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Dissertations / Theses on the topic 'Women in rock'
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Bayton, Mavis. "How women become rock musicians." Thesis, University of Warwick, 1989. http://wrap.warwick.ac.uk/34719/.
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This thesis is about women rock musicians in the U.K. It is based on in-depth interviews with 36 female rock musicians in the 1980s. Firstly, it examines the relative absence of women in rock music-making and explains this in terms of gender socialisation and a number of social constraints operating on women. Secondly, it looks at those women who, despite all the obstacles, do become rock musicians. A number of variables are put forward which, it is suggested, have helped these women overcome gender constraints. These factors are conceptualised as "escape routes" into rock music-making. Thirdly, all-women bands are examined, and the individual careers of the women who constitute them. An ideal-type model is constructed of the stages of a female band's career. It is concluded that, compared to male bands, there are a whole set of factors which make it more difficult for women's bands to be set up and continue along the career path. These factors have the strongest effect in the early career stages. Lastly, some non-typical career patterns are investigated, and particularly the strategies developed by feminist musicians as alternatives to the mainstream commercial path.
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Branstetter, Leah Tallen. "Women in Rock and Roll's First Wave." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1555003265733456.
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St, Clair Barbara. "Scissors paper rock." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001896.
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Ventura, Rachelle Lynn. "Creating style and extending boundaries, an analysis of three women in rock." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ34469.pdf.
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James, Avril. "Women and alcoholism : from 'rock bottom' to recovery; the reconstruction of a fractured identity." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395122.
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Hill, Rosemary Lucy. "Representations and experiences of women hard rock and metal fans in the imaginary community." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/4744/.
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This thesis questions dominant representations of women hard rock and metal fans, and contributes to the undeveloped area of scholarship on women’s pleasure in music. I address the questions: how does the metal media represent women fans?; what is the impact of that representation?; and what can a consideration of women’s musical pleasure tell us? I work within the fields of popular music, subcultures, gender and metal studies and build upon feminist studies of rock music (e.g., Schippers 2002, Fast 1999 and Wise 1984). The research sits alongside feminist work exploring the pleasures of metal (Overell 2010, Riches 2011), and Brown’s work on metal media (2007, 2009). A new framework, the imaginary community, allows a consideration of the gendered ideology of the genre and takes into account private modes of fandom. To establish the ideology I examined letters pages in a key hard rock and metal medium, Kerrang! magazine, between 2000-8. Drawing on Barthes’ Mythologies (1957), I employed a semiotic analysis to expose the representation of women through myths. Using this representation as a comparative tool, I conducted interviews with women fans who liked bands featured in Kerrang!. I analysed the discourses mobilised in their responses to questions about their participation in communal and private activities (e.g. magazine reading, concert attendance); their interpretations of the groupie stereotype; and their preferences for particular bands. I argue that women fans are misrepresented as groupies and this impacts upon women’s ability to express their fandom. Considering women’s pleasure in the music draws out the ways in which women’s fandom challenges both the myth of the woman fan as groupie, and the reading of metal as a masculine genre. I conclude that exploring women’s fandom can provide fresh perspectives on hard rock and metal: we must be prepared to take women’s fandom seriously.
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Dolby, Joyce A. "Between a rock and a hard place : seven homeless mothers tell their stories." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1014841.
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Homelessness has increased in the United States over the last 15 years, but one of the most distressing trends has been the increase of homeless families. Current literature suggests that healthcare services for the homeless family may be fragmented and difficult to access. Rationale for this study was to gain understanding of homeless families, and therefore increase the effectiveness of nurses working with homeless families.This qualitative study used a Heideggerian hermaneutical phenomenological approach as the philisophical framework. A script of questions and information about the study was presented to mothers at a shelter in a group meeting. The researcher then contacted each mother to learn of the mother's desire regarding participation. Seven mothers participanted. Shelter residents were informed that they may refuse participation or withdraw from the study at any time without prejudice from the researcher. Audio-taped interviews will took place in a private vacant office at the shelter. The researcher transcribed the interviews, eliminating any information (names, cities, agencies, relatives, etc.) that could identify the participants. Transcribed interviews were analyzed for common themes identified by the mothers. Audio-tapes were destroyed after data analysis.Risks involved included possible discomfort as residents discuss issues in their past. Should a mother become emotionally distressed in the interview, the researcher was prepared to assist her to identify coping resources. i ne motners were also iniormeu that, in one unlikely event information was shared that may indicate child abuse, the researcher was required to report child abuse to the State of Indiana. Benefits included ability to express feelings in a confidential setting. A $20 item of jewelry or a household commodity was presented to participants as an honorarium after completion of the interview.The lived experience of being a homeless mother with a family can only be fully understood by the mother who has lived the experience. Six common themes were identified by the mothers who participated in this study. Lack of assistance from biological fathers, or "I can't count on him" was a contributing factor towards the mothers' circumstances. Experience of a recent traumatic event without sufficient coping skills or resources emerged as a second theme, and was described by the quote "I don't know what to do." The third theme regarding the mother's concern for meeting the needs of their children was summarized by the insight "And kid's time don't stop." The perception of ineffective or demeaning treatment by helping agencies or "They really didn't care for me" was the fourth theme. The difficulty of carrying on family life was described in the fifth theme as "Things that are hard". And finally, the sixth theme described the difficulty in finding a residence as the mothers were told by landlords repeatedly, "I really don't have anything right now."The conclusion from the study was that homeless mothers and their familys have many needs not yet met by healthcare and helping agencies. This population is overwhelmed by the stresssors they face, and principles of crisis intervention are not adequately used to assist them. At the same time, these mothers demonstrate a great deal of concern and determination to care for their children.Through this study, nurses can learn of the obstacles common to homeless mothers, and the strengths that assist homeless mothers to persist and meet the needs of their family. By better understanding homeless families, nurses can adopt a more comprehensive approach to address their healthcare needs.<br>School of Nursing
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Atamaz, Hazar Serpil. "The Hands that Rock the Cradle will Rise: Women, Gender, and Revolution in Ottoman Turkey, 1908-1918." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/196048.
