Thesis (M.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed July 27, 2010) Kathryn McClymond, committee chair; Michael Galchinsky, Timothy Renick, committee members. Includes bibliographical references (p. 72-76).

Thesis (Ph. D.)--Illinois State University, 2004. / Title from title page screen, viewed November 17, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Patricia Dunn, Janice Neuleib. Includes bibliographical references (leaves 183-193) and abstract. Also available in print.

Thesis (M.A.)--Miami University, Dept. of Psychology, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], ii, 37 p. : ill. Includes bibliographical references (p. 30-31).

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of Philosophy. / Includes bibliographical references (leaves 113-115).

Thesis (Ph.D.)--York University, 2005. Graduate Programme in Women's Studies. / Typescript. Includes bibliographical references (leaves 176-184). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:NR11571

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 55-56).

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This work examines the complex relationship between gender and the work of women artists associated with the Neue Sachlichkeit. The critical 'realism' of the Weimar Republic has become best-known through the work of artists such as Otto Dix, George Grosz and Christian Schad, but a number of women artists also engaged with the aesthetic, including Grethe Jurgens and Gerta Overbeck. Jurgens and Overbeck were part of the Hanoverian regional variation of the Neue Sachlichkeit which flourished between 1925 and 1938. In this thesis, the works of Jurgens and Overbeck are examined with particular reference to the gender politics of the Weimar Republic. Rather than rely upon masculine-normative practices which privilege individual artists and biographical techniques, this thesis explores four themes in the representations of the artists within the wider context of gendered cultural ideology. The first chapter takes as its theme the asymmetrical situation of men and women with respect to the concept of the 'artist' and evaluates the ways in which women realists of the period produced strong, artistic identities through their art. Chapter Two explores the pervasive association of domesticity with women in terms of the representations produced by Jurgens and Overbeck. The third and fourth chapters turn toward the public sphere and examine the ways in which gender conditioned the responses of the artists to the subjects of other women and politics. This work is vital for three reasons. First, it provides information about the work of a number of artists hitherto under-researched and under-valued. Second, the work attests to the active role of gender in the Neue Sachlichkeit and exposes the male-centredness of the movement. Third, it combines theoretical ideas and practice meaningfully; it is an example of feminist praxis in the study of women artists.

This dissertation involves contemplations and reflections on a post-apartheid feminist jurisprudence. My contemplation of a feminist jurisprudence takes place within the broader search for a post-apartheid jurisprudence. Post-apartheid jurisprudence provides a critical context for the contemplation. Within this research I illustrate the existence of a masculine symbolic order in South Africa. I suggest that this order contributes to the marginalisation of women and as such problematisation of this order is required. I submit within this dissertation that although the post-apartheid jurisprudential context may be described as critical, challenge to the masculine symbolic order has not been sufficient. From this perspective, I consider the possibility of a post-apartheid feminist jurisprudence. The reflections on a feminist jurisprudence depart from ethical feminism as originally formulated by Drucilla Cornell. The heterogeneity and plurality of the South African society requires an approach that is sensitive to difference and diversity. Ethical feminism seeks to address marginality and the masculine symbolic order by making use of critical and deconstructive insights. It suggests a way of interpreting 'the feminine' as a means of bringing about transformation and openness to difference. I submit within this research that ethical feminism as an approach is suitable to the South African context and that it may contribute to post-apartheid jurisprudence's critical search for approaches to law. Ethical feminism suggests using the feminine affirmatively and allegorically. Along these lines I explore certain myths and narratives, amongst them, retellings of the Greek myths of Ariadne and Penelope, the testimony of a mother before the Truth and Reconciliation Commission and William Shakespeare's character Ophelia. In attempting an interpretation of the feminine, I explore the theme of 'refusal'. Refusal discloses new possibilities, options and alternatives. It also signifies a feminist jurisprudence that is continuous, transformative and unafraid of embracing uncertainty and humility. / Dissertation (LLM)--University of Pretoria, 2011. / Jurisprudence / LLM / Unrestricted