“Spaces of Visibility and Identity” is an exploration on how being immersed in constant visibility has an effect on an individual’s identity. Visibility is not a narrow term meant to signify solely observation; rather, visibility is the state of existing within a world that does not allow for total isolation. To exist within the world is to be visible to others, and this visibility is inescapable. Visibility can be seen as a presentation or a disclosure of oneself to other beings. Existing within the world inevitably implies that one is presenting oneself to others, whether or not the presentation is deliberate. I will be going over two different spaces of visibility throughout this paper: “space of surveillance” and “space of appearance.” The “space of surveillance,” discussed by Michel Foucault, is the space where normative standards of identity are created through discursive acts. This space is meant to control, coerce, and normalize. The “space of surveillance” is important for an exploration of identity formation, because it cannot be ignored that each individual is disclosing themselves in the context of a pre-existing world. This ‘pre-existing world’ is full of normative standards that affect identity formation, but it does not have to ultimately determine an identity. The “space of appearance,” as articulated by Hannah Arendt, is meant to be a supplement to the dogmatic normative standards created within a “space of surveillance.” The “space of appearance” gives those that do not, or do not want to, adhere to the normative standards created by the “space of surveillance” a space to disclose an identity that can challenge and rearticulate what is consider normal or culturally intelligible in the first place. The “space of appearance” is not meant to replace the “space of surveillance;” rather, it has the “space of surveillance” as a contextual background that can be challenged. I have found that both spaces of visibility are necessary for an exploration on identity formation, and I have used gender identity as a concrete example to exemplify both spaces.

Review of Sing, Whisper, Shout, Pray! : Feminist Visions For a Just World. EdgeWork Books, 2003. $39.95 ISBN 1931223076.

A review of sociological literature reveals a long history of the study of gender, and an increased popularity in the application of feminist theories and ideas to sociological research. As transmitters of the discipline, introductory-level textbooks have been heavily studied over the past quarter-century to assess the accuracy with which they portray the field of sociology. In order to update the literature available on the topic, this study analyzed the current cohort of top-selling, introductory-level sociology textbooks for coverage of feminist theory and gender issues. Each of the ten textbooks was read cover-to-cover and coded for both latent and manifest data using a coding sheet. The researcher found a notable increase in the incidences of both feminist theories and gender issues within the current cohort of textbooks. The specific treatment of each topic varied widely across books, and within each book the topics were presented one-dimensionally and were ghettoized to feminized chapters. Definitions of feminist theory and feminism within the books primarily described liberal feminism and little else, and discussions of both feminist theory and gender were most heavily featured in the gender and family chapters. Generally, the gender issues present in the textbook sample were mostly to do with women, and erased non-binary experiences of gender. Additionally, an intersectional approach to discussions of gender was applied about one-third of the time. This study concludes that the current textbook cohort is still far from the ideal model, and the feminization and marginalization of these topics is likely due to the textbook production cycle and the specific phenomenon of textual isomorphism.

Chapter one, “Narrating Entanglement: Posthuman Agency and Subjectivity in Shane Carruth’s Filmography,” considers the resonances of independent filmmaker Shane Carruth’s two SF films, Primer (2004) and Upstream Color (2013) with the ethos of quantum entanglement through close-readings of Primer’s anti-individualistic portrayal of scientific invention and Upstream Color’s metaphorically entangled human-pig character system. Chapter two, “Race and Schrödingers’s Legacy: History is Both Alive and Dead in Hari Kunzru’s White Tears” analyzes the 2017 novel White Tears as a narrative figuration of of the political, racial, and cultural entanglements set in motion by the economic structure of slavery, ultimately arguing that Kunzru’s entangled plotlines and histories critique the entanglement of contemporary U.S. capitalism with its past and present exploitation of black bodies. The third and final chapter, “Problem Child: Untangling the Reproduction Narrative in Lai and Phang’s SF Bildungsromans” uses close readings of two SF bildungsromans, Larissa Lai’s 2002 novel Salt Fish Girl and Jennifer Phang’s 2015 film Advantageous, both of which follow women of color protagonists not permitted to grow up in the ‘right’ ways, to shed light on the instability of a social order simultaneously grounded in the exploitation of marginalized bodies and the illusion of a reproducible, homogenous nation. Ultimately, “Entangled Bodies” uses a literary exploration of quantum entanglement to reveal both the limits of seemingly-totalizing power structures, narrative or otherwise, and the collective possibilities for re-definition that can, in part, be kindled by a favored tool of Western science: the human imagination.