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Modern Turkish historiography has long claimed that Turkish women were fortunate, because they were granted equal rights by their benevolent leader Ataturk, without even having to ask or fight for them. This dissertation disproves that argument by demonstrating that Turkish women had been vigorously fighting for their rights well before the establishment of the Republic. While it is true that Turkish women had to wait until the 1930s to secure full legal rights, they had demanded gender equality since the Ottoman Revolution of 1908, followed by years of war, which together exerted a tremendous social and cultural impact on all strata of society, above all women. As such, this study addresses three main questions: How did the revolution transform women's social position as well as gender relations in Ottoman society? What role did the `woman question' and gender issues play in the formation of revolutionary politics and discourse in the late Ottoman Empire? Finally, how did Ottoman women participate in shaping, transforming, enforcing, and/or challenging the objectives of the revolution?I argue that the 1908 Revolution triggered significant changes in the Ottoman public discourse, political agendas, and the organization of daily life concerning gender equality and that Turkish women, taking advantage of the new venues and opportunities provided by the revolution in effective and innovative ways, played a vital role in creating and implementing this change. Studying the ideas and actions of a large number of upper and middle class Turkish women as well as the government's attitude towards women between 1908 and 1918, I demonstrate that women in the late Ottoman society were far from being passive, powerless, and silent, as the nationalist historiography has claimed they were. I reveal that, on the contrary, these women were active participants in the revolutionary process, in the struggle for equal rights, and consequently in the construction of a new political regime, a new social order, and their own roles in this new context.
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Wallace, Kelsey MacGregor. "Song of the sirens : a qualitative exploration of an all-woman rock band /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7785.
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Pentolfe-Aegerter, Lindsay Alexandra. ""You have met the woman; you have struck the rock" : Southern African women's writing as resistance /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9526.
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Singer, Stacey Lynn. "I'm Not Loud Enough to be Heard: Rock 'n' Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07072006-134812/.
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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Susan Talburt, committee chair; Kathryn McClymond, Layli Phillips, committee members. Electronic text (145 p.) : digital, PDF file. Description based on contents viewed May 16, 2007. Includes bibliographical references (p. 120-131).
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Elledge, Zachary Lynn. "Defeat and memory at the Arkansas state capitol| The Little Rock Monument to the Women of the Confederacy, 1896-1914." Thesis, Arkansas State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1593794.
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<p> Resting in the southeast corner of the Arkansas state capitol is the Little Rock monument honoring the women of the Confederacy. Known as the Southern Mother, the Arkansas division of the United Confederate Veterans (UCV) erected this monument to commemorate the sacrifices of Arkansas women during the Civil War. Sculpted by J. Otto Schweizer, a Swiss-American from Philadelphia, Pennsylvania, this monument represents two versions of Arkansas’ Civil War history: that of the sculptor, and that of its patrons. Arkansas broke away from the national UCV in 1906 and proceeded on its own to memorialize Confederate women’s war time sacrifices. Paid for by a state appropriation of $10,000, the Arkansas UCV were able to commemorate in stone a specific memory of Arkansas history during the Civil War. The monument effort began on a national scale in 1896, but did not come to fruition in Arkansas until May 1913. Several conflicts occurred with members of the United Daughters of the Confederacy, who opposed the monument idea and preferred that donations were routed into more social programs like retirement homes and scholarship programs. This monument occurred during a time of vast memorialization during the height of the Lost Cause, but the history behind it shows a more individual nature of healing traumatic wounds.</p>
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Daly, Sarah Jane. "A rock and a hard place : a hermeneutic phenomenological exploration into the lived experience of bisexual women in monogamous relationships." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34520/.
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This qualitative research explores the lived experience of nineteen bisexual women from all across the UK who are in monogamous relationships or who are single but desire a future monogamous relationship. The research has three broad aims 1) To explore the lived experience of bisexual women who identify as monogamous. 2) To understand the ways in which women who identify as bisexual and monogamous maintain their identity. 3) To explore the ways in which bisexual women in 'same-gender' and 'different-gender' relationships construct their identity. The research was carried out in three phases with each stage using a different data collection technique. The first stage required participants to keep a written diary for a period of four consecutive weeks, detailing thoughts and events that were related to their sexual identity. In the second stage participants took part in a semi-structured telephone interview. The interview used participants’ diary entries as a starting point to explore the research questions. The final stage involved a subset of participants taking part in a photo-assisted telephone interview. Participants in this stage were supplied with disposable cameras and were asked to take up to twelve photographs of places, objects and people who were significant in relation to their sexuality. Five participants completed this stage and took part in a photo-assisted telephone interview where they discussed the photographs they had taken. The research as a whole and the approach to analysing data was underpinned by the hermeneutic phenomenology of Ricoeur. Two different but complementary approaches were taken in the analysis of the data. Firstly, Template Analysis (King, 2004) was used to analyse the data from diaries and telephone interviews. This approach provides an opportunity to explore the data as a whole and identify themes and sub-themes relevant to the research questions. In order to complement this cross-case approach the photo-assisted interviews were analysed using a within-case approach (Hermeneutic Phenomenological Analysis) developed specifically for this research. Some of the findings support existing research which demonstrated that some bisexuals do experience ‘invisibility’ and misappropriation in relation to their sexual identity (Monro, 2015; Hayfield, Clarke & Halliwell, 2014; Savin-Williams, 2005; Blackwood, 2000; Angelides, 2001). Other findings point to aspects of bisexual monogamous women’s experience that appear to have been neglected by researchers. In particular, the gender of a participant’s partner seems to present different challenges in relation to their sexual identity. Participants in different-gender relationships appear to utilise more strategies related to displaying their same-gender attractions and keeping their bisexuality alive than those in same-gender relationships. Participants in same-gender relationships choose feminine appearance markers that are more likely to signify a heterosexual identity in contrast to participants in different-gender relationships who choose ‘traditional’ lesbian appearance markers. Women in different-gender relationships articulated a sense of longing or reminiscence for relationships or sex with women. Women in same-gender relationships did not express the same sentiment for sex and relationships with men. Identifying a community which provided support for their bisexual identity was of particular importance to all participants. The LGBT+ community seemed to be important in the early stages of participants’ struggles with the development of their sexual identity. However, over time participants experienced various forms of hostility from the LGBT+ community and one of the ways they coped with this was to disengage from it and turn to smaller network of friends.
