My senior art project is an exploration of contemporary representations of women of Asian descent in the United States, specifically looking at issues of body image, sexuality, and exotification. I will examine the lack of representation of Asian women in America in media and art, specifically painting and mixed media. Ultimately, I will elucidate on why I chose this topic and used certain techniques and materials to explore the contemporary features and symbolic representations of Asian women in America.

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Orientador: Prof. Dr. Daniel Pansarelli / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Filosofia, 2017. / Tendo como motivação e ponto de partida os acontecimentos e experiências políticas da segunda década dos anos 2000 no Brasil, em nossa pesquisa lançamos mão do método analético e da filosofia produzida por Enrique Dussel para explicitar sua proposta de "fetichização do poder" e apresentá-la como fundamento da corrupção nas instituições. Para tal, em nosso primeiro capítulo, constituímos junto ao filósofo latino-americano a base material antropológica que dá conteúdo e que sustenta sua política. Em seguida, apresentamos os princípios ético-políticos de sua filosofia da libertação que guiam o processo de institucionalização de uma comunidade de vida. No terceiro capítulo, desenvolvemos a diferença entre o exercício obediencial e o exercício corrompido do poder, abrindo caminho para a explicitação do processo de "fetichização do poder", tomando-o como fundamento da corrupção nas instituições. Cabe indicar que tomar a produção em filosofia política do latino-americano Enrique Dussel não implica em pressupor que a corrupção seja um problema exclusiva ou redutivamente do campo político, mas que tomaremos a produção em política como estudo de caso para construir um modelo teórico aberto que permita evidenciar o fundamento da corrupção institucional em diversos campos ¿ ainda a ser criticado, melhorado e/ou transformado. / Taking as a starting point and motivation for this work the recent political events and experiences in Brazil, in our research we use the analetical method and the philosophy produced by Enrique Dussel to make explicit the concept of "fetishization of power" and present it as the basis of corruption in institutions. To this end, in our first chapter, we constitute together with the Latin American philosopher the anthropological material base that gives content and that sustains its political philosophy. Next, we present the ethical-political principles of his liberation philosophy that guide the process of institutionalization in a community of life. In the third chapter, we develop the difference between obediential exercise and the corrupt exercise of power, preparing the way for the process of "fetishization of power" to be explicited, taking it as a basis for corruption in institutions. It should be pointed out that taking the production in political philosophy of the Latin American Dussel doesn¿t imply that we are taking corruption as an exclusively political problem, but that we will take the production the politic content as a case to constitute an open theoretical model that makes it possible to highlight the basis of institutional corruption in various fields ¿ still to be criticized, improved and / or transformed.

Fantasy sports are the latest addition to the sports industry. Fantasy sports (FS) participants compete against one another by using players from the “real” world to create a virtual team. FS simulates the structures of the real sporting world. The most popular FS is football, due to the success of the National Football League (NFL) (World Fantasy Games, 2009). Black males represent a vast majority of the athletes in the NFL and are often bought and sold by white participants who represent a critical mass of FS players. The purpose of this dissertation is to read fantasy football participation and consider the un/conscious commodification, fetishization of black masculinity, which is used for cultural transmission. Using Critical Race Theory (CRT) to analyze interdisciplinary literature enhances the discourse surrounding the intersectionalties of race, gender, sexuality, and sport. Critically reading FS, employing bricolage has made it possible to pragmatically analyze FS. I argue race is central to the acquisition, maintenance, and exposition of power that is paramount in sport, and evidenced within FS. The paradox of allowing the masses of white sport consumers to exercise virtual control over black bodies via FS is that it reveals cultural dogma of racialized masculinity with psychosocial links to fetish.

