This dissertation explores how the male body is utilised and visualised by a selection of gay male artists working within the post-Apartheid South African context. The male body is the means by which they represent these concepts of sexuality and identity. The complexity of contemporary visual arts is, in this dissertation, viewed as a signifier of cultural change. The visibility of gay males in South African society (read as a sign), is also reflected in the foregrounding of male bodies in artworks after 1994. Queer theory and theories of representation are used as a conceptual framework, in which readings are presented of how the male body is interpreted and represented as a site of contestation and convergence of power. The politics of sexuality and identity are represented and discussed in this project through the mediums of painting, photography and installation. These different mediums are linked conceptually, in the same way that sex, gender and sexuality are interlinked; influencing, yet not predetermining each other. / Thesis (M.A.)-University of KwaZulu-Natal,Durban, 2006.

<p> Society attaches gender stereotypes to musical instruments, which may influence students&rsquo; selection of an instrument for study. The purpose of this study was to examine the effect of model gender on instrument preference of beginning band students during the selection process. I used two research questions to guide the study: 1. Do student instrument preferences prior to an instrument demonstration reflect typical trends in gender stereotypes of instrumental performers? 2. Does the gender of the person modeling the instruments during a demonstration and selection process affect the instrument choice preference of the student? </p><p> Participants (N = 171) from six schools with five instructors from the Northeast were grouped into four treatment groups. First, I designed a questionnaire containing a pretest and posttest. In the pretest, the participant responded with demographic information consisting of grade, sex, and whether or not a parent played an instrument, and if so, which one. Next, participants rated their preference for six band instruments on a scale of 1 to 5 with 1 representing no desire to play the instrument and 5 representing a strong desire to play the instrument. After observing the instrument demonstration, the participants rated their preferences for the instruments in the identical format as the pretest. Participants next answered an open-ended question that asked why they most preferred the instrument they did. </p><p> I conducted a pilot study with 23 participants and determined that the research instrument was suitable. Next, I administered the research instrument to four treatment groups. Treatment 1 (n = 76) observed all instruments demonstrated by a female modeler. Treatment 2 (n = 30) observed all instruments demonstrated by a male modeler. Treatment 3 (n = 23) observed all instruments demonstrated by typically associated gender stereotype modelers. Treatment 4 (n = 42) observed all instruments demonstrated by atypically associated gender stereotype modelers. </p><p> I determined the internal reliability of the research instrument with Cronbach&rsquo;s Alpha (? = .68). After determining a mean gain score by subtracting the pretest preference score from the posttest preference score, I performed a series of ANOVA tests. Students preferred instruments along typical gender stereotype lines initially with females preferring flute and males preferring trumpet most. I determined that there was no effect of model gender on instrument preference of beginning band students. While some changes in preference existed from pretest to posttest, especially for trumpet, none of the changes were significant. I determined in the posttest that while males continued to prefer trumpet most, females most preferred trumpet and clarinet equally with flute their next choice. Instruments played by parents followed typical gender stereotype assignments with most mothers playing flute followed by clarinet and most fathers playing percussion followed by trumpet. The majority of participants who responded to the open-ended question (66%) stated that tone was the reason for their instrument preference. By addressing the gender stereotyping of instruments, music educators may lead students to have more successful and satisfying experiences as instrumental performers. </p>

<p> Three dances, <i>On This Day, Panties and Pathologies </i>, and <i>Naked Spotlight Silver</i> were choreographed and performed in fulfillment of the requirements to complete an M.F.A. degree in dance. The performances took place at the Martha B. Knoebel Dance Theater located on the campus of California State University, Long Beach. <i> On This Day</i> premiered October 2012, <i>Panties and Pathologies </i> premiered March 2013, and Naked Spotlight Silver premiered October 2013. </p><p> This thesis examines how each project investigates choreographic approaches used in concert dance to communicate issues of gender and sexuality as well as participate in a discourse on identity politics. The three dance pieces attempted to confront themes of marriage equality, representation and the marketing of femininity, and queer identity representations in performance. Each piece was unique in its methodologies and served as an explorative approach to political communication and artistic development.</p>

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2438. Adviser: Peter Mortensen. Includes bibliographical references (leaves 230-242) Available on microfilm from Pro Quest Information and Learning.

Thèse (M.A.)--Université de Sherbrooke (Canada), 2008. / Titre de l'écran-titre (visionné le 1 février 2007). In ProQuest dissertations and theses. Publié aussi en version papier.

Thèses (M.A.)--Université de Sherbrooke (Canada), 2007. / Titre de l'écran-titre (visionné le 1 février 2007). In ProQuest dissertations and theses. Publié aussi en version papier.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2371. Adviser: Cameron McCarthy. Includes bibliographical references (leaves 329-354) Available on microfilm from Pro Quest Information and Learning.

