Girl protagonists in rite of passage films regularly come to be burdened with a sobering maturity that sees them acquire a dysphoric subjective position under an oppressive patriarchal paradigm. According to Oedipal logics, both genders, in extricating themselves from the imaginary fullness of the maternal bond, come to be subjects of lack, but culturally entrenched patriarchal fictions concur in fostering masculine narcissism at the expense of the feminine. This practice-based research asks how the Oedipal narrative structure, which has defined twentieth- century mainstream cinema, can be re-appropriated and re- imagined for the purpose of writing a screenplay that highlights the girl's active and constructive engagement in the project of selfhood. My reading of seven films, which are all at the low-budget end of the mainstream (studio-financed as well as independent), details parallel structures and discourses within the proposed genre. Victor Turner's rite of passage model is used as a template for understanding rite of passage plot structure and transformative symbolism, while key concepts in Lacanian psychoanalysis serve to throw light on the adolescent girl's psychosexual development. My reading of Girlfight, which follows Luce Irigaray's critique of phallocentrism and concept of intersubjective dialogue, provides a key insight into how the narrative aspects of film can provide a propitious environment for resolving cultural impasse and catalysing understanding and change. I have written my screenplay Lullaby, which accompanies the thesis as Appendix IV, in accordance with my research goals. It serves as a blueprint for a feature film that will hopefully, one day, go into production.

In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without Organs’ proposed by Gilles Deleuze and Félix Guattari can be activated to provide a more positive set of readings of active women on screen. These readings are not limited by discussions of sex or gender, but discuss the body in terms of its increased capacities as it interacts with the world around it. I do not argue for a Deleuzian analysis of cinema as such, because this project is concerned with aspects of representation which did not form part of Deleuze’s philosophy of cinema. Rather I use Deleuze and Guattari’s work to explore alternative ways of reading the active women these franchises present and the benefits they afford. Through these explorations I demonstrate, however, that applying the Deleuzoguattarian ‘method’ is a potentially risky undertaking for feminist theory. Deconstructing notions of ‘being’ and ‘identity’ through the project of becoming may have benefits in terms of addressing ‘woman’ beyond binaristic thought, but it may also have negative consequences. What may be liberating for feminist film theory may be also be destructive. This is because through becoming we destabilise a position from which to address potentially ideologically unsound treatments of women on screen.

This thesis is a critical review of educated women’s leadership in their emancipation in Ethiopia. Did they provide leadership and to what extent? It is to be noted that educated women’s leadership has been of great importance to women’s emancipation worldwide. Strong leadership was also the driving force behind women’s movements and feminism everywhere. However, the role of educated women in Ethiopia is hard to discern and their leadership efforts are largely invisible. On the other hand, many among the educated also lack the passion and desire to commit themselves in the fight for women’s emancipation. In this thesis I researched the settings and frameworks of women’s leadership and discussed the factors that function as limitations and/or opportunities. Overall there were more limitations than opportunities. These limitations are often historically rooted in the country’s religious, cultural, economic, political and traditional systems. And, as much as history and religion can be a source of strength and pride for many, they can also be a serious obstacle. The political regime of the Derg also scarred an entire population to the extent that despite the currently proclaimed ‘freedom’ of the EPRDF ruling party, women remain reluctant to step forward and claim their rights. The ruling party appears to appropriate women’s emancipation as a “private” interest and to use it for political gain, in the same manner as the Derg regime had done before it. Nowhere is there any sign of genuine freedom and equality for women in practice. Rhetoric reigns supreme through laws and policy documents, but they are not matched by genuine actions and concrete strategies. The traditional religious base of society is also making it more difficult to challenge autocratic tendencies of the ruling elite. The effect is that civil society is slowly being pushed to extinction, leaving the ruling party in charge as the main actor in all public services. This has serious consequences for the genuine emancipation of women in the country. The thesis finds that women’s leadership is not a luxury or personal demand, but a crucial step for the development of the country at large. It is encouraging to note that there are different sections of active women in the country waiting for strong leadership, leadership that can unite them into a movement and guide them on their unique emancipation paths. After all, it is only women themselves who, with their existing epistemic advantage, can transform their situation and change their status. / Sociology / (D.Litt. et Phil.(Sociology))

With the retreat of the state under neoliberalism, the lack of (or negligible) government and non-governmental support reasserts grassroots initiatives as a global-change strategy. A feminist political ecology approach and the concept of adverse inclusion were used to facilitate an analysis of social differences shaping local-level adaptive responses. Adaptive responses of small farmers in the border village of San Ignacio, Sonora, Mexico, who are increasingly vulnerable to climate change, water scarcity, and changing labor markets were studied. Gender differences in production sites translate into diverse vulnerabilities and adaptive strategies. Local capacities and initiatives should be a focus of research and policy to avoid viewing women and men as passive in the face of global change. The dynamic strategies of San Ignacio women and men in home gardens and small orchards hold lessons for other regions particularly related to adaptation to climate change via agrobiodiversity, water resource management, and diversified agricultural livelihoods.

