Global ETD Search

91	Playing musical hopscotch: How Indigenous Australian women perform around, within and against Aboriginalism. Barney, Katelyn Sarah Unknown Date (has links) Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a playlet by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous womens experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers. 410101 Music 420303 Culture, Gender, Sexuality 410104 Indigenous Performing Arts
92	Playing musical hopscotch: How Indigenous Australian women perform around, within and against Aboriginalism. Barney, Katelyn Sarah Unknown Date (has links) Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a playlet by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous womens experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers. 410101 Music 420303 Culture, Gender, Sexuality 410104 Indigenous Performing Arts
93	Playing musical hopscotch: How Indigenous Australian women perform around, within and against Aboriginalism. Barney, Katelyn Sarah Unknown Date (has links) Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a playlet by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous womens experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers. 410101 Music 420303 Culture, Gender, Sexuality 410104 Indigenous Performing Arts
94	The gender of suicide Jaworski, Katrina January 2007 (has links) Suicide holds an ambivalent position in contemporary social and cultural contexts. It questions what it means to live and die, yet provides no clear-cut answers about death or dying, life or living. This thesis explores some of the ways suicide has been understood and represented, to demonstrate that knowing suicide is dependent not only on what suicide means, but also on how meanings of suicide become part of knowledge. Knowing suicide is not a matter of responding to it as self-evident, transparent, neutral and obvious, but rather is implicated in social processes and norms central to how knowledge gains intelligibility. Guided by poststructuralist, postmodernist, feminist and postfeminist philosophies, the thesis takes up gender and gendering as its central focus, to interrogate how knowledge about suicide becomes knowledge. Critically examining a wide variety of textual sources, it argues that suicide is principally rendered as a masculine, and even a masculinist, practice. Knowing suicide today is anchored in suicidology - the study of suicide - and maintained by institutional sites of practice including sociology, law, medicine, psy-knowledge and newsprint media, each of which is analysed here. Suicide as masculine and masculinist practice is invoked through multiple, often-contradictory and inextricably linked readings of gender, even while claiming homogeneity. Its gendered foundations can however be made to appear gender-neutral, even when actually gender-saturated. The twin gender movements of neutrality and repleteness are in fact crucial to the knowing of suicide. The thesis establishes that knowing suicide can never occur outside discourse. Even more importantly, how suicide enters discourse cannot be thought outside gender. The body matters to the production of deeply problematic understandings of agency, intent and violence, on which the production of suicide as masculine and masculinist depends. It becomes clear that such dependence rests not only on gender, but also on race and sexuality, as conditions of its knowing. The thesis suggests that further attention be given to the production and maintenance of highly reductive and limiting homogenous truth claims in suicide - truth claims that validate and privilege some interpretations of suicide, at the expense of rendering others less legitimate and serious. If the processes and practices of interpreting suicide become a site of permanent debate, they are more likely to challenge the ways in which masculinist ways of knowing render, and limit, the intelligibility of suicide. gendering suicidology knowledge Indigenous Health Social Theory History and Philosophy of Medicine Gender Specific Studies Aboriginal Studies Communication and Media Studies Culture, Gender, Sexuality Cultural Theory Epistemology Social Philosophy Philosophy not elsewhere classified Mental Health gender suicide
95	Playing musical hopscotch: How Indigenous Australian women perform around, within and against Aboriginalism. Barney, Katelyn Sarah Unknown Date (has links) Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a playlet by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous womens experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers. 410101 Music 420303 Culture, Gender, Sexuality 410104 Indigenous Performing Arts
