&rsquo; magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.</p><p>
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11

Shope, Suzanne Alene. "American Indian artist, Angel Decora aesthetics, power, and transcultural pedagogy in the progressive era /." Diss., [Missoula, Mont.] : University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-10132009-112300.

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12

Haertel, Nilza Belita Grau. "Landscape and nature in American prints : transformations in form and meaning in the work of contemporary women artists /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3240649.

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13

Bowles, John Parish. "Bodies of work autobiography and identity in Adrian Piper's conceptual and performance art /." [S.l. : s.n.], 2002. http://catalog.hathitrust.org/api/volumes/oclc/53916455.html.

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Thesis (Ph.D.)--University of California, Los Angeles, 2002.<br>Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 238-256).
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14

Badoni, Georgina, and Georgina Badoni. "Visual Expressions of Native Womanhood: Acknowledging the Past, Present, and Future." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625628.

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This dissertation explores the artistic expressions of Native womanhood by Native women artists. The intention is to offer further examples of creative acts of resistance that strengthen Native identities, reinforce female empowerment, and reclaim voice, and art. This qualitative study utilized the narratives and the artwork of six Native women artists from diverse artistic practices and tribe/nation affiliations. Visual arts examples included in this study are digital images, muralism, Ledger art, beadworks, Navajo rugs, and Navajo jewelry. Through Kim Anderson's theoretical Native womanhood identity formation model adopted as framework for this study, the results revealed three emergent themes: cultural connections, motherhood, and nurturing the future. Native women artists lived experiences shaped their visual expressions, influencing their materials, approach, subject matter, intentions, motivation and state of mind. This dissertation discloses Native womanhood framework is supportive of visual expressions created by Native women.
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15

Rother, Laura M. "World War I Posters and the Female Form: Asserting Ownership of the American Woman." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1211918047.

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Thesis (M.A.)--Cleveland State University, 2008.<br>Abstract. Title from PDF t.p. (viewed on July 9, 2008). Includes bibliographical references (p. 67-69). Available online via the OhioLINK ETD Center. Also available in print.
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16

Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.

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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.
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17

Knowles, Janette Marie Jelen. "Out of the hands of orators : Mary Louise McLaughlin, Adelaide Alsop Robineau, The American Art Pottery Movement, and the art education of women." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227549126.

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18

Knowles, Jannette Marie Jelen. "Out of the hands of orators: Mary Louise McLaughlin, Adelaide Alsop Robineau, the American art pottery movement, and the art education of women." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250706319.

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19

Narayan, Madhu Silverstein Marc R. ""An art of speaking" a study of Anzaldua's Borderlands as a "tactical discourse" /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1649.

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20

Sumo, Iris. "WHAT ARE THE FACTORS OF COLORISM AMONGST AFRICAN AMERICAN WOMEN; AND HOW DOES THIS AFFECT THE LIVES OF AFRICAN AMERICAN WOMEN?" CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/906.

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Colorism has created a significant divide within the African American community. There is a structured hierarchy where based on the color of one’s skin tone, an individual can be viewed as a higher or lower class.This qualitative study’s purpose was to examine what the factors of colorism among African American Women and how this has affected their lives. A total of ten African American women of various skin tones volunteered to participate in a 30-45-minute face to face interview. Findings of this interview show that many of the woman have encountered stereotypes based on their skin tone. Many themes became apparent from the responses questions which were asked. Participants who have refer to themselves as “dark skinned” state that they are aware in society “light or brown skinned” women are more favored. Women who consider themselves “light skinned” have noticed the impact of colorism when their dark-skinned friends are constantly overlooked within the social setting. 6 of the 10 women interviewed feel as though men are the cause of the greater divide between light and dark-skinned women. Each participant interviewed acknowledged the social structure which accepts dark skin woman as being held to a lower standard or “at the bottom of the totem pole”. It is the hopes of this researcher that based on this study, Social Service professionals will gain a better understanding of their African American female clients as well as a development of interventions that can reduce the harmful effects of colorism.
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21

Chappell, Brenda Joyce. "The consciousness of African American women artists: rage, activism and spiritualism (1860-1930), interdisciplinary implications for art education /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843314694311.

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22

McGuirk, Hayley. "Picturing American New Women: First-Wave Feminisms in the Art of Mary Cassatt, Cecilia Beaux, and Frances Benjamin Johnston." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1619434433547669.