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Leite, Flávia Lucchesi de Carvalho. "Riot Grrrl: capturas e metamorfoses de uma máquina de guerra." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2562.
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Previous issue date: 2015-07-03<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>The riot grrrl, a feminist strand of the punk movement, appeared in the early 1990 s in the United States. They were tired with the male chauvinist conduct and minor fascisms imposed on their lives also inside the punk movement. These girls created a new way of life that strengthened their struggle against such conduct. Whether the rocker women who preceded the riot grrrl faced obscure paths to produce their rock and roll, the riots emerged a new way of writing, playing, and singing: they liberated their howl. They drew from the rock maxim sex, drugs and rock and roll and were thus considered by many: sluties. The riot grrrl adopted this word and experienced their sex liberated from the control of sexuality and macho violence. Faced with increased girls interest in the riot grrrl, the music market tried to invest in them but failed since the girls had an clear anti-capitalist attitude, which was radicalized by the Russian riots Pussy Riot around 20 years later. In this sense, the musical market launched products and entertainers that could capture the latent unrest of the young girls attracted by the riots, targeting them as potential consumers. Instead, the market launched rock pop women singers moderately foul-mouthed, or they launched popstars who used a certain feminist discourse that today is largely known as veracity of market. Far from the riot howl against male chauvinism, the women popstars assumed the family and the feminine discourse. In hand against the market and surpassing the riot scene appeared an anonymous girls association, the Pussy Riot, creating their performances by direct action based on feminist punk rock in the streets and private properties of Moscow. This thesis has intent to show the metamorphosis of riot grrrl war machine in the society of control<br>O riot grrrl, vertente feminista do movimento punk, eclodiu no início dos anos 1990, nos Estados Unidos. Esgotadas com as condutas machistas e os pequenos fascismos que incidiam sobre as suas vidas também no interior do punk, essas garotas inventaram um novo estilo de vida que as fortaleceu no embate contra essas condutas. Se as mulheres roqueiras que as procederam foram empurradas por caminhos tortuosos para conseguirem fazer seu rock n roll, as riots irromperam uma nova maneira de escrever, tocar e cantar: liberaram seu berro. Se ao provarem da máxima roqueira sexo, drogas e rock n roll as mulheres eram tidas como sluties [vadias], as riots se apropriaram dessa palavra e experimentaram seu sexo livre do governo da sexualidade e das violências do macho. Diante do crescente interesse de garotas pelo riot, o mercado da música investiu em contratá-las, mas foi recusado pela atitude anticapitalista anunciada por elas e radicalizada pela riots russas da Pussy Riot, cerca de 20 anos depois. Assim, o mercado lançou produtos e entertainers que pudessem capturar a inquietação latente daquelas jovens que se atraiam pelo riot e fazê-las potenciais consumidoras. De um lado, lançaram cantoras de pop rock moderadamente desbocadas, de outro, lançaram popstars que enunciaram um certo discurso feminista que hoje ganha amplitude como veridicção de mercado. Diferente do berro riot contra as condutas machistas, essas popstars reafirmam a família e a conduta feminina. Na contramão do mercado e avançando para além da cena riot, acontece a Pussy Riot, associação de garotas anônimas que faz suas obras por ação direta ao som de punk rock feminista pelas ruas e estabelecimentos privados de Moscou. Esta dissertação procura mostrar as metamorfoses da máquina de guerra riot grrrl na sociedade de controle
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Smith, Karen L. "The effects of contemporary rock and roll music on duration, VO2, blood pressure, heart rate and perceived exertion in females aged 18-31 years /." Connect to online version, 1987. http://minds.wisconsin.edu/handle/1793/43862.
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Levine, Lauren E. "Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801944/.
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Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.
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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Della, Rosa Jacki Lynn. "Hard rockin' mamas : female rockabilly artists of Rock'n'roll's first generation, 1953-1960." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1202427565.
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Angiola, Julie E. "HPV vaccine acceptance among rural, Rocky Mountain region women." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1980572871&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Thorn, Brian T. "The hand that rocks the cradle rocks the world, women in Vancouver's Communist movement, 1935-1945." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61609.pdf.