Research questions: This research was focused on exploring the impact of communication technologies on rural populations in the Congo. In particular, this research posed two questions: 1. Do mobile phones produce development in rural areas of the Congo? 2. Do mobile phones improve the living conditions of people? The questions helped examine ways in which mobile phones were or were not engendering development among these populations. Methods: The research was undertaken using four methods: 1. Phenomenology, 2. Sen's capability approach, 3. Participatory method, and 4. Ecological method. Phenomenology aimed to cater to the experiences and meanings of mobile phone uses. Sen's capability approach allowed the interviews to be focused on the basic needs of the poor. Participatory method provided a greater participation of respondents in discussion groups, and ecological method helped achieve a higher inclusion of key players in the targeted area. Major findings: The major findings of this study included: 1. Much of the literature on mobile phones and development was not representative or inclusive of key players and their day-to-day lives. 2. Studies have tended to present snapshots or single-focused accounts of mobile phone and development. 3. Authors of mobile phone research have tended to see rural populations with an urban-led bias, leaving aside the actual characteristics of rural areas. 4. Mobile phones were not limited to a person and her properties, but rather mobile phones were owned and shared by the community. 5. Participants expressed a need for technical skills and means to be available to the community and their members. 6. Households were not separated, but rather they were connected to allow people take care of one another. 7. People were connected through collective solidarities in order to come to the aid of those with special needs. 8. Literature and mobile phone sponsors or companies were disseminating mobile phones with an extractive and commercial tendency, focused principally on fees of batteries, chargers, and prepaid cards. Major contributions: The major contributions of this research revolved around the focus on: 1. technology to enhance the needed technical skills among concerned populations. 2. shared ownership of mobile phones to cater to both users and non-users of mobile phones among concerned populations. 3. connected households to capitalize on the dynamics of family among concerned populations. 4. collective solidarities to accommodate the processes of aiding one another among concerned populations. 5. capabilities, from a commercial or extractive aspect to capabilities to enhance the capabilities of people to afford mobile phones fees. 6. capabilities, from a corporate or business aspect to capabilities to enhance the capabilities of people who did not and could not own a business. 7. human basic needs to enhance the capabilities of mobile phone users with regard to human basic needs. 8. outliers or the marginalized to attend to those left out among concerned populations. 9. mobile phone-centric libraries to enhance the storage and retrieval of needed information among concerned populations.

Pin-up images have played an important role in American culture, in both their illustrated and photographic configurations. The pin-up is viewed as a significant representational cultural artifact of idealistic and aspirational femininity and of consumerism and material wealth, especially reflective of the mid-twentieth century period in America spanning the 1930s to the 1960s. These images not only reflect great shifts in social mores and women’s social status, but also affected changes in both areas in turn. Furthermore, pin-up images internationally circulated in magazines, advertising and promotional material, contributed to the manner in which America was idealized in Europe and beyond. Crucially, they influenced how an eroticized and glamorous, yet unrealistic, example of femininity came to be generalized as a desirous model of femininity. In recent years there has been vital, though limited, scholarly research into the cultural and social impact of pin-up imagery, to which this thesis adds to. This thesis takes a genealogical approach, charting the development of popular female-centric “pin-up” imagery in America since the 1860s and up to the 1960s, and its resurgence since the 1980s onwards. In doing so this thesis aims to provide a social, political and cultural context to the emergence of a specific archetypal sexualized femininity, with the aim of challenging the tendency to dismiss sexualized imagery as “anti-feminist” or as trivial. Toward that end, I examine the complexity of intentions behind the production of “pin-up” images. In taking this revisionist approach I am better able to conclusively analyze the reasons for the resurgence and reappropriation of pin-up imagery in late-twentieth- and early-twenty-first-century popular culture, and consider what the gendered cultural implications may be.

As a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the opera's libretto, the libretto sources, and the opera's score. I unravel the Orientalist assumptions that make up the foundation of the Butterfly narrative, and trace them as they make their way into Puccini's opera. I re-read Madama Butterfly as a metaphor for imperialism, and its effects on the colonized psyche. I examine Lieutenant Pinkerton and Butterfly's characters with specific attention to the power dynamics of their relationship in the context of colonization. I emphasize gender, race, and class tensions evident within the white male and white female gazes on the bodies of third world women of color. I present Puccini's musical choices in the operatic score as supplementary to my postcolonial-feminist reading. Puccini's use of pentatonic scales to evoke "Oriental" sounds, as well as his appropriation of Japanese folk tunes and "The Star Spangled Banner" into the score serve to supplement my basic contentions that Madama Butterfly is a product of Oriental discourse and a metaphor for imperialism and its effect on the colonized psyche.