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23

McGuirk, Hayley. "Picturing American New Women: First-Wave Feminisms in the Art of Mary Cassatt, Cecilia Beaux, and Frances Benjamin Johnston." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1619434433547669.

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24

Homestead, Melissa J. "American women authors and literary property, 1822-1869 /." Cambridge : Cambridge university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb400550012.

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25

Wright, Delane E. (Delane Elizabeth). "Poppin' Their Thang: African American Blueswomen and Multiple Jeopardy." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278053/.

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This ethnographic analysis examines the life stories and lyrics of four African blues singers. Specifically, it compares the cultural themes that emerge their life stories to the cultural themes at emerge from their commercially released music. The findings suggest that the singers recognize, to varying degrees, the impact of racism, sexism, and classism on their personal and careers. These same themes, however, are not present in the lyrics of the music that they choose to sing. Both the stories and the lyrics reveal internal inconsistencies that mirror one another. The conclusion suggests that the inconsistencies within their stories and music are consistent with their liminal position with regard to dominant and subordinate cultures.
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26

Maayan, Carmen Melendez. "We Are Not Victims: Oral Histories of Four Mexican-American Women." Scholar Commons, 2000. http://scholarcommons.usf.edu/etd/4426.

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This ethnographic inquiry focuses on the lives and work off our Mexican- American women who run a center in the Mexican migrant farmworker community in which they live. Through the center, they provide vital services to their community such medical care, immigration assistance, educational and community outreach programs. Via these women's oral histories, this ethnographic work seeks to broaden our understanding of women who are fully aware of their subordinated status in the dominant society yet are not passive victims. By listening to their own voices, we learn how they overcome personal adversity and challenge cultural ideologies. In the process, these women have created meaningful lives. In addition, their work at the center enables them to act as bridges connecting the members of their community to the larger society. The data for this ethnographic work was gathered from May 1999 to March 2000. Weekly visits were made to the center. Field notes were compiled from personal interaction, observation and conversations with the participants as well as tape-recorded informal interviews. This work yields a remarkable picture of these women' resiliency, perseverance, determination and strength.
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27

Garcia-Rea, Elizabeth Ann. "Acculturation and Sociocultural Influences as Predictors of Family Relationships and Body Image Dissatisfaction in African American, Hispanic American, and European American Women." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5463/.

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Ethnic differences in etiological factors linked to body image dissatisfaction and eating disorders were examined. In addition, the interaction of acculturation and body image dissatisfaction in influencing minority women's relationships with their parents was investigated. Participants consisted of 302 undergraduates from three ethnic groups: Caucasian, Hispanic American, and African American women who were administered self-report measures. Differences were not found between the groups in body image dissatisfaction. Low self-esteem, internalization of the thin ideal, and family emphasis on weight and appearance were all related to more body image dissatisfaction for each of these groups; however, differences in degree of endorsement were also noted between the ethnic groups on these factors. Based on the interaction findings (body image x acculturation) separation from one's mother was found in the area of attitudes and emotions for the Hispanic sample but not for the African American sample on any of the parent scales. Areas for future research and implications for diagnosis and treatment of minority populations are also discussed.
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28

Mårdberg, Maria. "Envisioning American women : the roads to communal identity in novels by women of color /." Uppsala : [Uppsala university], 1998. http://catalogue.bnf.fr/ark:/12148/cb38843484c.

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29

Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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30

Wood, Nikel Ayanna Rogers. "Examining an eating disorder model with African American women." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9720/.

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In the current study, I examined the general sociocultural model of eating disorders that suggests that sociocultural pressures leads to internalization, which in turn leads to body dissatisfaction and ultimately disordered eating. Because I am testing this model with a sample of African American women, I also am including acculturation as a variable of interest. Specifically, I hypothesized that (a) the experience of more societal pressure to be thin will be related to greater internalization, (b) higher levels of acculturation will be related to greater internalization, (c) internalization of the thin ideal will be directly and positively related to body image concern, and (d) body image concern will be associated with higher levels of disordered eating. It was determined that there is a direct, negative relationship between Level of Identification with Culture of Origin and Internalization. Perceived Pressure was directly and positively related to both Internalization and Body Image Concerns. Body Concerns and Internalization were both directly and positively related to Disordered Eating. These findings suggest that although many of the same constructs related to disordered eating in other ethnic groups are also related to disordered eating among African American women, the relationships between the factors differs across racial/ethnic groups. This information can help clinicians and researchers to better treat and understand the nature of disordered eating behavior and correlates among African American women.
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31

Orendorf, Jennifer Megan. "Architectural chastity belts : the window motif as instrument of discipline in fifteenth-century Italian conduct manuals and art." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002906.