<p> This is a quantitative, cross-sectional study designed to examine the relationship between sexist microaggressions and mental health. <i>Sexist microaggressions</i> refer to subtle communications of hostility and discrimination toward women. Sexist microaggressions are often difficult to detect, but they have the potential for harmful mental health outcomes. Despite a strong theoretical argument for the relationship between sexist microaggressions and mental health, limited empirical research exists documenting this relationship, partly due to a lack of an adequate psychometrically developed, quantitative measure of sexist microaggressions. Therefore, for the purpose of the study, a theoretically based quantitative measure of sexist microaggressions, including a stress appraisal of these experiences, was developed. Based on survey data obtained from 699 women, the <i>Sexist Microaggressions Experiences and Stress Scale</i> (the Sexist MESS) may be conceptualized as composed of seven interrelated factors. Furthermore, the results support the reliability and validity of the Sexist MESS as a measure of sexist microaggressions among women. Even further, scores on the Sexist MESS correlated significantly with scores on the <i>Mood and Anxiety Symptom Questionaire-Dutch-30</i> (MASQ-D30), indicating a positive relationship between sexist microaggressions and general distress, anhedonic depression, and anxious arousal. Additionally, hierarchical multiple regression analysis determined that sexist microaggressions account for a unique portion of variance in mental health outcomes, above and beyond other known predictors (e.g., self-esteem, perceived social support, feminist identity development) of women&rsquo;s mental health, suggesting that sexist microaggressions are an important factor to consider in the conceptualization and treatment of women&rsquo;s mental health. Other service implications and recommendations for future research are discussed throughout.</p>

<p> Previous research highlights the relationship between gender and activism in various environmental justice (EJ) grassroots oriented contexts, including but not limited to: the coalfields of Central Appalachia, Three Mile Island, and the Pittston Coal Strike movement. However, little research examining the relationship between gender and activist&rsquo;s efforts in relation to hydraulic fracturing exists, primarily because this movement itself is relatively new. From 2012-2014, four communities and one county collectively organized in an effort to ban or enact a moratorium on the practice of hydraulic fracturing, commonly referred to as fracking. Anti-fracking activists in Northern Colorado deem this technological advancement as poorly controlled and dangerous to public health and the environment. On the other hand, pro-fracking activists argue that this process is highly engineered, adequately controlled, and necessary to boost and sustain local oil and gas development in Colorado and the United States. Historically, grassroots environmental justice organizations are often created and lead by poor and minority communities as these communities experience the brunt of problematic industry practices. The setting of Northern Colorado is unique in this sense because the communities trying to halt oil and gas development are opposite of what one might expect, as they are predominately white, middle class, and educated. Thus, my study fills current gaps that exist in the literature and adopts an intersectional approach to address the subsequent research question broadly: how do gender, race, and class intersect and impact the nature and extent of activist&rsquo;s efforts in Northern Colorado&rsquo;s Hydraulic Fracturing movement? Ultimately, I find that gendered and raced identities, such as &ldquo;mother&rdquo; or &ldquo;steward to the earth&rdquo; play an imperative role in explaining women&rsquo;s entry into the fracking movement, while men pull on a spectrum of identities. Furthermore, I find that traditional gendered divisions of labor help to elucidate the differing rates of participation among men and women in the movement, as well as the roles that activists fulfill in grassroots anti-fracking organizations. Ultimately, I argue that exploring gender, in conjunction with race and class on various analytical levels, contributes to a broader understanding of the nuances of activism in environmental justice movements.</p>

<p> Sovereignty, a mechanism of power around which a state is organized, has emerged as a way to understand the twenty-first-century biopolitical moment. Thinkers including Michel Foucault, Michael Hardt, Antonio Negri, and Roberto Esposito find sovereignty essential to understanding modern regimes of bodily domination and control. These thinkers look back to early modern England as an originary moment when older theories of sovereign power became attached to emerging modern political systems. Despite the sophistication of these arguments, however, no recent biopolitical theory accounts for the situation of women in historical or current system of power, nor do they discuss the role gender has played in the development of sovereignty.</p><p> My project addresses this ideological and historical gap by examining how sovereignty was being discussed, challenged, and appropriated by literary figures from 1588-1688. In the years leading up to and spanning the Interregnum, sovereignty splintered and became available to formerly disenfranchised individuals, especially women writers. Such women not only appropriated and challenged traditional sovereignty in their texts, but also influenced contemporary and future understandings of power, politics, and gender. Each of my four chapters serves as a test cases of a woman writer engaging with and transforming sovereignty. </p><p> I first examine Elizabeth Cary&rsquo;s closet drama <i>The Tragedy of Mariam, Faire Queen of Jewry</i> (1612); I then move on to Mary Wroth&rsquo;s epic romance <i>The Countess of Montgomery&rsquo;s Urania, Part 1</i> (1621) and <i>Part 2</i> (completed and circulated in manuscript 1629). In the third chapter, I examine Katherine Philips&rsquo; <i>Poems, </i> circulated in manuscript during the Interregnum, and published posthumously in 1667; my final chapter then moves to Margaret Cavendish&rsquo;s utopian fiction and work of natural philosophy, <i>The Blazing World.</i> These women challenged traditional notions of body and power, offering their own new understandings of sovereign agency; they enable us to more fully the genealogical progression of sovereignty and to incorporate the category of gender into twenty-first century understandings of biopolitics. </p>