96	Descent's Delicate Branches: Darwinian Visions of Race and Gender in American Women's Literature, 1859-1928 April M Urban (6636131) 15 May 2019 (has links) <p>This dissertation examines Charles Darwin’s major texts together with literary works by turn-of the-century American women writers—Nella Larsen, Charlotte Perkins Gilman, and Kate Chopin—in order to trace how evolutionary theory shaped transatlantic cultural ideas of race, particularly black identity, and gender. I focus on the concept of “descent” as the overarching theme organizing categories of the human in evolutionary terms. My perspective and methods—examining race and gender from a black feminist perspective that draws on biopolitics theory, as well as using close reading, affect theory, and attention to narrative in my textual analysis—comprise my argument’s framework. By bringing these perspectives and methods together in my attention to the interplay between Darwinian discourse and American literature, I shed new light on the turn-of-the-century transatlantic exchange between science and culture. Throughout this dissertation, I argue that descent constitutes a central concept and point of tension in evolutionary theory’s inscription of life’s development. I also show how themes of human-animal kinship, the Western binary of rationality and materiality, and reproduction and maternity circulated within this discourse. I contribute to scholarly work relating evolutionist discourse to literature by focusing on American literature: in the context of turn-of-the-century American anxieties about racial and gender hierarchies, the evolutionist paradigm’s configurations of human difference were especially consequential. Moreover, Larsen, Gilman, and Chopin offer responses that reveal this hierarchy’s varied effects on racialized and gendered bodies. I thus demonstrate the significance of examining Darwinian discourse alongside American literature by women writers, an association in need of deeper scholarly attention, especially from a feminist, theoretical perspective. </p><p>This dissertation begins with my application of literary analysis and close reading to Darwin’s major texts in order to uncover how they formed a suggestive foundation for late nineteenth- to early twentieth-century ideologies of race and gender. I use this analysis as the background for my investigation of Larsen’s, Gilman’s, and Chopin’s literary texts. In Chapter 1, I conduct a close reading of Darwin’s articulation of natural selection in <i>The Origin of Species</i>and focus on how Darwin’s syntactical and narrative structure imply evolution as an agential force aimed at linear progress. In Chapter 2, I analyze Darwin’s articulation of the development of race and gender differences in <i>The Descent of Man</i>, as well as Thomas Henry Huxley’s <i>Evidence as to Man’s Place in Nature</i>, and argue that Darwin’s and Huxley’s accounts suggest how anxiety over animal-human kinship was alleviated through structuring nonwhite races and women as less developed and hence inferior. In Chapter 3, I argue that Larsen’s novel <i>Quicksand </i>interrogates and complicates aesthetic primitivism and biopolitical racism and sexism, both rooted in evolutionist discourses. Finally, in Chapter 4, I focus on Gilman’s utopian novel <i>Herland</i>and select short stories by Chopin. While Gilman unambiguously advocates for a desexualized white matriarchy, Chopin’s stories waver between support for, and critique of, racial hierarchy. Reading these authors together against the backdrop of white masculine evolutionist theory reveals how this theory roots women as materially bound reproducers of racial hierarchy.</p> North American Literature Literary Theory Cultural Theory Culture, Gender, Sexuality Evolutionary discourse American literature Women's literature Critical race theory Darwin, Charles Science and literature Gilman, Charlotte Perkins Larsen, Nella Chopin, Kate
97	Decentralized Labor, Disembodied Ideals: An Institutional Ethnography Examining the STEM Higher Education Institution from the Perspectives of Parenting Women in STEM Doctoral Programs Casey Elizabeth Wright (7037642) 22 July 2022 (has links) <p> </p> <p>Higher education has embedded systemic disadvantages for women within Science, Technology, Engineering, and Mathematics (STEM) disciplines. As a result, parenting women who pursue doctoral degrees in STEM fields face an uphill battle; yet the literature has given short shrift to the experiences of women who have children while training to become scientific professionals. This absence exists despite the fact that parenting is frequently an underlying theme in the literature on women’s decreased participation in STEM disciplines. Further, studies that do address parenting women’s experiences in higher education at large focus on individual characteristics and are limited by an emphasis on gender at the expense of other social inequalities. These inequalities have remained persistent and poorly understood. To re-imagine STEM higher education as an institution, it is necessary to understand the everyday social relations embedded within organizations that are a part of the institution. This institutional ethnography addresses these gaps. This study aimed to explore the social relations of the STEM higher education that shaped women’s experiences in STEM doctoral