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32

Driver, Alice Laurel. "CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998-2008." UKnowledge, 2011. http://uknowledge.uky.edu/hisp_etds/2.

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This dissertation examines representations of feminicide victims in documentary film, novels, non-fiction, art, and graffiti and argues that these images express anxiety about they way women traverse and inhabit the geography of Ciudad Juárez, often giving precedence to the idea of the public female body as hypersexualized. In order to reclaim memory of the victims some cultural producers focus on the testimonial form in which victims’ families and other activists share their stories or construct informal memorials in the city; these remembrances later appear in works of non-fiction, film, and art, as markers of the process of creating and preserving memory. My dissertation analyzes such works as the documentary Señorita extraviada (2001) by Lourdes Portillo, the non-fiction work Huesos en el desierto (2002) by Sergio González Rodríguez, and the novel 2666 (2004) by Roberto Bolaño, among other cultural expressions, to show how feminicide victims and their families have been marked by and have challenged a pervasive public discourse about female sexuality.
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33

Taylor, Shockley Megan Newbury. ""We, too, are Americans": African American women, citizenship, and civil rights activism in Detroit and Richmond, 1940-1954." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284135.

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This dissertation explores the activities of middle- and working-class African American women during and immediately after World War II in Detroit and Richmond, Virginia, in order to examine how World War II enabled African American women to negotiate new state structures in order to articulate citizenship in a way that located them within the state as contributors to the war effort and legitimated their calls for equality. This study provides a new understanding of the groundwork that lay behind the civil rights activism of the 1950s and 1960s. By looking at African American women's wartime protest and exploring how those women created templates for activism and networks for the dissemination of new discourses about citizenship, it reveals the gendered roots of the civil rights movement. This study uses a cross-class analysis within a cross-regional analysis in order to understand how African American women of different socioeconomic levels transformed their relationship with the state in order to use state structures to gain equality in diverse regions of the country. Class and region framed African American women's possibilities for activism. In both Detroit and Richmond, women's class positions and local government structures affected how African American women constructed claims to citizenship and maintained activist strategies to promote equality. This study finds that the new discourse and programs of middle-class African American women, linked with the attempts of working-class women to gain and retain jobs and better living conditions, contributed to a new sense of militancy and urgency within the civil rights movement of the 1940s and 1950s. By attempting to claim their rights based solely on their status as citizens within the state, African American women greatly contributed to the groundwork and the ideology of the more aggressive civil rights campaigns of the 1950s and 1960s. African American women's initial forays into desegregating restaurants, jobs, transportation, and housing created the momentum for the entire African American community's struggle for equality.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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35

Sardas, Isabela. "Cultural Differences in Pain Experience and Behavior among Mexican, Mexican American and Anglo American Headache Pain Sufferers." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279369/.

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Review of previous research on cultural differences in pain experience and/or pain behavior revealed that cultural affiliation affects pain perception and response. Unfortunately, the many inconsistent findings in the literature on cultural differences in pain experience and behavior have made interpretations and comparisons of results problematic. These inconsistent findings could be attributed to variations in acculturation level among cultural groups. The purpose of this study was to investigate cultural differences in pain experience (assessed by McGill Pain Questionnaire, the Box Scale, the Headache Pain Drawing, and the Headache Questionnaire) and pain behavior (measured by determining medication use and interference of daily functioning due to headaches) among Mexican (n = 43), Mexican American (n = 36), and Anglo American (n = 50) female chronic headache pain sufferers. The contribution of acculturation to differences in pain experience and behavior among cultural groups was measured by the Acculturation Rating Scale for Mexican Americans. The three cultural groups of women significantly differed on pain experience and pain behavior. Specifically, Mexican women experienced their headache pain more intensely, severely, and emotionally than Mexican American and Anglo American women. Furthermore, Mexican women were more willing to verbally express their pain than the other two groups. As for pain behavior, Mexican women took more medication and reported more severe inhibition of daily activities due to headaches than Mexican American and Anglo American women. Ethnic identity, ethnic pride, and language preference were factors in the acculturation process which contributed the most to women's chronic pain experience and behavior. The greatest variability occurred within the Mexican American group of women who perceived themselves as being more Mexican in attitudes and/or behaviors, but more similar to Anglo American in their pain experience and pain behavior. Results are explained using biocultural multidimensional pain theory, social learning theory, and acculturation theory.
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Smith, Bethany Jo. "Song to the dark virgin race and gender in five art songs of Florence B. Price /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1186770755.