Feminist “Sisterhood” has been a debatable term throughout multiple generations and its ideology is mostly rejected by feminists in the younger generation. The concept mainly denotes a sense of collectivity and it is viewed as a gendered term due to its coinage by second wave feminists as a response to patriarchy. Hence, “Sisterhood” authorizes a collective identity that portrays women as victims and thereby the ideology that is associated with this term reduces the complexity and fluidity of female identity. Various representations of female bonds, in the political, literary and filmic spheres, have valued the idea of collectivity among females, even up to our present day. In order to deconstruct the attempts to redeem “Sisterhood” as an all-inclusive term, I trace representations of the ideology of “Sisterhood” in selected literary, theatrical and televisual works from multiple generations to argue for the rejection of this term and the inability to validate it as inclusive due to its insistence on a collective identity that imposes a blindness to and an underrepresentation of otherness. I explore how “Sisterhood” results in the objectification of females’ experiences in order to serve identity molds that restrict a female’s representation as an individual. I highlight this problematic ideology in Jane Eyre (1847) by Charlotte Brontë and a theatrical adaptation of the novel by James Willing and Leonard Rae (1879); The Women of Brewster Place (1982) by Gloria Naylor; Big Little Lies (2014) by Liane Moriarty and an adaptation of the novel as a miniseries on HBO (2017). While deconstructing the ideology of perceiving female bonds through the lens of “Sisterhood,” I conclude that the concept is problematic in relation to the portrayal of “other” females, and I demonstrate how it is also flawed on a general level since it takes away from the individuality of each woman portrayed throughout this ideology in order to meet specific commonalities among her “sisters.” Although the ideology of “Sisterhood” is outdated and restrictive, we can’t deny, as I further explore, that the investment in portraying it has contributed to raising important female issues.

Evidence suggests that despite repeated mandates by the United Nations (UN) for gender equality, local gender justice for girls has been elusive. Conceptually drawn from Merry's human rights-cultural particularism dissonance and Sen's comparative justice theories, the purpose of this grounded theory study, supported by Clarke's situational analysis, was to investigate how local religious and cultural practices impedes a gender equality outcome for girls. The primary research question involved identifying characteristics and situations of actors who focused solely on gender, culture, and human rights issues at the international and national level. A qualitative research design was used in this study of 8 experts in gender, human rights, and cultural issues who were interviewed in-depth in person and on the telephone. A line-by-line analysis of participants' responses identified specific sub theme situations related to the study that included sociocultural, socioeconomic, and intercultural elements. In addition, open and selected coding of participants' responses uncovered critical gender related themes that included democracy, political governance, and fatherhood responsibility. Implications for social change include indentifying a gender justice approach to human rights in which to implement integrated gender focused programs advocated by civil society and the UN to fill gaps left by governments. The findings suggest that obtaining children human rights is a function of the effect of a girl's access to gender justice and a culture's response to social development with an outcome of gender equality. This can result in advancement of gender justice, which research indicates can substantially improve local and global communities socially, economically, and politically.

Works of feminist utopian literature project longing for and predict political change while confronting current social inequities. Often, they effectively interrogate Western models of citizenship and the institutions which reify them, suggesting alternate models. Here, I define Western citizenship as determined by the maintenance of the nation-state through gendered social roles that restrict women to the private sphere and men to the public. This thesis asserts that feminist utopian literature, like politically conscious music, art, and other forms of feminist praxis, is a politically necessary component of feminist consciousness because it facilitates much-needed visions of a more equitable future for all citizens. Here, patriarchy, separatism, socialism, and radical democracy, as well as attendant difficulties in implementation and ramifications for women, will be considered through the following works: Charlotte Perkins Gilman’s Herland, Sally Miller Gearhart’s The Wanderground, Ursula K. LeGuin’s The Dispossessed, Octavia Butler’s Parable of the Sower, and Starhawk’s The Fifth Sacred Thing. The thesis also comments on some of the narrative devices and themes of works discussed, such as nonlinear structure, avoidance of closure, altered states of consciousness, and exile. Analysis of these works relies in part on a growing body of speculative fiction criticism while also considering feminist theories of difference and vision. The thesis concludes with recommendations for utilizing feminist utopian literature as a part of feminist pedagogy.

Southern writer Ellen Glasgow once told an audience that “the longer one lives in this world of hazard and disaster, the more reckless one should become . . . in the matter of words.” Between the 1880s and the 1940s, opportunities for southern women writers like Glasgow increased dramatically, first bolstered by readership demands for southern stories in northern periodicals and followed by their acceptance into the southern literary canon during the 1920s-30s Southern Renaissance movement. And yet, it remained difficult for southern women writers to be reckless with words. Confined by magazine requirements and sociocultural expectations, writers often used regional settings to attract publishers and readers. Once a readership was established, they sought to publish a collection of stories separate from popular magazine contexts. This project examines the selection and arrangement of previously-published magazine stories into first short story collections by Kate Chopin, Ellen Glasgow, Marjorie Kinnan Rawlings, and Katherine Anne Porter. Publishing a collection enabled authors to revise their stories outside of magazines’ requirements and provided the agency to arrange individual stories into a collective narrative. In “Arranging Stories,” I argue that selecting and ordering magazine stories for these collections was not arbitrary nor dictated by editors. Instead, it allowed women writers to privilege stories, or to contextualize a particular story by its proximity to other tales, as a form of sociopolitical commentary. This project, supported by archival research at ten institutional repositories, invites a reconsideration of women writers’ authorial control throughout the publication process.

