Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 2002. / Includes bibliographical references.

Thesis (M.A.B.S.)--Multnomah Biblical Seminary, 1999. / Includes bibliographical references (leaves 58-61).

by Yu Kwan Wai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1990. / Bibliography: leaves [146]-[159] / INTRODUCTION His/ Her/ My Story --- p.1 / Chapter CHAPTER ONE --- Feminist Criticism: An Overview --- p.3 / Chapter CHAPTER TWO --- Moving in an Institutional Space --- p.63 / Chapter CHAPTER THREE --- Feminist Criticism: Possibilities and Strategies --- p.118 / WORKS CITED / APPENDIX Some Current Journals and Magazines Publishing / Feminist Criticism

Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.

Thesis (Ph.D.)--York University, 2004. Graduate Programme in Philosophy. / Typescript. Includes bibliographical references (leaves 265-281). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99256

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The issue addressed in this article is how a feminist case study would look like. This includes that the one who does the research, the purpose of the study, the content of the study and to whom the case study contributes should have feminist perspectives in order to be a feminist study. The case studies mapped in this article are limited to case studies about leadership, education and organizations. By analysing 20 different case studies with feminist point of views, I concluded that feminist case studies often includes gender inequality issues like acceptation of gender inequalities or gender employment discrimination but some of them cover how feminism ideology in organizations operate.

A significant sub-genre exists within feminist dystopian speculative fiction that has recently consisted of a growing collection of works in which patriarchal theocracies have played an integral role. In Lee Killough's <I>A Voice Out of Ramah</I> (1979), Margaret Atwoods <I>The Handmaids Tale</I> (1985), Sheri S. Teppers <I>Gibbons Decline and Fall</I> (1996), and beyond, a growing number of feminist writers have recognized the role of religious fundamentalisms within modern patriarchies, and the role that these fundamentalisms could play in the creation of a dystopian future. For the sake of brevity, this thesis focuses on Christian fundamentalism in its various manifestations in the late twentieth century. In addition, it discusses the ideological and organizational characteristics of fundamentalisms, the role of fundamentalism, and the implications of fundamentalists deep mistrust of both liberalism and what they call secular humanism, in feminist dystopian speculative fiction from the final three decades of the twentieth century. The current conflict between feminists and fundamentalists is exemplified by the assertion of many different varieties of Christian fundamentalists that the current state of contemporary societyone they consider to be morally depravedis a direct result of womens emancipation. Dystopian speculations based on this assertion play an integral role in <I>A Voice Out of Ramah</I> (1979), <I>The Handmaids Tale</I> (1985), and <I>Gibbons Decline and Fall</I> (1996), and will be examined, in the work of these and other authors, where relevant.

A significant sub-genre exists within feminist dystopian speculative fiction that has recently consisted of a growing collection of works in which patriarchal theocracies have played an integral role. In Lee Killough's <I>A Voice Out of Ramah</I> (1979), Margaret Atwoods <I>The Handmaids Tale</I> (1985), Sheri S. Teppers <I>Gibbons Decline and Fall</I> (1996), and beyond, a growing number of feminist writers have recognized the role of religious fundamentalisms within modern patriarchies, and the role that these fundamentalisms could play in the creation of a dystopian future. For the sake of brevity, this thesis focuses on Christian fundamentalism in its various manifestations in the late twentieth century. In addition, it discusses the ideological and organizational characteristics of fundamentalisms, the role of fundamentalism, and the implications of fundamentalists deep mistrust of both liberalism and what they call secular humanism, in feminist dystopian speculative fiction from the final three decades of the twentieth century. The current conflict between feminists and fundamentalists is exemplified by the assertion of many different varieties of Christian fundamentalists that the current state of contemporary societyone they consider to be morally depravedis a direct result of womens emancipation. Dystopian speculations based on this assertion play an integral role in <I>A Voice Out of Ramah</I> (1979), <I>The Handmaids Tale</I> (1985), and <I>Gibbons Decline and Fall</I> (1996), and will be examined, in the work of these and other authors, where relevant.

What is it about feminism that invites so many different opinions on what ‘counts’ and what doesn’t? People from vastly different cultural situations variously categorise feminist practices as extreme, radical, reactionary, unbalanced, co-opted, revolutionary, elite, exclusive, progressive, passé, and hysterical. The desire of both feminists and anti-feminists to control feminism emerges as the limiting of what feminism is, whom it is for, and where it is going. The urge to limit feminism seems, in some cases, to overtake the urge to spread the word and celebrate feminism’s successes. And it is not just anti-feminists who attempt to limit feminism – even feminists spend an inordinate amount of time defining certain practices out of the feminist spectrum. In this thesis, I document and analyse the way we limit feminism – its participants, meaning, practices, language, history, and future. I explore the reasons why we need to contain feminism in this way, looking in particular at those who have an investment in keeping feminism comfortably small. I invite back into the realm of feminism a wide range of activities and theories we generally invalidate as feminism, including the words of several ‘unofficial’ feminists I interviewed for this project. In essence, this project goes towards the rethinking of the term ‘feminism’ by examining the widely differing and often contradictory definitions of ‘what counts.’