programs. Using Intersectionality and Inequality Regimes frameworks, this study examined women’s interactions with the institution, thereby providing a highly contextualized perspective on the STEM higher education institution. Data collection followed an emergent design with interviews with parenting women in STEM doctoral programs. Through these interviews, narrative events were identified that helped to isolate institutional processes that shaped their experiences. From there, data collection involved interviews with institutional informants and analysis of institutional texts (e.g., graduate handbooks, university policies). Data analysis followed narrative analytic methods using the Listening Guide, Labovian narrative analysis, and institutional ethnographic ruling relations mapping. Therein, three key studies from the data are shared. First, a narrative analysis with interpretation by Inequality Regimes showed how regimes of inequality shaped the experiences of two women who were pregnant and parenting while pursuing STEM doctorates. Second, an institutional ethnographic inquiry into the institutional relations that made up the lactation rooms and women’s interactions with them and revealed a decentralized organization that made accessing the spaces challenging for doctoral student women. And third, an institutional ethnographic analysis of women’s experiences with parental leave illustrated the lack of responsibility to ensure that students know about parental leave and could use the policy. Findings examine the institution’s organization around an ideal worker that many participants struggled to perform; this resulted in a diffuse and disorganized approach to policy and procedures for parenting women. Findings indicate that the neoliberal discourses in the institution shaped these experiences. The institution's masculine, white, classed nature results in it being insular to parenting women. While women persist within this environment, they face adversity emergent from the relations that make up the institution. I offer recommendations to improve gaps in consideration for parenting students, and a call to transform the overall institution to support parenting women at this critical juncture in their training. </p> Education policy Sociology of education Higher education Gender, sexuality and education Inclusive education Institutional Ethnography intersectionality gender women in STEM doctoral education sociology of education graduate education pregnancy graduate school parental leave Lactation room pregnancy and safety equity social model disability STEM Higher education institution
98	“DOUBLE REFRACTION”: IMAGE PROJECTION AND PERCEPTION IN SAUDI-AMERICAN CONTEXTS: A COMPARATIVE STUDY Ghaleb Alomaish (8850251) 18 May 2020 (has links) <p>This dissertation aims to create a scholarly space where a seventy-five-year-old “special relationship” (1945-2020) between the Kingdom of Saudi Arabia and the United States is examined from an interdisciplinary comparativist perspective. I posit that a comparative study of Saudi and American fiction goes beyond the limitedness of global geopolitics and proves to uncover some new literary, sociocultural, and historical dimensions of this long history, while shedding some light on others. Saudi writers creatively challenge the inherently static and monolithic image of Saudi Arabia, its culture and people in the West. They also simultaneously unsettle the notion of homogeneity and enable us to gain new insight into self-perception within the local Saudi context by offering a wide scope of genuine engagements with distinctive themes ranging from spatiality, identity, ethnicity, and gender to slavery, religiosity and (post)modernity. On the other side, American authors still show some signs of ambivalence towards the depiction of the Saudi (Muslim/Arab) Other, but they nonetheless also demonstrate serious effort to emancipate their representations from the confining legacy of (neo)Orientalist discourse and oil politics by tackling the concepts of race, alterity, hegemony, radicalism, nomadism and (un)belonging.</p> Art Literature History Disability Studies Gender studies Language North American Literature Other Literatures in English Middle Eastern Literature Comparative Literature Studies Literary Theory Aesthetics Epistemology Feminist Theory Hermeneutic and Critical Theory Comparative Religious Studies Islamic Studies Gender, Sexuality and Education British History Saudi culture American Saudi-American Orientalism Orientalism in art neo-Orientalsim Desert oil Cultural studies Arabian Gulf migration Diaspora Studies blackness slavery literature Mormonism Mormon biblical studies disability studies geopolitics 9/11 post-9/11 post-9/11 America Post-9/11, fiction terrorism extremism radicalism visual studies orientalist painting postcolonial Postcolonial Discourse Otherness Alterity munif cities of salt urbanism Modernity tradition Islamic feminism Islam whiteness studies

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