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Wallace, Kelsey MacGregor 1982. "Song of the Sirens: A Qualitative Exploration of an All-Woman Rock Band." Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/7785.
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xi, 133 p. A print copy of this title is available from the UO Libraries, under the call number: MUSIC ML82 .W35 2008<br>Using muted group theory, this thesis explores the experiences of an all-woman
rock band in the current cultural climate. This qualitative study uses a methodological
triangulation that incorporates ethnography, in-depth interviews, and feminist critical
discourse analysis.
The data reveal that women in the rock music scene are a muted group, and as such they face many unique challenges, especially when attempting to create music using a
feminist collaborative creative process, or conveying a message that challenges patriarchal
gender norms. The results of this study point to numerous opportunities for researchers,
educators, and those involved in the music scene to examine issues surrounding gender in rock music.<br>Adviser: Deb Merskin
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Stidolph, Julie. "The hand that rocks the cradle Shoshone and Arapaho women in the Wind River region and assimilation policy, 1880--1932 /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1594498521&sid=2&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Aldrich, Michelle D. "The impact of community leadership education on women in the Rocky Mountain region." Laramie, Wyo. : University of Wyoming, 2006. http://proquest.umi.com/pqdweb?did=1276396331&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Sangari, Esmaeil. "Les femmes à l’époque sassanide. Données iconographiques et sources textuelles en Iran du IIIème au VIIème siècle apr. J.-C." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20125.
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L’étude de la place et du statut des femmes dans l’Iran sassanide est fondée sur des données textuelles (cinq livres en pehlevie) et sur des matériaux archéologiques et iconographiques. L’objectif est la confrontation entre les deux séries de sources.Le volume I (texte, illustrations) en trois chapitres étudie les représentations des femmes puis traite du statut des femmes d’après les textes. Le troisième chapitre est la confrontation des deux séries de données. Le deuxième volume est le catalogue donnant d’une part la transcription et la traduction de textes d’époque sassanide et post-sassanide décrivant la situation des femmes dans la société, accompagnées de commentaires ; d’autre part des documents iconographiques: personnages féminins sur les bas-reliefs, sceaux et cachets, argenterie, mosaïques, monnaies, tissus, stucs, figurines et quelques autres objets.Au cours des quatre siècles sassanides, on constate une évolution relativement positive du statut de la femme d’après les textes, et en parallèle une augmentation des représentations féminines sur des documents officiels comme les sceaux, les meilleurs indicateurs de la place et du rôle des femmes dans la société de l’Iran sassanide<br>The study of the role and status of women in Sasanian Iran is based on the textual sources (five books in Pahlavi) and series of archaeological and iconographic objects. This dissertation aims at confronting these two series of data.Volume I (text and illustrations) including three chapters is a study of women representation on the iconographic objects and then deals with their status in the texts. In the third chapter these two categories will be confronted. Volume II contains the catalogues: on the one hand the transcription and translation of the texts surviving from Sasanian and Post-Sasanian periods, which describe women’s status in the society, enriched with some commentaries; on the other hand the catalogue of iconographic evidence depicting women, including rock-reliefs, seals and bullae, silverware, mosaics, coins, fabrics, stuccoes, figurines, textiles, and the other varied kinds of objects. Our investigations suggest a rather positive evolution of the women’s status during the four-century period of the Sasanian empire, according to the available texts. At the same time, one observes an increasing number of female representations on such official documents as the seals, which are the most precise evidence on the social situation and place of women in Sasanian Iran
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Constable, Simon Andrew. "Geological mapping and the geochemical and petrological characterisation of the 'Woman-in-White' amphibolite and associated felsic rocks /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09SB/09sbc756.pdf.
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Luhr, Carl, and Alice Ålund. "The Financial Impact of having Women on the Board : A study on the gender composition of a board and its effect on a company's financial performance." Thesis, Linköpings universitet, Företagsekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177479.
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The purpose of the study is to examine if the gender composition of a board has an effect on a company’s financial performance by analyzing their operating margin and return on capital employed (ROCE). The study is based on a quantitative method, studying companies listed on the Stockholm Stock Exchange. Previous research has not been studying the gender composition of boards of Swedish companies and its effect on the company's financial performance in regard to their operating margin and return on capital employed. Therefore, this study has examined that in order to draw a conclusion regarding its possible effects. The data that is collected will be used as support in the analysis in order to understand how the current composition and effects are connected. This study will contribute with knowledge for companies in Sweden regarding gender composition of boards and the possible effects on their financial performance. But also, as support for the ongoing discussion regarding board composition and the current inequality in gender representation. In conclusion the study shows that return on capital employed and the proportion of women in the board has a positive relationship. Meaning that the bigger proportion of women in a board, the better return on capital employed the company has. However, for operating margin there was not a significant relationship and therefore a conclusion regarding that cannot be made.
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Bernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.
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Sturm, Ruth Ellen. "The effects of negative images of women in rock videos on attitudes towards women." 1986. http://hdl.handle.net/2097/22209.
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Wallace, Margaret R. "Spaces of Signification, Representation and Opposition- New Feminism(S) and Women in the Indie Rock Scene." 1996. https://scholarworks.umass.edu/theses/2097.
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Huang, Ting-Jing, and 黃亭境. "Repressed in Practice? Gender Roles in Taiwan's Independent Rock Bands: A Case Study of Ten Women Guitarists." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/58224398889460046414.
