Thesis advisor: Michael Serazio / This thesis explores the impact of femvertising on representations of women, its relation to and conversation with third wave feminism as a growing social movement, and its extension of a brand’s dedication to corporate social responsibility. Feminist critical discourse analysis from a third wave perspective was used to conduct qualitative visual and textual analysis of three different femvertising campaigns: Dove’s “Campaign for Real Beauty,” Always’ “Like a Girl” campaign, and Pantene’s “Shine Strong” campaign. Although femvertising diversifies the representation of women and girls in the media by challenging restrictive beauty standards and damaging rhetoric, it fails to accurately represent or reference the third wave movement by shying away from the feminist label and omitting mentions of intersectionality, sexuality, and storytelling. In addition, in order for femvertising to seem genuine rather than manipulative, the campaign must reflect a sustained effort on behalf of the brand to empower women and girls through philanthropic efforts and organizational partnerships. / Thesis (BA) — Boston College, 2017. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Communication.

Thesis (Ph.D.)--Murdoch University, 2005. / Thesis submitted to the Division of Arts. Bibliography: leaves 314-333.

Thesis (M.A.)--Liberty University School of Religion, 1993. / Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2002.

This dissertation investigates the African American writer, Pauline E. Hopkins (1859-1930), and the white South African writer, Olive Schreiner (1855-1920). Although Hopkins and Schreiner wrote at the same time, inhabited settler-colonial contexts (the United States and South Africa) that can in many respects be seen as similar, and shared an investment in gender and race activism, they are rarely associated with each other. This thesis examines the connections between them, illuminating a historical moment in which a transnational feminism was both in the making and a historical impossibility. Drawing from Schreiner’s and Hopkins’s literary work and archives, I use transnational feminist analysis, literary analysis, and feminist and black feminist theory to interrogate the ways in which these two writers defined, endorsed and contested the notion of female solidarity. I trace the authors’ thoughts on race, class and gender over the course of their lives, examining the historical moment of their connections in the light of their nonfiction and fiction. I conclude that, while never meeting, Hopkins and Schreiner moved in similar transnational and cross-racial circles, a symptom of both the possibilities and impossibilities of transnational and cross-racial solidarity. Their non-fiction lays bare the frictions between black and white women in the United States and South Africa; on the other hand, the imaginative capacity of their fiction offered both Hopkins and Schreiner a space in which to tease out these conflicts and to expand their feminist visions. Without promoting any notion of universal sisterhood, I argue that viewing Hopkins and Schreiner in tandem underscores their connectedness. Both authors made attempts to bridge the contemporary social divisions between women in service of a more inclusive feminist project. Attempt is the operative word, for neither writer was able to conceive of such a feminist project in its entirety. Nevertheless, their efforts to do so demonstrate the affinities that may exist between figures conventionally considered to be socially separated; they also emphasise the political urgencies of a transnational feminism, urgencies that I propose extend into our present.

archives@tulane.edu / On Mother’s Day in 1971, a group of fifteen women gathered in front of the Mother’s Monument in Mexico City in the first protest against the “myth of the mother” in Mexican culture and society. These activists, later forming the group Mujeres en Acción Solidaria, set out to examine the impact of this mythology on women’s lived social and psychological experience. Participants invited public dialogue by distributing pamphlets marked with the question, somos madres ¿y qué más?—"we are mothers and what else?” Rather than reject “the mother,” its roles and associations, a significant number of Mexican women worked to interrogate its performative construction and open it to collective transformations. This dissertation focuses on artists Maris Bustamante, Guadalupe García, Ana Victoria Jiménez, Magali Lara, and Mónica Mayer whose works emerged within the intersection of the contemporary art scene, the women’s movement, and contested meanings of the maternal in Mexico City during the 1970s and 80s. Ideologies forged over centuries in Mexico established the role of mother as categorically distinct from that of artist and thus devalued and effaced women’s creativity in the art world. Mexico City was, at the same time, home to a vocal women’s movement that sought to interrupt and transform patriarchal formations of gender and a vibrant artistic community in the midst of redefining the very possibilities of art. I argue that, within this moment of feminist and creative potentialities, these artists reconfigured their maternal subjectivity as a foundation from which to articulate innovative practices as democratic critique. Their works form a set of artistic practices that fundamentally transvalued the maternal in Mexican visual culture and society from non-prescriptive feminist and artistic perspectives. My analysis traces their strategic artistic interventions into key spaces where the role of mother has been relentlessly produced and performed, within visual culture, social rituals, and labor in domestic, public, and educational spheres. Their archive asserts the maternal as central to the invention of new forms of artistic practice in Mexico. Its analysis here performs a rupture within existing art historical discourses that allows space for the role of artist/mother to be possible. / 1 / Erin L. McCutcheon

Thesis (M.S.)--Central Connecticut State University, 2003. / Thesis advisor: Norton Mezvinsky. " ... in partial fulfillment of the requirements for the degree of Master of Science in International Studies." Includes bibliographical references (leaves 76-82). Also available via the World Wide Web.

Thesis (M.S.)--Brigham Young University. Dept. of Sociology. / Includes bibliographical references (leaves 146-156).

Thesis (M.S.)--Brigham Young University. Dept. of Sociology. / Includes bibliographical references (leaves 146-156).

葉嘉茵. / "2010年8月". / "2010 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 123-128). / Abstract in Chinese and English. / Ye Jiayin. / Chapter 第一章 --- 前言 --- p.1 / Chapter 第二章 --- 一九一六至一九二五年:機關報時期 --- p.8 / Chapter 第一節 --- 編輯與出版 --- p.10 / Chapter 第二節 --- 讀者與銷量 --- p.17 / Chapter 第三節 --- 宗旨與內容 --- p.21 / Chapter 第四節 --- 小結 --- p.27 / Chapter 第三章 --- 一九二六至一九二三年:改良時期 --- p.30 / Chapter 第一節 --- 改良時期的《女青年》發展概況 --- p.30 / Chapter 第二節 --- 改良派的婦女解放論述 --- p.46 / Chapter 第四章 --- 一九三二至一九三七年:激進時期 --- p.73 / Chapter 第一節 --- 激進時期的《女青年》發展概況 --- p.73 / Chapter 第二節 --- 激進派的婦女解放論述 --- p.90 / Chapter 第五章 --- 結論 --- p.116 / Chapter 第一節 --- 《女青年》的出版和發展 --- p.116 / Chapter 第二節 --- 婦女解放論述的變更 --- p.118 / 參考書目 --- p.123