Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 361-377). Available also in a digital version from Dissertation Abstracts.

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references.

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Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1995. / Contains slides with print copy. Includes bibliography.

This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line with feminist theories, which privilege gender as a defining characteristic of people’s experience. This is not to sanction notions of essentialism and therefore the research does not seek to universalise the position “woman”, but rather attempts to gain an understanding of the diversity of women’s experiences. To that end, the research data were collected through the use of both questionnaires and in-depth, semi-structured interviews. Five main categories emerged from the interviews, which formed the basis of the data analysis and interpretation. These were: issues concerning the conventional image of the artist and the limited availability of role models this provides for women artists; the relationship between women’s sense of their identity as females and its impact on their ability to combine that with an artist identity; the role of higher art education in constructing images of the artist; the part played by women artists’ social relations, including their relationships and roles within the family; and the models and realities of working practices, including the implications of the site of production and forms of dissemination. Two patterns emerged in my sample group regarding the various ways of constructing an artist identity. They largely reflected the impact of socialisation which, it would appear, requires women to adopt either a traditional female role around which the artist identity somehow has to be worked, or a traditional artist role which still challenges the adoption of a certain kind of female identity. The women in my sample group, however, showed signs of attempting to negotiate their own pathways towards complex and multiple identities; a process made more intricate for women with an additional identity of mother

Orientador: Lúcia Regina Vieira Romano / Banca: Stela Regina Fischer / Banca: Jade Percassi de Carvalho / Resumo: Esta dissertação tem como objetivo investigar as contradições entre gênero e classe no teatro de grupo paulistano através dos modos de produção e da análise da representação poética da mulher no espetáculo A Brava da Brava Companhia, única peça deste coletivo a colocar em protagonismo uma figura feminina, em contraste com a construção poética das mulheres nos demais espetáculos e experimentos da Cia (O Errante; Este lado para cima; Corinthians, meu amor; Júlio e Aderaldo; Quadratura do Círculo; JC; Show do Pimpão). A Brava Companhia faz parte do movimento de teatro de grupo paulistano, formado por grupos que têm como premissas centrais o trabalho continuado, a pesquisa de linguagem e a relação profícua com o contexto social em que estão inseridos. Foram realizadas entrevistas com a Companhia e, principalmente, com as mulheres, destacando a participação delas nas funções artísticas, administrativas e nas instâncias decisórias do grupo, questionando os poucos registros da atuação feminina na Companhia e considerando que seu modo de produção, incluindo as relações de gênero, reflete diretamente na construção poética. Utilizando algumas teorias do feminismo, ora entrecruzadas com o teatro (ROMANO, 2009; ANDRADE, 2008; VICENZO, 1992) e o teatro épico dialético (DIAMOND, 1997; POLLOCK, 1989), ora com o marxismo e o socialismo (SAFFIOTI, 2014; MORAES, 2000; GOLDMAN, 2014) e também com a história das mulheres (PERROT, 1992; 2015), procurou-se fazer uma leitura feminista da trajetória... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This dissertation aims to investigate the contradictions between gender and class in the São Paulo theater group through the modes of production and analysis of the poetic representation of woman in the play A Brava, the only play of the Brava Company group, which spotlights a female figure in contrast to the poetic construction of women in the other experiments and performances from this company, such as O Errante; Este lado para cima; Corinthians, meu Amor; Júlio e Aderaldo; Quadratura do Círculo; JC; Show do Pimpão. The Brava Company is part of the theater movement of the paulistano group, formed by groups that have, as central beliefs, the continuous work, the language research and the meaningful relation with the social context in which they are placed. Interviews were conducted with the company, mainly with women, in order to highlight the female's participation not only in artistic and administrative roles, but also in group decision-making situations, in a way to question the few records of female performance in the company and to consider how their mode of production, including gender relations, reflects directly on poetic construction. Regarding a few feminist theories, some intertwined with the theater (ROMANO, 2009, ANDRADE, 2008, VICENZO, 1992) and the dialectical epic theater (DIAMOND, 1997, POLLOCK, 1989), and others with marxism and socialism (SAFFIOTI, 2014) and the history of women (PERROT, 1992; 2015), a feminist interpretation of the group trajectory was m... (Complete abstract click electronic access below) / Mestre

'Feminine Rhyme' is a sequence of objects and paintings that resonate with women's experience in contemporary culture. The components I have used are: the structure of the grid, aggressive surface handling, and language derived from text. I have reconfigured these elements to direct the viewer in exploring layers of information that can be viewed in fragments as well as understood within the containment of a sound whole. I have explored the relationship of gender identity in our culture, and the role women play in association to masculine power. Through repetitive use of the grid, combined with isolated words and images, I have created paintings that can be read either in a formal manner through the use of structure and materials that are visually pleasing, or in context to a visual dialogue of contemporary gender myths. By fragmenting text in the form of torn book pages, I have altered and personalized the order, lending weight to chaos. Words become a form of mark making, a lyrical device to be read at random. I have obscured the imagery by hiding the text, leaving only scattered bits of information. These bits are derived from a 'therapeutic model' found in self help books, diet books and romance novels which exploit "feminism" as a commodity, serve as cultural documents, and influence women as to how they should perceive their bodies, their minds, their freedom. The end result is a visual interplay of form and color within the context of personal testimony and societal conditioning of the female experience in contemporary culture.

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