This thesis examines theoretical and popular ways of knowing the prostitute and the client. Its purpose is to intervene in contemporary ways of knowing and articulate a more consistent feminist stance on prostitution. Currently, the prostitute is known predominantly through the discourse of psychology whilst the client is known through the discourse of sexology. She is deviant and he is normal. She is a victim and he is an agent. The issue of inconsistency in the feminist stance on prostitution is related to the recognition that these dualisms figure in the way in which all knowledge of the client and the prostitute is organised. Within feminist theory the prostitute is known through the dualism of victim and agent whilst the client is known through the sex/gender distinction. The former perpetuates certain ways of knowing the prostitute that cannot embrace the complexity and ambivalence of prostitution for women. If she is a victim she is only passive and exploited. If she is an agent she is both active and free. Utilising the latter allows the client to escape scrutiny. This thesis will argue that this is for two reasons. Firstly, because feminists have tended to support the idea of the prostitute as agent within the victim/agent dichotomy. Within such a way of knowing, any critique of the client became a critique of the livelihood of the prostitute, and is best avoided. Secondly, because feminists tend to work within the sex/gender distinction and its associated dualisms of mind and body, nature and culture. As such, they tend to perpetuate, rather than challenge, the sexological relationship between the sexual and the social. In both analyses, the sexual urge is ultimately natural, albeit modified by society. Analyses that argue for the social constitution of sexuality (rather than simply its social construction) still perpetuate the sex/gender distinction by claiming the validity of the mind/body dualism for their analyse. This thesis will argue that these dualisms structure an impossible choice for feminists and help to position them within the divisive prostitution debate. In a political climate that perpetuates only two ways of knowing prostitution, to critique prostitution is to be anti-sex, moralising, prudish and conservative. In contrast, to support prostitution is hailed as pro-sex, pro-women and pro-choice. Within this dichotomising of the political issue, feminists gain either conservative or libertarian allies. Within such a political climate, a consistent feminist position is lost. In order to counter this political and theoretical inconsistency, this thesis argues for a connection between the dualisms through the organisation of modern liberal democracies. To know the prostitute through the victim/agent dichotomy and the client through the sex/gender distinction (and associated dualisms of mind and body, nature and culture) is also to call upon the public/private split as their organising feature. The public/private split gives meaning to the dualisms of victim and agent, sex and gender, mind and body, through its role in the perpetuation of associations between victim, body, sex, private and women, and between agent, gender, mind, public and men. This thesis will argue that these dualisms are not useful for explaining the ambivalent and contradictory status of prostitution as both work and sex, public and private, rational and irrational, embodied and disembodied, sexual and social. However, not only does prostitution challenge the explanatory value of these dualisms, but the experience of prostitution for the prostitute and the client both subverts and inverts these dualisms. The usual configuration of the dualisms public/private, worker/consumer, male/female, mind/body, rationality/irrationality, are public, worker, male, mind, rationality, in contrast to private, consumer, female, body, irrationality. The prostitute is positioned in and through modern liberal democracies as embodied, but claims the status of worker through her experience of disembodiment. The client is positioned in and through modern liberal democracies as disembodied, and continues this proprietorial relationship with his body during the prostitution contract. She becomes the embodied worker and he becomes the disembodied sex partner. This further demonstrates the inability of a dualistic conception of prostitution to take into account the ambivalent and contradictory status of the prostitute and the client. Whilst this thesis will suggest that such an ambivalent status is to be found in all relations between men and women in modern liberal democracies, it will also propose the political implications of this theoretical reconfiguration for the feminist position on prostitution.