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碩士<br>世新大學<br>性別研究所<br>97<br>The purpose of this thesis was to explore female guitarists in Taiwan’s independent rock bands and an examination of their gender roles and socialization experiences in participating as female guitarists. Since rock music is generally regarded to be very masculine in form and practice, the position of the guitarist usually represents the essence of masculinity within a rock band. Female guitarists are hardly represented among female musicians and artists in Taiwan as a result of gender implications in the field. Due to the lack of women participating in rock music, there is often a need for female guitarists to compare and to compete with other male guitarists.
By interviewing ten female guitarists in Taiwan on their experiences to learn guitars, their participation in rock bands, this thesis argues that female guitarists break gender stereotypes through their gender performances and performativity in rock music, and calls for wider participation in rock culture from women in general.
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"Chinese fans of Japanese rock: how young people find meaning through fandom and consumer culture." 2010. http://library.cuhk.edu.hk/record=b5894416.
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Sun, Lin.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.<br>Includes bibliographical references (p. 233-242).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Acknowledgements --- p.vi<br>Introduction --- p.1<br>Chinese Youth Today and Japanese Popular Culture --- p.6<br>Theoretical Context --- p.11<br>Methodology --- p.29<br>Structure of the Thesis --- p.48<br>Chapter Chapter1 --- Chinese Youth Today: Choice and Constraint --- p.51<br>Economic Conditions and the Only Child --- p.54<br>Pervasive Japanese Popular Culture in China --- p.59<br>Cultivation of National Identity: Mass Media and Schooling --- p.77<br>A Proper Chinese Youth: Social Norms in Today's China --- p.89<br>Summary --- p.93<br>Chapter Chapter2 --- Being a Fan of Japanese Rock: Consumer Choice and Authenticity --- p.96<br>Becoming a fan of Japanese Rock --- p.97<br>Confirming the Japanese Rock Fan Identity: Being an Authentic Fan --- p.111<br>West-Japan-the Rest of Asia: In the Eyes of Chinese Fans of J-Rock --- p.122<br>Summary --- p.126<br>Chapter Chapter3 --- Localizing Japanese Rock Fandom through Individual Consumption --- p.129<br>"Fandom as ""a Private Religion""" --- p.130<br>Fandom as Compensation for Lack of Romantic Love --- p.155<br>Summary --- p.164<br>Chapter Chapter4 --- Fan Community: Consuming Japanese Rock in Groups --- p.167<br>Fan Community and Belonging --- p.167<br>Hierarchy among Individual Fans: Glory and Pain --- p.178<br>Summary --- p.185<br>Chapter Chapter5 --- Japanese Rock Fan Identity Vs. National Identity --- p.187<br>"The Chinese National Identity and the Japanese ""Soft Power""" --- p.187<br>Becoming a Better Chinese through Japanese Rock Fandom --- p.201<br>Pan-East Asianism or Cosmopolitanism? --- p.205<br>Summary --- p.212<br>Conclusion --- p.215<br>The Real Appeal of Japanese Rock --- p.215<br>Fans and Consumers of Popular Culture in Globalized China --- p.219<br>Fandom: a Way of Life for Today's Urban Young Chinese --- p.224<br>Appendix --- p.232<br>Bibliography --- p.233
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Van, der Meulen Lindy. "From rock'n'roll to hard core punk : an introduction to rock music in Durban, 1963-1985." Thesis, 1995. http://hdl.handle.net/10413/5019.
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This thesis introduces the reader to rock music in Durban from
1963 to 1985, tracing the development of rock in Durban from
rock'n'roll to hard core punk. Although the thesis is
historically orientated, it also endeavours to show the
relationship of rock music in Durban to three central themes,
viz: the relationship of rock in Durban to the socio-political
realities of apartheid in South Africa; the role of women in
local rock, and the identity crisis experienced by white,
English-speaking South Africans. Each of these themes is explored
in a separate chapter, with Chapter Two providing the bulk of
historical data on which the remaining chapters are based.
Besides the important goal of documenting a forgotten and ignored
rock history, one central concern pervades this work. In every
chapter, the conclusions reached all point to the identity crisis
experienced both by South African rock audiences and the rock
musicians themselves. The constant hankering after international
(and specifically British) rock music trends both by audiences
and fans is symptomatic of a culture in crisis, and it is the
search for the reasons for this identity crisis that dominate
this work. The global/local debate and its relationship to rock
in South Africa has been a useful theoretical tool in the
unravelling of the identity crisis mentioned above.
Chapter Four focusses on the role of women in the Durban rock
scene and documents the difficulties experienced by women who
were rock musicians in Durban. This is a small contribution to
the increasing field of womens' studies, and I have attempted to
relate the role of women in rock in Durban to other studies in
this field.<br>Thesis (M.Mus.)-University of Natal, Durban, 1995.
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Hammond, Leanne. "Access all areas: a backstage look at women’s experiences in the West Coast rock music scene." Thesis, 1995. http://hdl.handle.net/2429/3700.
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This study attempts to address a gap in existing
subcultural research. While there has been extensive work
done on the experiences of men in subcultural groupings, the
examination of women's experiences is sadly lacking. Using
a combination of participant observation and ethnographic
interviewing, this study looks at the role women play in the
local rock music scene. Some interesting themes emerge that
challenge existing notions that women are either marginal or
absent from subcultural activity.
Women in the scene occupy a richly contradictory social
position. While they exercise an impressive degree of
sexual and financial autonomy, as illustrated by their
initiation of relationships and breadwinner roles in
partnerships with male musicians, they also adopt many goals
and behaviors typically associated with mainstream
constructions of proper femininty. Women in the rock scene
are seldom performers, instead they are concentrated i n the
role of the "nurturent caretaker" (Cole 1993: 89/90)
allowing the male musicians to retain recognition, prestige
and power in the scene. This construction of the male role
as central reflects the acceptance of patriarchal ideology
in the scene and obscures the contribution of women to the
material maintenance of the subculture.
