Women represent 45% of the entire workforce in the United States, but only comprise 26% of the high-tech industry. Early introduction and interest in video games, contributes to computer literacy and self-confidence in terms of computing skills. Socially pervasive gender stereotypes, found in ubiquitous software, specifically games, factor in the alienation of young girls from active participation in computing. Currently marketed gaming software perpetuate this societal bias in the guise of overly-sexualized game avatars, and fail to adequately address documented female gaming preferences. Gender inclusive design is more a pragmatic approach to ameliorating gender bias, than creating a pink box “girl’s game.” Such games cater solely to stereotypical “female” interests, and are uncomfortably close to the concept of “separate but equal.” In the scope of this research a gender inclusive computer role playing game (CRPG) interface was designed and evaluated. The advantage of a CRPG is that it may be played individually or single player mode, as in the prototypic interface, or allow collaborative game play within a smaller group (2-12) when migrated to a multiplayer online environment. Small groups, involved in CRPG collaborative play, may reduce the incidence of online harassment or intimidation by male players, often encountered by experienced female gamers when engaged in Massively Online Multiplayer games. The Xanthia: A Fae’s Battle CRPG, was designed with the intent of studying key female preferences outlined in this research. The design utilized a stylized “cute” but strong female protagonist, featured a compelling storyline, and a backstory narrative. The game broached real world environmental issues with an underpinning of moral dilemma in the guise of good versus evil. Competitive but not combat-centric play was utilized in the game design, which enabled leveling up without the demise of the central protagonist. Fantasy-themed conflict resulted in transformations of both protagonist and antagonists when a change of state occurred during battle, thus eliminating the violence of gory death scenarios. This formative study endeavored to examine the underlying reasons for female underrepresentation in the high-tech and computing fields. The CRPG used in the study, incorporated key gender inclusive game elements found in current literature, in order to acquire insight into female gaming preferences. Two survey instruments were utilized to gather data from 35 female Barry University students, who had disparate gaming experience, comfort with computers, and academic majors. A pre-game questionnaire pertained to motivations for play, level of gaming expertise, and self-perceived comfort with computing. Additional data were gathered regarding access in early childhood to a gaming console or computer in the participants’ childhood homes and the incidence of tinkering. The female sample pool provided CRPG feedback post-game engagement. Examination of survey responses indicated that identification with the central female protagonist was a key element in positive game engagement for the majority of the study’s participants. In general, experienced gamers were more apt to tinker with the hidden features of the game. Experienced gamers also enjoyed competiveness and challenge more than their inexperienced or non-gamer counterparts. The primary component of positive engagement for this female sample group was “fun.” Social interaction was a key motivator for engagement in video game play for the majority of the participants. Empirical data collected from survey instrumentation suggested that individuals who had the easiest access to video game consoles and computing equipment, participated at greater rate in tinkering in childhood. The participants who tinkered, had a higher self-perception of comfort with computing.

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This paper considers the role of the human body in Octavia E. Butler’s The Parable of theSower and the way it interacts with defined space to stage expressive forms of politicalopposition. Understanding the relationship between physical or metaphorical space and thecontradictions of the societies they encompass is crucial to deciphering Butler’s near-futuredystopia; a world where the problems of real-life Los Angeles and Southern California aredistorted into a gross carnivalesque of gender stereotypes, sociopolitical tensions, and vigilante warfare. This paper places a special emphasis on the areas of social and political stagnation found in Butler’s vision of near-future L.A., and analyses the dangers of clinging to archaic, patriarchal systems that no longer resonate with contemporary audiences. Focus is also placed on potential methods of resistance against oppressive social institutions, particularly exploring the limitations met by protagonist, Lauren Oya Olamina, in her attempts to voice concerns in a society where language is so nuanced by “traditional” gendered qualities that the female voice carries no political value. This papers also questions theories which promote violent confrontation as a means to social reform, disregarding collateral damage and victims of war in favour of insurgency. By exploring the movement of the human body away from defined space, this paper supports Butler’s notion of alternative prosocial action which celebrates the margins of society, positing a nurturing, constructive means to resist political opposition.

The beauty industry has been booming in the last few years, generating immense profits as it now translates into an Internet global beauty culture in its own right that finally made room for women of color. As research barely mentions African women and their diasporas, this study aims to critically analyze the dynamic of this North American-dominated Internet beauty culture celebrating non-white women, looking at how it impacts African women and their diasporas and participates in affirming a global woman of color through commodity capitalism.  Based on discourse analysis of multiple actors in the industry using popular culture sources, I then conducted a critical feminist autoethnography of my beauty journey, put in perspective with the results of decolonial interviews with African and African diaspora women recruited online. I asked about their relationship with the beauty industry and their opinions on some arguments I made. Self and collective analysis demonstrated the emergence of an African diasporic hybrid beauty culture, empowering women to feel like actors of change.

This thesis addresses the pervasive influence of coloniality in the lived experiences of asylum seekers in the Netherlands. Based in intersectional and decolonial feminist theories and methodology, my aim was to centre the silenced narratives of this marginalised group. By highlighting the conditional nature of hospitality, which perpetuates the asymmetrical power imbalance between the superior ‘host’ and inferior ‘guest’, the aim was to show how coloniality impacts the social and ethical dimension of the lives of asylum seekers in the Netherlands. Simultaneously, I tried, together with the research participants, to find decolonial options to resist this coloniality, while proposing alternatives for a more humane and equitable decolonial otherwise. After conducting conversations with six asylum seeker men, I found that they face multiple colonial encounters on a daily basis, presenting in exclusionary patterns of racialization and victimisation, systems of control that erode their agency, while leaving them in a liminal state of uncertainty. With the use of thematic analysis, I concluded that decolonial resistance against this means the right to speak out, the right to refuse assimilation and the establishment of community that is grounded in relationality and pluriversality, rejecting the conditional nature of the existing colonial system, while welcoming everybody not as just guests, but as full members who are capable of co-creating a better, hospitable society and decolonial future.

<p>This work looks at the intersections of nature, race, and spirituality in Black communities primarily situated in the United States from the early 20th century to the present day. These communties stories are interpreted through the Black women that lived in them, and their stories denote that Black folks' relationship with and amongst nature could not be had without spiritual praxes in their day-to-day lives. </p>

This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society.