As architects, we cannot resist the opportunity to build good houses on generous budgets to accommodate happy families. We could use this opportunity, however, to reconfigure the detached single-family house for a group of people that are not yet family, let alone happy. These are distressed times for a growing margin of society: seniors are lonely, young families struggle with little household help and middle-aged couples continue to pay large mortgages on their “empty nest” homes. We live in a society that copes. Seniors move into annexes of their children’s homes, two young families share daily chores, and middle-aged couples invest in a property with friends. It is happening all around us, and much can be done to provide the infrastructure to both accommodate and encourage the shift. This work builds the case for a house: a shared house for the emerging demographic of non-autonomous households that fall outside the conventions of the nuclear family. The project is a social experiment that investigates, probes and predicts the dynamics between 7-12 occupants who may be family, friend or stranger. It promises not only to test current proclivities, needs and desires for domesticity and privacy, but begs to be considered as an acceptable, and even preferable, way of living.

This study explains how expatriate South Australian woman artists established both new lives and art careers in the modern metropoles of Paris and London in the early years of the twentieth century. It also argues that relocation to the modern metropole required new representational forms in their art practices. The interior view set in domestic, rather than public space was the particular form chosen by the women of this study to represent their experience of modern urban life.

This thesis explores the intersection of politics, religious ideology, and gender norms in the context of the Turkish labor market. I aim to shed light on the increasing interplay of these forces under AKP governance and, by extension, provide a rationale for Turkish women’s consistently low labor force participation. Further, I intend to expose that, despite introducing several legal reforms geared towards promoting gender equality, the party continues to frame the traditional family unit as the main pillar of social stability, thereby forcing women into a domestic box from which they have not been able to escape. I hypothesize that several of the AKP’s reforms, which involve various domains of Turkish society—the social security system, the institution of marriage, the family unit (specifically public childcare), and, more indirectly, the education system—have deterred Turkish women from entering and/or remaining in the labor force, as they are predicated on the party’s idealization of domesticity. Ultimately, I grapple with the ways in which the AKP’s policies and ideology have led to Turkish women’s low labor force participation rate—reported by the International Labour Organization (ILO) to be 32.37 percent in March 2017.[1] [1] “Labor Force Participation Rate, Female (% of Female Population Ages 15+) (Modeled ILO Estimate): Turkey,” The World Bank, November 2017, https://data.worldbank.org/indicator/SL.TLF.CACT.FE.ZS?locations=TR.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-25T14:51:36Z No. of bitstreams: 1 fabioluizrigueirasimao.pdf: 1658054 bytes, checksum: fab38b3a238cc3fd90e5f9a1dce9c30e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-25T16:35:55Z (GMT) No. of bitstreams: 1 fabioluizrigueirasimao.pdf: 1658054 bytes, checksum: fab38b3a238cc3fd90e5f9a1dce9c30e (MD5) / Made available in DSpace on 2016-07-25T16:35:55Z (GMT). No. of bitstreams: 1 fabioluizrigueirasimao.pdf: 1658054 bytes, checksum: fab38b3a238cc3fd90e5f9a1dce9c30e (MD5) Previous issue date: 2016-04-11 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Neste trabalho, estudamos a criação e a trajetória da Escola Superior de Ciências Domésticas (ESCD) e da construção de um ideal de mulher e de domesticidade difundido por propostas oficiais da Universidade Rural do Estado de Minas Gerais nos anos 1940. O curso foi criado a partir da cooperação internancional com os EUA sob o objetivo de formar economistas domésticas com habilidades para levar as comunidades rurais do Estado de Minas Gerais um conjunto de hábitos e valores que organizassem a vida intra e interfamiliar. Os programas analíticos das disciplinas, jornais, revistas, periódicos estudantis, anais da Semana Feminina, evento que precede a própria criação da ESCD, entre outras fontes compõem a base documental a partir da qual estudamos os discursos e as representações construídas a propósito do curso e da mulher. Cruzamos fontes oficiais com revistas, juízos filosóficos e entrevistas para compreender como as personagens que assimilaram aqueles valores, agora a partir da esfera acadêmica (espaço antes reservado aos homens exclusivamente) conquistaram um espaço a principio inóspito a sua presença e como a própria Escola se transformou no movimento de sua expansão e da consolidação do campo acadêmico que peretrava. Esse paradoxo nos permite compreender melhor a complexa dimensão de projeto e de processo em torno do qual a história do curso de economia doméstica insere-se, percebendo o papel das estudantes, cuja ação construiu identidades e subjetividades muito próprias. / In this work, we study the creation and the trajectory of Superior School of Domestic Science (SSDS) and the construction of an ideal of woman and of domesticity spread by official proposals from Minas Gerais State University in the 1940s. SSDS was created by international cooperation between Brazil and the US in order to instruct women to be home economists with skills to influence and change the life of the families in the state. The course was created with the support of the cooperative program between Brazil and the U.S. The analytical programs of the lessons, student news, periodicals from the Female Month composed the representations about the women that we have studied. We have crossed official sources with magazines, diaries, pictures and interviews to comprehend how those women spread values that kept them in a submission social status, but from an academic sphere, a public space, which was before reserved to men exclusively. This paradox makes us realize the complex dimension of the project and process around which the history of the domestic science course is involved, as well as comprehend the role of the domestic sciences’ students whose action constructed identities and subjectivities.