This synthesis article joins the authors of the special issue "Gender perspectives in resilience, vulnerability and adaptation to global environmental change" in a common reflective dialogue about the main contributions of their papers. In sum, here we reflect on links between gender and feminist approaches to research in adaptation and resilience in global environmental change (GEC). The main theoretical contributions of this special issue are threefold: emphasizing the relevance of power relations in feminist political ecology, bringing the livelihood and intersectionality approaches into GEC, and linking resilience theories and critical feminist research. Empirical insights on key debates in GEC studies are also highlighted from the nine cases analysed, from Europe, the Americas, Asia, Africa and the Pacific. Further, the special issue also contributes to broaden the gender approach in adaptation to GEC by incorporating research sites in the Global North alongside sites from the Global South. This paper examines and compares the main approaches adopted (e.g. qualitative or mixed methods) and the methodological challenges that derive from intersectional perspectives. Finally, key messages for policy agendas and further research are drawn from the common reflection.

This paper discusses the relationship between gender expression and gender identity. It recounts my personal exploration of the two through the process of photographing two fellow AFAB individuals to create visual representations of their gender expressions while interviewing them to examine how these expressions relate to the gender with which they identify. Following this, I engage in self-reflection taking into consideration both the narratives of my peers as well as Judith Butler's insights on gender. The project culminates with a series of self portraits and a conclusion on how I came to understand both facets my gender.

This thesis is a comparative analysis of the African American author Toni Morrison’s novel Beloved and the Native American writer Louise Erdrich’s novel Love Medicine. The focus of this essay will be the theme motherhood. A feminist theoretical and critical approach are used throughout the thesis and focus is laid upon the third wave of feminism which: “borrows from post-structural and contemporary gender and race theories (…) to expand on marginalized populations’ experiences.” (Purdue OWL). In the novel Love Medicine the characters Marie and Lulu are examined. Both characters are strong independent women and through them the author challenges the Western-European image of motherhood, family and female characteristics. In the novel Beloved, the characters Sethe and Baby Suggs are studied with two focus points. The first is the impact that motherhood can have on the development of the self and how Morrison shows this through the character Sethe. The second focus point is the effects that come from slavery and mainly the effects that can come from the denial of motherhood. These novels manage to challenge the western norm of motherhood through different aspects and in different ways.

This thesis examines how images of the Swedish singer Jenny Lind worked to distance her from the typical nineteenth-century view. Because of their position within the public sphere, female performers were thought to be sexually available and often had the reputation of prostitute. Lind achieved a level of success that made her one of the most famous women of the mid-nineteenth-century. She was known not only for her talent as a performer but also for her morality and piety. Examining the Lind images in the context of nineteenth-century social codes and feminist theatre history, it becomes evident that Lind was a different type of female performer. This thesis will also discuss how photographic portraits of Lind adhered to codes for proper bourgeois portraits of women in the nineteenth century, thus distancing her from the stigma that was attached to stage performers.

This thesis details my process of teaching Devising Theatre, a course of my own design, in Spring of 2005 and Fall of 2005. I address my curricular development from semester to semester (readings, assignments, assessments) as well as the students' responses to the material. Additionally, I discuss my reasons for teaching the course and the place that alternative theatre can and should have in theatre training programs and in the realization of feminist pedagogy.

This qualitative essay explores and compares women’s roles and identities in the gothic novels Rebecca and Jane Eyre. The investigation shall be a social critique on feminine ideals from a feminist perspective. Comparable analysis of the "other women" who act as doubles for the protagonists will be essential to understanding the alter egos of Mrs. de Winter and Jane Eyre. These double personalities raise questions of identity and the roles of femininity. Similarly the power struggles between husband and wives and other feminine influences shall throw further light on prevailing feminine ideals of the times. I shall analyze Daphne du Maurier’s Rebecca in relation to the concepts of the "Angel in the house" and the "Mad Woman in the Attic" with Charlotte Bronte’s novel to explore parallels between the plot and female characters. I shall show how Daphne du Maurier offers varying feminine models and ultimately takes a feminist standpoint with her novel much like Brontë’s Jane Eyre before her. Finally, I will show how the suppression of women by men through gender stereotyping can lead to female rebellion and, in turn, the stigmatization of female madness.