Women's roles in the scene can be characterized as a
simultaneous acceptance and rejection of mainstream
prescriptions for feminine behavior. While women in the
rock scene are undeniably the focus of much sexual
objectification and exploitation, they cannot be viewed as
either passive or dependent. Women are described by scene
members as sexually powerful decision makers, and although
women's power is cast in disappointingly sexual terms, it is
the active nature of this sexuality that leads me to
describe women not as "passive" sexual objects, but rather
as "active" sexual objects.
Women's experiences in the rock scene are inextricably
linked to heterosexual relations with male musicians. While
rock women focus on the same goals of marriage and
motherhood as mainstream women, their relationships are
characterized by complications imposed by the rock
lifestyle. According female participants, the overt
sexuality of the scene, lack of financial stability , and the
consuming nature of the music business combine to challenge
the maintenance of a healthy relationship with a musician.
However, while women's willingness to deal with such
obstacles is puzzling, it can be seen as determination to
transcend traditional limitations on masculine and feminine
roles. The rock scene, despite its disproportionate
consequences for women, offers both women and men
alternatives to mainstream constructions of masculinity and
femininity. The scene is identified by both female and male
participants as offering excitement, spontaneity and passion
absent in mainstream society.
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Windsor, Liliane Cambraia. "Surviving oppression under the rock : New York drug laws and the lived experiences of African American women in distressed households." 2008. http://hdl.handle.net/2152/18319.
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Drawing on standpoint and intersectionality theories, this study explores the degree to which New York State’s Rockefeller Drug Laws and interactions between criminal, educational, and welfare policies have contributed to the maintenance of a culture of surveillance in which the lives of African American women in distressed households are overseen and influenced by oppressive policies and governmental institutions. Qualitative secondary analysis of longitudinal ethnographic data was conducted. Two detailed family cases are the focus of the study. Findings demonstrate multiple disadvantages that impoverished African American families struggling with alcohol and/or other drugs (AOD) use and/or sale experience. These disadvantages accumulated intergenerationally, in a snowball effect making it difficult for participants to maintain stable lives. For instance, oppressive policies, discrimination, poverty, AOD use, and violence hindered many participants’ ability to obtain a high school degree which in turn contributed to the obstacles they faced finding meaningful employment. Findings explored the tension between participants’ experiences with oppression and the multiple ways they either assimilated or resisted their oppression. While the Rockefeller Drug Laws assume that harsh sentences deter people from AOD use/sale, none of the participants mentioned imprisonment as a motivator to avoid AOD. Participants’ classification of crack, cocaine, and heroin as the most dangerous AOD were congruent with the Rockefeller Drug Laws’ classification of AOD. However, the way the law dispensed prison sentences reduced people to their AOD use because it disregarded all other aspects of their lives. Unlike the Rockefeller Drug Laws, participants found drug use to be sometimes a functional activity insofar as it was an additional source of income and a coping strategy in dealing with oppression. Findings indicate that simply addressing problematic AOD use among impoverished African American families in New York at the micro level is not sufficient or feasible. While it is important to examine and address individual needs and problems associated to AOD use, macro forces such as lack of meaningful employment for unskilled workers must be addressed. Social workers must foster critical thought, support an operational definition of AOD abuse/dependence, and advocate for social justice within the field of AOD use.<br>text
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Smith, Arlette Miller. "Speaking the song, spreading the word, lifting the people : the reimagination of community through vocal music activism /." 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3173641.
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Green, Dawn. "Engendering the rock art archaeology of the north Eastern Cape, South Africa Ritual specialists, novices, and social conditioning." Diss., 2020. http://hdl.handle.net/10500/26531.
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Abstracts in English, Zulu and Xhosa<br>Rock art affords unique opportunities for engendered research because it provides emic views of how specific people re-presented themselves. My feminist study investigates under-researched ‘San/Bushman’ gendered identities to understand more about area-specific constructions of personhood through analysing 2852 rock paintings from two adjacent areas of the northern Eastern Cape, South Africa. Using quantitative and qualitative methods and evidence from excavation archaeology, ethnography, ethology, and neurocognitive research, I identify three categories of ritual specialists: experienced and preeminent; ordinary; and novice. These paintings show that wo/men ritual specialists could transcend the identity norms of ordinary people, but men ritual specialists may have had more status and power. I suggest the paintings acted as a controlling mechanism for the potency of women, indoctrination of novices, and present an ideal for the practice of ritual specialists and ordinary people. This research has important implications for identifying different types of identity marking by different groups of southern African San.