Chuck Palahniuk’s Lullaby is a novel that evaluates modern spaces both abstract and physical, especially in regards to an individual’s experience in and attachment to domestic, regulated space as a source of identity, intimacy, and spatial representation. My thesis demonstrates how the destabilization of domestic space as a result of loss and grief led the characters of the novel to question their normative perceptions of space, and in turn, incited them to produce a new kind of space, a heterotopia, to compensate for their loss of identity and place in the world. The critical analysis of this text within this thesis demonstrates how Chuck Palahniuk employs his literary style, complex characters, and surreal plot to highlight the significance of how individuals interact and are affected by space, especially in regards to identity and relationships within society, particularly when confronting cognitive dissonance and uncanny affect. By assessing the haunting attributes of domestic space, the heterotopia that arises from cognitive dissonance, and the sentimental traits that anchor us to certain social spaces, readers will be able to value the influence of spatial practice, not only in the novel, but also in everyday life.

This essay argues that Little Women does not promote breaking stereotypical gender norms and nineteenth century gender roles, contrary to what several critics say. This paper will be using feminist criticism and analyzing two of the novel’s main characters, Meg and Jo, and examining their behavior towards stereotypical gender norms and rules. This essay concludes that while Jo challenges certain gender norms and roles, such as having “manly” emotions (anger) and taking on male-dominated jobs (author), within the narration she is punished for these and forced to become a conventional woman of the nineteenth century in order to live a happy life. On the other hand, Meg follows the rules of societal gender expectations and is rewarded for her behavior. By examining these two characters, this essay establishes that Little Women, because it is a didactic novel, delivers the moral that women can only be truly happy if they fit into stereotypical gender norms and roles.

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Scholars conventionally begin their investigation of U.S. labor history with industrialization, focusing on forms of industrial labor, union organization, and labor legislation, to the exclusion of work performed in the “private sphere”: domestic, service, and care labor. But by presuming that these forms of “women’s work” were outside the market and the interests of labor, scholars obscure a vast array of historical possibilities that precede our present economic and social order. This dissertation reads against this prevailing tendency in labor and working-class studies to pose the question: what if the antecedents of our present culture and economy may be found not merely in the industrial past, but in the nineteenth-century home? After all, whether in the gig and service economies, or in white-collar workplaces, the vast majority of working people now engage in some form of service, care, and affective labor. Figuring Women’s Work seeks to denaturalize our relationship to work, revealing that labor is a historically contingent political concept in order to expand the scope of what counts as work and open further lines of inquiry into both working-class studies and U.S. literary and cultural studies. To pursue its hypothesis, this dissertation performs a genealogical investigation of service labor, beginning in the antebellum period when housewives and their servants struggled over the meaning of domestic labor in a slaveholding republic, and continuing through the early twentieth century as forms of women’s work were commercialized in the public sphere. In this context, social anxieties about the relationship among gender, race, economic dependency, and labor were articulated in literary forms like the seduction novel and servants’ tale, by leaders of social movements, and in legal battles that sought to distinguish market from domestic relations. These social tensions, each chapter argues, found symbolic resolution in the cultural idealization of a figure of labor—whether the celebration of the housewife as a pillar of democratic society, the Mammy as a selfless caregiver, the “office wife” as a model of industriousness and accommodation, or the sweated immigrant homeworker as a pitiable and romantic object of the philanthropic housewife’s charity. Reading literature written by working women, including Catharine Beecher, Harriet Jacobs, Harriet Wilson, Willa Cather, Anzia Yezierska, and Alice Childress, I demonstrate how the figures of women’s work were forged in relation to each other in order to apprehend the elaborate and racially segregated system of women workers engaged in the labor of social reproduction. Whereas conventional approaches to labor treat domestic work and service as “invisible,” Figuring Women’s Work argues instead that the domestic labor relations that emerged in the antebellum home were described by a metaphorics of kinship, modeled on the myth of the “plantation family” that figured master and slave as parent and child. Within the cultural mythology that developed, housewives were imagined as “second mothers” to their childlike, foreign, and racialized charges, in a relationship of mutual obligation and affection. Even as women’s work was commercialized, and the labor of social reproduction was increasingly performed outside of the home, the notion that women should perform out of a sense of duty to others, rather than in pursuit of economic self-interest, persisted. The metaphorics of kinship, the idea that workers should see themselves as a “part of the family” was adapted to public workplaces like offices, businesses, and retailers. Now, a century later, the cultural imperative to perform an affect of “self-denying benevolence,” a demand first issued by nineteenth-century housewives to their slaves and servants, is widely felt by working people across industries and classes who, dominant cultural ideologies suggest, should labor out of “love” and love to labor. / English

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