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As an accepted genre of female composition, song lies in a unique position among musical genres. This allows it to stand largely outside the area of Claude Steele’s notion of “stereotype threat,” and being absent such weighty pressures, it could then furnish an arena in which female composers can do their best work. As a genre that combines the arts of music and poetry, song is based upon a given set of symbols that provide the composer with inspiration. The study of these symbols and their possible metaphorical meanings can offer a guide to that inspiration. By studying two settings by male composers and two settings of female composers, we can compare their individual and gendered approach to those symbols for elements of a masculine or feminine style. Heinrich Heine’s 23rd poem in Die Heimkehr, analyzed thoroughly in Chapter 2, is the focal text in this study. In Chapters 3 through 6 each of the settings is examined at length using both a standard formal analysis and the “Grundgestalt” concept of Schoenberg. The settings examined are “Ihr Bild” by Franz Schubert, “Ich stand in dunkeln Träumen” and “Ihr Bildniss” (two versions of the same work) by Clara Schumann, “Ich stand in dunkeln Träumen” by Hugo Wolf, and a setting of the same name by Ingeborg von Bronsart. Each discussion focuses on the individual reactions to the specific symbols identified in Chapter 2, as well as the global approach to some well-known literary aspects of paternalistic literary culture of the time. The thesis concludes with a summary of the similarities and differences in the preceding four examinations. Chapter 7 also draws conclusions based on those contrasts, which yields an evaluation of gendered reactions and the possibility of a feminine style in the nineteenth century.

abstract: Among the hundreds of hymnals published in the United States during the Second Great Awakening (1790–1850), the first official hymnal of The Church of Jesus Christ of Latter-day Saints is a rare example of a hymnal compiled by a woman. The Latter-day Saints wanted a hymnal adapted to their unique beliefs and emerging identity, and Emma Smith—the wife of founding prophet Joseph Smith—was given sole charge of selecting the hymns. The hymnal is also significant because Emma Smith selected and arranged hymns from 1830–1835, years of an emerging rhetoric for the early women’s rights movement. Nevertheless, few studies attend to Smith’s agency and priorities as a compiler, being preoccupied with the contributions of W. W. Phelps, the editor, printer, and most represented poet of the hymnal. Drawing on Karlyn Kohrs Campbell’s theories of agency and of feminine style as well as Kenneth Burke’s theory of form, this thesis uses close textual analysis and coding to examine the rhetorical strategies Smith employed in the hymnal’s preface and in the organization of the Sacred Hymns section. The analysis reveals the hymnal’s recurring themes as well as the ideas it circulates about sex, gender, agency, and community inclusion/exclusion. It also uncovers tension between Smith’s and Phelps’ priorities for the hymnal, particularly in how Smith and Phelps characterize those who should and should not be included with equal authority in Zion, the ideal community the Latter-day Saints sought to build. / Dissertation/Thesis / Masters Thesis English 2019

<p>The aim of this study was to find out how features that have been found to be typical of women’s language, such as hedges, tag questions and a high level of talkativeness etc., are represented in a popular TV series. Five cross-sex conversations from one episode of the sitcom <em>The New Adventures of Old Christine </em>were analyzed, and the results show that many of the features of interest, as for instance tag questions, minimal responses and indirect style, are unexpectedly used more frequently by men in this small investigation. In fact, the only feature that was used more frequently by the female main character was hedges. Several factors affect the results of the study, as for instance the fact that the conversations are fictional. The special characteristics of the speakers also affect the results, as well as the tone and the topic of the chosen conversations. Many of the features of interest were used to a very small extent, which is probably a result of the fact that the language in a sitcom is to be entertaining and rather quick, which leaves little or no room for the features studied.</p>

The aim of this study was to find out how features that have been found to be typical of women’s language, such as hedges, tag questions and a high level of talkativeness etc., are represented in a popular TV series. Five cross-sex conversations from one episode of the sitcom The New Adventures of Old Christine were analyzed, and the results show that many of the features of interest, as for instance tag questions, minimal responses and indirect style, are unexpectedly used more frequently by men in this small investigation. In fact, the only feature that was used more frequently by the female main character was hedges. Several factors affect the results of the study, as for instance the fact that the conversations are fictional. The special characteristics of the speakers also affect the results, as well as the tone and the topic of the chosen conversations. Many of the features of interest were used to a very small extent, which is probably a result of the fact that the language in a sitcom is to be entertaining and rather quick, which leaves little or no room for the features studied.

Indiana University-Purdue University Indianapolis (IUPUI) / A 2004 New York Times’ article regarding the role of potential First Ladies at political conventions wrote, “The public will someday accept a fully independent first lady, Ms. Gibbons predicted, 'I don't see how we can go backwards.’'' (Purnick, 2004) That isn’t to say, however, we have continued moving forward. Perpetuating the trend that began two decades ago, in 2012 both Ann Romney and Michelle Obama delivered speeches at the Republic National Convention (RNC) and Democratic National Convention (DNC) respectively. Prompting a continued study of the first lady include not only Michelle Obama’s self-titled “Mom-in-Chief” speech or the ever present role of fashion and the First Lady, but also her permanent role as the candidate’s feminine counterpart and its close management demand examination. To be sure, this thesis comes at a time of significant importance, with Hillary Clinton vying for the 2016 Democratic Presidential nomination. I agree with past scholars that presidential spouses, as part of the presidential institution, have ushered in a level of public power not previously possible for women (Anderson, Campbell, Jamieson, Sheeler, et al). However, the power of the first lady is constrained by feminine expectations that prevent the emergence of a fully independent first lady. We should question the limitations of the spousal role and challenge the discourses that create those limitations, as they hinder the realization of a fully independent first lady. Since 1992, nearly every spouse has given a public address at the presidential nominating convention, with all candidate wives from 2000-2012 taking part. The emergence of this campaign trend has prompted communication scholars to call for the expansion of research surrounding these speeches (Brown, 2012). Scholars have previously noted that first lady campaign discourse provides a sandbox in which our country experiments with various levels of first lady independence (Parry-Giles, 1996, Campbell, 1998, Anderson, 2002). That is to say, how the wives consistently talk about themselves, their husbands and the country, as well as how the media reports on the potential first lady during coverage of convention oratory, sheds light on the national tone of feminine ideologies. Therefore, I contend that a genre exists governing first lady convention speeches which, along with the mediated discourses surrounding these speeches, constructs and reinforces the ideal femininity of the First Lady. As a result, the hegemonic masculinity of the presidency is further reified with important consequences for our ability to accept an independent first lady which makes it more difficult to accept a woman president. This thesis examines the dual role of the feminine ideal of US first ladies and the masculinity of the presidency. Examining the generic constraints of 20 years of presidential candidate wives convention speeches and the associated media coverage will uncover dominant themes that aim to vilify certain wives—for their speech style and content—and celebrate others. By assessing what points of struggle we witness in these discourses, we note opportunities where first ladies and potential first ladies challenge these generic constraints and have the potential to reveal shifts and expansions in the discourses. The result may lead to a new understanding of gender in relation to the presidency.

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