<br>Bonono ba majwe bo fana ka menyetla e ikgethang bakeng sa dipatlisiso tse fokolang hobane e fana ka ditjhebo tsa bonnete tsa hore na batho ba itseng ba ne ba itlhahisa jwang. Boithuto ba ka ba tsa bosadi bo fuputsa boitsebiso ba batho ba maSan/Busumane bo so kang bo batlisiswa haholo ele ho utlwisisa haholwanyane ka dikaho tsa dibaka tse ikgethileng tsa botho ka ho manolla metako ya pente e 2852 e tswang dibakeng tse pedi tse bapileng tsa borwa ho Kapa Botjhabela, Afrika Borwa. Ka tshebediso ya mekgwa ya bongata le boleng le bopaki ho tswa ho dipatlisiso tsa excavation archaeology, ethnography, ethology, le tsa neurocognitive, ke hlwaya mekgahlelo e meraro ya ditsebi tsa mekete ya meetlo: ba nang boiphihlello le ba hlahelletseng ka mahetla; ba tlwaelehileng; le bomaithutwana. Metako ena ya pente e bontsha hore ditsebi tsa basadi tsa mekete ya meetlo di ne di kgona ho tlola ditlwaelo tsa boitsebiso tsa batho ba tlwaelehileng, empa ditsebi tsa banna tsa mekete ya meetlo di ka di ne le di na le maemo le matla a fetang. Ke sisinya hore metako e ne e sebetsa jwalo ka mokgwa wa ho laola bakeng sa matla a basadi, thuto ya bomaithutwane, le ho hlahisa se lokelang ho ba sona bakeng sa tshebetso ya ditsebi tsa meetlo le batho ba tlwaelehileng. Patlisiso ena e na le bohlokwa bakeng sa ho hlwaya mefuta e fapaneng ya matshwao ba boitsebiso a dihlopha tse fapaneng tsa maSan a Afrika e borwa.<br>Imizobo esematyeni inika amathuba akhethekileyo ophando lweemeko ezingqonge isini ngoba le mizobo ibonisa indlela abaziveza ngayo abantu abathile ngokwenkcubeko yabo. Isifundo sam ngobufazi siphanda ngohlanga lwama ‘San/Bushman’ okanye Amaqhakancu/abaThwa nekuphandwe kancinci ngabo, injongo ikukuqonda ubume bobuntu babo kwiindawo ngeendawo. Olu phando lwenziwe ngokuhlalutya imizobo esematyeni engama-2852 ekwiingingqi ezimbini eziseMntla-Mpuma Koloni, eMzantsi Afrika. Ngokusebenzisa uphando olusekelwe kubungqina bamanani nobusekelwe kwiingxoxo nokuzathuza kwanobungqina obuvezwe zizinto ezigronjwe/ezigrunjwe kwiziza zakudaladala, obuvezwe kwiinkcazelo zenkcubeko yabantu abahlukeneyo, obuvezwe kwiinkcazelo zoluntu xa lujongwe ngokwenkalo yendalo (i-itholoji) nobuvezwe kwizifundo zokuqiqa nokusebenza kwengqondo, ndiphawule iindidi ezintathu zeengcali zezithethe: abanamava nolwazi olubalaseleyo; abanolwazi oluqhelekileyo; abangenalwazi kangako. Le mizobo ibonisa ukuba iingcali zezithethe zamadoda nezabafazi zinakho ukubona ngaphaya kwendlela ababona ngayo abantu jikelele, kodwa kusengenzeka ukuba iingcali zezithethe zamadoda zazinewonga negunya elithe chatha. Ndibona ukuba imizobo yayisebenza njengesixhobo sokulawula amandla neziphiwo zabafazi, ukuqweqwedisa iingcinga zabangenalwazi luthe vetshe, nokuvelisa okulindelekileyo kwindlela yokusebenza kweengcali zezithethe nabantu jikelele. Olu phando lubalulekile ekunakaneni iindidi ezahlukeneyo zokuphawula ubuyena bamaqela ahlukeneyo ohlanga lwamaSan/ Amaqhakancu aseAfrika.<br>M.A. (Archaeology)
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Sullivan, Rachael E. "Between lake, rocks and trees : exploring how lesbian, bisexual and queer women access rural space in Thunder Bay, Ontario /." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=370498&T=F.
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Římanová, Jana. "Role žen v historii českého punku." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-339905.
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Diplomová práce zkoumá roli žen v historii českého punku. V úvodní části práce je popsána historie a vývoj punku ve světě. V této části jsou vysvětleny významy pojmu punk jako subkultura (v terminologii pozdějších výzkumů scéna) a punk jako hudební žánr. Popsána jsou specifika ženské punkové módy a stylu. Jsou uvedeny role, ve kterých se ženy v punkové scéně realizují a typické ženské role v hudebních skupinách. Součástí teoretické části práce je stručný popis historie punku na území České republiky a zapojení žen v české punkové scéně. Jako jeden z hlavních zdrojů při vypracování diplomové práce byly využity rozhovory vedené metodou odvozenou od metodologie orální historie. Dílčím cílem práce bylo ověření použitelnosti analytického programu Atlas.ti pro analýzu orálně-historických interview. Tento software byl využit pro analýzu výzkumných rozhovorů. Druhá polovina práce se zabývá interpretací témat obsažených v rozhovorech. Věnuje se specifickým oblastem života v souvislosti s punkovou subkulturou jako jsou důvody, které přivedly ženy k punku, role přátel a vztahů, setkání punkového myšlení s autoritou v podobě rodičů a školy. Dále se práce zabývá transformací punkových názorů v dospělosti ve vztahu k zaměstnání a vlastní rodině. Poslední část interpretace se věnuje ženským rolím, které byly v...
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Zilvarová, Věra. "Posluchačky Filosofické fakulty Univerzity Karlovy v Praze v roce 192021 a 1938/39." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-353671.
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The present dissertation Female students of the Faculty of Arts at Charles University in Prague in the academic year 1920/21 and 1938/39 is concerned with the comparison of the profile of female listeners from the various of perspectives. The discussed topics are among others: the increasing number of female listeners and their social, geographical and religious profile as well as their age, nationality and later in their life achieved success. The dissertation also reconsideres the development of female education in 19th and early 20th century, namely until the end of the First Republic. It also characterizes the development of women's feminist movement which since the 19th century sought primarily on women's right to education and career opportunities in areas that were previously defined only by men. One of the chapters is devoted to the issue of the penetration of women into the scientific area. An important part of work shows the approach in the organization of girls' High-school education in Bohemia in the second half of the 19th century and in the interwar period. The detailed analysis of studies at the Faculty of Arts at Charles University during the 20's and 30's of the 20th century has been done. The results of empirical research have been supplemented with data illustrating the overall...