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Thesis (Master of Music)--University of Cincinnati, 2007.<br>Advisor: Melinda Boyd. Title from electronic thesis title page (viewed Feb. 5, 2008) Includes abstract. Keywords: Florence Price, black art song, African-American art song, women composers, African-American composers, Negro Renaissance. Includes bibliographical references.
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Lambert-Monteleon, Michelle. "Heavenly Venus Mary Magdalene in Renaissance Noli Me Tangere images /." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000365.

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Clark, Emily A. (Emily Alcorn). "American Sandwich: West Coast, East Coast, in Between." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500584/.

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The thesis begins with an introduction, followed by six short stories. The stories that follow span three or four regions of the American landscape and three or four decades of the twentieth century. What drives each story is the isolation of both narrator and main character (when these are not the same) from the world of the story. In each story, there is either a sense of wanting to belong or an urge to escape, or both. The paradox--also the writer's paradox--is that if one belongs, one has no need to escape; if one escapes, one can never belong.
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Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.

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This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
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Hofmann, Bettina. "Ahead of survival : American women writers narrate the Vietnam war /." Frankfurt am Main ; Berlin ; Paris [etc.] : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb37511875r.

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Hebbar, Reshmi J. "Modeling minority women : heroines in African and Asian American fiction /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb400508717.

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42

Cohen, Matthew. "Framing the Woman Artist: Gender and Art in Howells and Sargent." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625942.

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43

McGee, Paula L. "The Wal-Martization of African American Religion: T.D. Jakes and Woman Thou Art Loosed." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/70.

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This dissertation is an ideological critique of the New Black Church model of ministry, with T.D. Jakes and Woman Thou Art Loosed (WTAL) as a case study. T.D. Jakes is an African American televangelist who pastors The Potter’s House, a supermegachurch in Dallas, Texas. He is the quintessential example of a New Black Church pastor—a religious entrepreneur with several successful faith brands. WTAL is by far his most successful brand. Unashamed of his capitalist success, with an empire estimated to be worth $100 million dollars, Jakes says that it is occupational discrimination for him not to reap the benefits of the American dream. This dissertation identifies what has happened to the brand and Jakes’s ministry as “the Wal-Martization of African American Religion.” As a theoretical concept, Wal-Martization speaks to both the ideology and process that explains the generational differences between the New Black Church and the Black Church. It also is indicative of the branding and storytelling at every level of representation of the New Black Church. Jakes and New Black Church pastors are successful because they blur the lines between sacred and secular when they combine their vocations of pastor and entrepreneur. In this dissertation, I propose a cultural studies approach and a two-fold theological method for scholars to study these popular preachers. The method combines James McClendon’s Biography as Theology and Paul Tillich’s definitions of theology and theological norm from Systematic Theology. The method is a collaborative effort between the academic theologian and preacher. The scholar uses Biography as Theology to study the preacher (Jakes), and the second part of the method, Brand as Theology and Theological Norm, is where the scholar uses qualitative research methods to study the brand (WTAL). I define theologies of prosperity as contextual theologies of empire on a continuum that affirm it is God’s will and a believer’s right to obtain health and wealth by using Scripture and rituals like seed-faith giving and positive confession. Because these popular preachers offer adherents existential explanations for suffering (health and wealth), and prescriptions for liberation, I describe theologies of prosperity as theodicy and contemporary liberation theology. However, unlike traditional liberation theologies, these theologies do not have a preferential option for the poor. Instead, Jakes and other New Black Church pastors only offer adherents a pseudo-liberation. In essence, the stories of liberation that Bishop Jakes tells in his brands do not actually empower women, ideologically these stories only encourage women to stay loyal to his brand, become covenant ministry partners, and to buy more products. Jakes and New Black Church pastors are from the Second Gilded Age, they encourage women to pursue individual success within an oppressive system. Similar to Russell Conwell and other celebrity clerics from the First Gilded Age, Jakes and these pastors inadvertently blame the victims for their poverty and for not reaping the benefits of the American Dream, which according to prosperity preachers is available to all.
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Gipson, Leah R. "Do you see what I see? : a visual artist's exploration of African American women and obsessions with visual appearance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1029.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Art
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45

Sangster, Alesha Marie. "Narratives of Native American Women and Tribal Courts: The Framing of the Violence Against Women Act of 2013 in Mainstream, Native American, and Tribal Press Coverage." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3316.