This dissertation considers the “strategic naturalism” of Sandra Harding’s standpoint theory in the philosophy of science, and it should be applied to epistemology. Strategic naturalism stipulates that all elements of inquiry are historically and culturally situated, and thereby subject to critical reflection, analysis, and revision. Allegiance to naturalism is de rigueur, yet there is no clear agreement on the term’s meaning. Harding’s standpoint theory reads the lack of definition as indicative of its generative possibilities for epistemic progress. The driving question is why Harding’s approach has not been considered a viable candidate for determining progress in epistemology. Beyond the fact that epistemic labor, in its scientific and non-scientific forms, is a social activity, Harding’s approach recognizes that it is situated in and reinforced by a broader network of social institutions, beliefs, and practices. Harding’s strategic naturalism would invigorate epistemology by increasing the awareness, acceptance, and respect for epistemic difference and drive epistemic progress that not only acknowledges pluralistic ways of knowing but also gives a more accurate account of the knowing subject. Chapter one is a discussion of non-naturalized epistemology and Quinean Naturalized Epistemology (QNE), framed by Harding’s historical account of the related projects of modern epistemology and science. This chapter highlights two important issues. The first issue is that epistemology is more complex than the story Quine offers. The second, and decisive issue is that the shared history of modern epistemology and science demonstrates the influence of social and cultural values on that history, and the long shadows they cast on naturalism debates in epistemology, science, and philosophy of science. Chapter two is an exegetical account of the origins of and motivations for critical feminist responses to both the received epistemological theory and QNE discussed in chapter one. The justifications for the feminist critiques and the problematic issues that motivate these critiques provide the backdrop for the initial, positive response to QNE, as well as their disenchantment with Quine’s influential proposal. Ultimately, feminist epistemologists and philosophers of science assess QNE as not naturalized enough to address their concerns. Chapter three considers several feminist standpoint theories to show that they are more naturalistic and better at providing a multi-faceted theory that is based on actual scientific practice, and re-introduces social values and interests as having a positive influence on epistemology and philosophies of science. This chapter shows that given the closely shared histories and assumptions of modern epistemology and science, FSE would be a viable resource for a more naturalistic epistemology. The final chapter argues that the project of naturalizing epistemology could incorporate FSE insights and the positive role FSE’s controversiality would play in naturalizing epistemology and philosophies of science. If we are to take seriously the concept of situatedness and what that entails, then naturalism must also be situated, and revisited with a critical and reflective eye. The implications on both our epistemic theories and our accounts of what kinds of knowing subject we are would foster epistemic progress.

In this project, I focus on women's relationships with technology in the context of contemporary music culture. In choosing this focus, I intend to elucidate the interplay between social constructs of gender, power and technology as they enacted in a particular arena of artistic and economic activity. The nature of this interplay is informed by prevailing regimes of truth which have emerged through historical processes and which surface in diverse social contexts, of which this is but one. My intention here is to identify such regimes and to situate women's discourses within them. In this undertaking, I draw on a body of theory which lies at the conjunction of contemporary feminist critique and the later work of Michel Foucault on power and the 'technologies of the self' to explore a model of power which promises cogent strategies in the feminist project of reworking notions of gender and social agency. The inquiry enlists the perspectives of women students in a university school of contemporary music through a guided interview process. The technologies referred to include musical instruments both of traditional and twentieth century design, as well as a range of sophisticated systems of equipment used for recording and amplifying, for composing and arranging music. Through analysis of the interview data and through readings from social science and musicology, I identify a dominant discourse, or regime of truth, which privileges men and marginalizes women in the realm of techno-musical activity. Alongside this prevailing regime are women's discourses which both comply with and dissent from its assumptions. In examining these discourses, I seek insights into the processes by which women collude in their own exclusion from a male-colonized terrain, but also exercise power to insist on entry. The alignment of technology and masculinity in contemporary music creates serious training and employment disadvantages for women in many facets of the industry. I contend that this anomaly demands attention in the interests of socio-economic justice, in the interests of the industry itself through full utilization of human resources and market potential, and in the interests of women's desires to expand their creative options and employment opportunities.