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Boukalová, Tereza. "Proměna a vývoj feministických hnutí v Koreji po roce 1980." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-384084.
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The aim of this diploma thesis is an analysis of historical and political factors that participated in the foundation and development of feminist movements in Korea after 1980. The first chapter deals with the working conditions of women employed in textile factories and subsequently describes the protest actions of these women in the 1970s. Protests and collective actions grew into political activism, which created the first women's movements in the 1980s. The second chapter is devoted to their character and development. The following section deals with another important factor that has influenced the formation of the identity of feminist movements in Korea, women active in politics. Their struggle to change Family law in the 1990s united women's movements and strongly signed on their future direction.
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Krocová, Iva. "Genderová proměna časopisu Vlasta v roce 1991 a 2010." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-330428.
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In my work I map the transformation of gender through media editorial in the journal Vlasta topics in 1991 and 2010 and how tthe communist regime influenced the thematic transformation of magazine in Czechoslovakia. In my work I also examine whether Vlasta magazine in 1991, presents a feminist ideas that have a negative connotation, as Osvaldová mentioned. The work is divided into three basic sections of theoretical, methodological and analytical. The theoretical part describes the current scientific discourse and puts the work in a social media context. This section presents the main concepts such as feminism, gender, gender stereotypes and patriarchy. It also mentions the importance of media and women's magazines for the female audience and the transformation of women's role in society before 1989 and after. In the methodological part, through open and axial coding I examine media content. In my research, I identify and describe significant editorial issues with which woman is associated in Vlasta magazine in 1991 and in 2010. Furthermore, using content analysis, I compare the contents of the magazine Vlasta 1991 and 2010 in terms of private and public spheres. Data are analysed by methods of the grounded theory, as described by Strauss and Corbin. The data from the content analysis shows the...
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Bělinová, Helena. "Ideál ženské krásy před a po roce 1989 - analýza diskurzu v časopise Vlasta." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321905.
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The thesis interprets the ideal of women beauty before and after 1989 in terms of sociological and culture discourse in Vlasta magazine. The key premise of the thesis is the claim that ideal of women beauty differs before and after 1989. It is possible to expect influence of politic system, social structure and culture forms on discourse of women beauty. Character of this thesis is theoretically-empiric. The sociologic gender theory serves as the frame for chosen topic. Research is based on analysis of discourse of women beauty in Vlasta magazine in 1975 and 2005. The goal of overall analysis is to provide series of detailed analysis which describe general magazine topics and role of the magazine in certain historical period beside discourse of beauty. I have chosen qualitative sociological method called discursive analysis for my thesis. Ambition of the thesis is to analyze one specific social discourse and introduce all key social, historical and culture aspects which can influence the discourse and use Vlasta magazine as its concrete case. Keywords Ideal of women beauty, discourse, media discourse, gender, discursive analysis, Vlasta magazine, transformation, socialism, media, gender stereotypes, gender socialization
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Dalby, Susan E. "Electric, eclectic, Canadian: issues of genre and identity in the music of the Guess Who." Thesis, 2009. http://hdl.handle.net/1828/1751.
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Conducting musical analyses over three case studies, Electric, Eclectic, Canadian: Issues of Genre and Identity in the Music of the Guess Who considers issues of genre, culture, and identity in the music of Canadian rock band the Guess Who. The first case study discusses soft rock transformations in the songs “These Eyes” (1968), “Laughing” (1969), and “Undun” (1969). The second case study examines changes in audience identification with the song “American Woman” (1970), performing comparative analyses of the Guess Who original release to Lenny Kravitz’s version (1999). The final case study discusses ideas of authenticity in the folk rock-inspired protest songs “Hand Me Down World” (1970), “Share the Land” (1970), and “Guns, Guns, Guns” (1972), comparing them to the iconic songs “For What It’s Worth” (Buffalo Springfield, 1967), “Big Yellow Taxi” (1970), “Ohio” (Neil Young, 1970 and “Southern Man” (Young, 1970). The conclusions summarise various musical and socio-political aspects of the Guess Who’s output and places it in relation to questions of national identity.
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Novotná, Kateřina. "Srovnání výskytu a efektivity tříbodových střeleckých pokusů v aspektech změn pravidel FIBA v roce 2010 a ve vztahu k umístění družstev v ŽBL." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-337108.
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Topic: Comparison of three-point shoot trials occurence and effectivity in the aspects of FIBA rule changes in 2010 as well as in a relation with placement of the teams in Czech Women's basketball league Aim: The main aim of the thesis is to find out whether the following four- year-period as a result of rule changes applying to an extension of three- point line was sufficient enough to be able to adapt from the frequency and success in three-point shoot of view in the highest Czech Women's basketball league in the basic part of the Championship in between the selected teams. We take into account eight surveyed seasons in this study, where straight after the period of first four seasons following one after another there was a rule of three-point line extention established. The statistics of three-point shoots in the four seasons mentioned above, which means after establishing the rule, are the main source of data used for this survey and was accomplished according to statistical results and comparing these results. The mail goal is to create statistical analysis that would show how great impact the three-point line extention had during following four seasons of the change, which means the adaptability process applied for three- point shooting within the teams placed in the first, fourth, seventh...