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The Violence Against Women Act is a legislation created to expand more legal rights and services to survivors of domestic violence or intimate partner violence. Frame analysis was used to examine the coverage of the Violence Against Women Act of 2013 in three genres of press media: mainstream press, Native American press, and tribal press. Based on the media frames produced in the three media genres, the legislation was presented as more of a conflicting or controversial issue in mainstream press through the use of the conflict frame and the "Indian as other" frame. But all news coverage also presented two emergent frames--the tribal sovereignty frame and the women's rights frame--that explained the importance of expanding tribal sovereignty in order to protect Native American women on reservations. The news coverage of VAWA 2013 in all press genres also included perspectives from federal and state governmental sources as well as perspectives from tribal governments, Native American organizations, and social service agencies. This report concludes by discussing the implications of the media frames and occupational source use in terms of the three media genres.
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Lester, Regan. "Acculturation in African American College Women and Correlates of Eating Disorders." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278568/.

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Although eating disorders have been the focus of much research, the inclusion of minority populations has been minimal. A recent review of the literature by Dolan (1991) has found that eating disorders were most likely to be present in non-White women who were exposed to Western societies and cultures. Thus, the purpose of this study was to examine personality, physical, and cultural correlates of bulimic symptomatology in a sample of African American college women. The Bulimia Test Revised (BULIT-R) was used to assess bulimia symptoms. The African American Acculturation Scale (AAAS), the Beliefs about Attractiveness Scale Revised (BAAR factors 1 and 2), the Rosenberg Self-Esteem Scale (SES), the Centers for Epidemiological Depression Scale (CES-D), Body Parts Satisfaction Scale (BPSS), and body mass were the independent variables hypothesized to predict bulimic symptoms. Hierarchical regression analysis revealed that body mass, depression, and low self-esteem were the best predictors of bulimic symptomatology, together accounting for 38% of the variance. Beliefs about attractiveness and body satisfaction were related to bulimic symptoms but not when considered simultaneously with the other variables. Acculturation was not predictive of bulimic symptoms. 0-ordered correlations revealed that beliefs about attractiveness and body satisfaction were correlated with bulimic symptoms. Acculturation was not related to any variables except depression. Implications for counseling interventions as well as directions for future research are discussed.
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Brady, Heather Rae. "Moving beyond France : la Traversée féminine and women's travels to the Americas in nineteenth-century French popular literature and art /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008285.

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Allen, Nia J. "THE CURATED ESTATE:A PRACTICE-BASED POP-UP STORE SOLUTION FOR LUXURY FASHION RETAIL INDUSTRY’S ISSUES WITH RACIAL DISCRIMINATION." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620816314892002.

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49

Welch, Courtney. "Leadership Frames of Female Presidents of American Research Universities." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3196/.

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This study used case studies to examine the leadership frames of female presidents of four-year, public and private, coeducational research institutions both from the Intensive and Extensive Carnegie classifications within the United States. The population (N=30) surveyed was sent the Leadership Orientation Questionnaire (Self) developed from the previous research conducted by Lee Bolman and Terrance Deal. The Bolman and Deal leadership frame theory condensed existing organizational theories into a four-frame perspective consisting of a structural, human resource, political, and symbolic frame. Bolman and Deal theorized that the ability to use more than one frame is considered to be critical to the success of leaders and intensify that leader's capacity for making decisions and taking effective actions. The Leadership Orientation Questionnaire (Self) contains five sections that include rating scales for personal demographics, the four frames, eight leadership dimensions, and management and leadership effectiveness. The research questions sought to identify the demographic characteristics and academic histories of the survey participants and the associations between these variables, the leadership frames represented among the survey participants, and how many, and which, of the four frames the survey participants use collectively. This study allowed its participants to examine their perceptions of their own leadership frames in order to analyze the frame that dominates the way certain universities communicate. Thirteen of the thirty presidents (43%) completed and returned the survey. Survey participants who had 20 or more years of experience were more likely to exhibit the human resource or symbolic frame as their dominant style; presidents whose years of experience numbered less than 20 years exhibited a mulitframe perspective in their decision-making process. Overall, this research found that the survey participants exhibited most often the human resource frame, followed by the symbolic, structural, and political frames.
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Whiting, Jeanna Marie. "Tolstoy and the woman question." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001667.

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