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

The gap between hope and happening refers to the experiences of four academic women who work at Milton University (MU), the pseudonym for a regional Australian university. This thesis is concerned with the ways in which discourses circulating within MU shape the performances and discursive positionings of the four women - Alice, Madonna, Veronica and Tamaly (all pseudonyms) - and how, in turn, these women negotiate these discourses. Data are drawn from the women’s narratives, university policy documents and selected institutional texts. A feminist poststructuralist lens interrogates both policies, reflecting different approaches towards gender equity at MU, and discursive practices, constructing the ‘good academic’ at MU. Instead of acts of resistance, what is revealed in this workplace is the continuing covert strategies of marginalization that reproduce women’s positioning on the margins of mainstream academia, indicating the presence of a kind of ‘phallocentnc smog’ emerging from a dominant masculine culture. This thesis finds a gap between the transformative potential of the four women at the micro-social (subjectivity) level and the lack of transformation at the macro-social (workplace) level. This suggests that the women’s abilities to resist and transform phallocentric discourses at the personal/private level are not sustainable at the public level because of the enduring power of normative institutional discourses or the ‘phallocentric smog’. This thesis signals the need for ongoing interrogation of the gap between the hope that feminists have (theory) and the happening for women (practice) in the quest for sustainable equity.

Thesis (Ph. D.)--University of Notre Dame, 2007. / Thesis directed by Teresa Ghilarducci for the Department of Economics. "November 2007." Includes bibliographical references (leaves 123-145).

Thesis (M. A.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

Thesis (Ph. D.)--Dept. of Economics. University of Missouri--Kansas City, 2007. / "A dissertation in economics and social science consortium." Advisor: Frederic S. Lee. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 19, 2007. Includes bibliographical references (leaves 216-240). Online version of the print edition.

<p>The purpose of the study is to  examine women and men’s perspective on the informal and traditional way for women to organize themselves in relation to formalization. To meet the aims of the thesis qualitative studies through interviews concerning a <em>protest march</em> that took place in 2003 Dareda village were performed, and a literature study to supplement the empirical data. Thereafter the purpose was analyzed through both feminist theory and empowerment theory. A majority of both the men and the women were positive opinions towards the traditional way for women to be organized. This might go against the feminist theory and verify that only negative statements are brought up within the feminist discourse. Through this tradition women collectively claim specific rights, because they are more powerful together then individually, but also under the banner of motherhood or as women. In relation to the process of development the women are being hindered from protesting more frequently and urged to act within the formal framework. Their major obstacles with the formalization concerns to the judicial system and some of them claim that corruption will prevent justice for them as women.</p><p> </p>

Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Marilynn Richtarik, committee chair; Calvin Thomas, Margaret Mills Harper, committee members. Electronic text (84 p.) : digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 75-84).

This thesis examines the role of sex and death in contemporary gay male culture, particularly focusing on issues surrounding HIV/AIDS and “safe sex” practices, specifically bug-chasing. By analyzing relevant literature and public discourse the topic of bug-chasing, or intentional pursuit of HIV sero-conversion, is placed in appropriate context. The work of Michel Foucault, Judith Butler, and Leo Bersani is employed in order to frame bug-chasing as a means of radical sexual self-determination which attempts to transcend the bonds of the administered bourgeois self, and ultimately results in an act of will akin to Martin Heidegger’s being-towards-death.

“Empowerment” is a term used liberally throughout feminist theory. However, the term has a number of assumed meanings, depending upon the context of its use. In this dissertation, I examine primarily second-wave feminist theory arguments, dividing the concepts according to quadrants of human experience (Habermas, Wilber) in order to reveal the context of the theorists’ views of “empowerment.” I also examine relevant worldview perspectives (Beck & Cowan, Graves) within each quadrant in order to reveal the underlying assumptions about what it is hoped “empowerment” might achieve. I show that there are two primary types of “empowerment”: empowerment of the autonomous self and empowerment of the relational self. These two distinctive types are of utmost importance because, though largely unacknowledged, they lie as the core foundation of conceptual frameworks that divide feminists into two opposing camps. Further, within these two primary types, there are diverse, nuanced understandings of “empowerment” that are based upon varied notions of what it should accomplish.