The women's liberation movement in the 1970s and 1980s utilized various means for activism and demonstrations, but women also used the judicial system to fight for equality in the workplace. This study focuses specifically on the field of journalism and how female reporters used the courts to fight the gender discrimination that was widespread and unbridled before the creation of legislation that outlawed it. The lawsuit filed by Mary Lou Butcher and approximately 90 other women against The Detroit News is one such case that exemplifies the process of filing a gender discrimination lawsuit, as well as the events that led to the suits and the impact that it and similar lawsuits had on the field of journalism and the women's liberation movement as a whole. Using textual analysis to examine the coverage of these lawsuits by industry literature and by the publications challenged by the lawsuits demonstrates what the field of newspapers and magazines was like during the time of the cases. Comparing the same media during the times of the lawsuits and post-settlement reveal how they contributed to an adjusted view of female journalists and aided women's acceptance in American newsrooms.

This thesis explores the relationship between ideology generated by advocates of the Women's Liberation Movement and President Kimball's purposes of using Relief Society to strengthen Latter-day Saint (LDS) women. Navigating women through the societal attack on womanhood, President Kimball, and other general Church leaders during his administration (1973-1985), taught LDS women of their privilege and duty to the organization and the importance of generating strength through a sisterhood focused on service. Relief Society programs, procedures, and curriculum were evaluated, adjusted, and reinforced to deepen women's commitment to divinely established roles, to enhance women's doctrinal confidence, and expand the influence of women's leadership. The purpose of this thesis is to show how Relief Society strengthened LDS women's commitment to family and influenced increased cooperative efforts in defending families through Relief Society and priesthood organizations.

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This study takes its point of departure in the tradition of Christian women covering their hair for religious and cultural reasons, hereafter called veiling. The aim has been to investigate what ideas were projected onto the veil in Sweden during the 19th and 20th centuries, as well as when and how the tradition of veiling disappeared among most Christian Swedes. My definition of what constitutes a veil has little to do with the form of the head covering. If an item is used in the mean of covering women’s hair for religious or cultural, rather than practical reasons, then it is considered to be a veil.In his first letter to the assembly of Corinth (1 Cor. 11), the Apostle Paul advocates a veil as a sign of women’s subordination. He also states that women’s hair is a sign of honour and to have it cut would be a disgrace. In 19th century Sweden, it was tradition among the rural populations for women to have long hair, covered indoors as well as outdoors. The sources show that people were aware of the words in 1 Cor. 11 about female subordination and the veil as a sign thereof. Women’s hair became the means for an individual’s inner body to show its virtues via the outer, physical body.In the mid-1920s it became popular for young women to cut their hair short. By accentuating how the world had changed, short hair became a symbol of modernity. Within a decade short hair for young women became the norm all over the country. There were no significant protests of this from the Swedish Church, though free-churches with a more fundamentalist understanding of the Bible remained disapproving. As the century progressed women gradually appeared bare-headed in church. Paul’s words about subordination became considered as an Oriental influence rather than a divine command. By projecting the inequalities of the sexes as an ancient Oriental idea, the western society’s identity as modern and democratic could be asserted. Essentially, everyone agreed that Swedish Christian women were not veiled, nor ever had been, nor should be. Hence the tradition of veiling disappeared in the Swedish Church without much notice.In the more fundamentalist Swedish Pentecostal movement the hair itself began to carry the religious symbolism otherwise given to the veil. In this manner, the hair had indeed become like a veil, as Paul had written. Renouncing long hair was in the end a renunciation of Paul’s words and the hierarchical system assigned by God. Nevertheless, short hair for women eventually became accepted within the Swedish Pentecostal movement as well.

Mai 1968 en France ouvre la voie à un renouveau du cinéma d'intervention sociale et politique, qui adopte le plus souvent la forme documentaire. Deux ans plus tard, émerge le Mouvement de libération des femmes (MLF), un "nouveau féminisme" qui invite les femmes à lutter contre leur oppression spécifique et pour la libre disposition de leur corps et de leur sexualité. Cette thèse propose d'étudier les rapports qui se nouent entre cinéma, vidéo et féminisme entre 1968 et 1981 en France, sous les angles à la fois historique et esthétique, des pratiques de production/diffusion et des formes filmiques. Comment la caméra a-t-elle été investie pour accompagner et populariser les luttes féministes ? Quel a été l'impact du féminisme dans le champ cinématographique et vidéographique ? Un parcours au cœur d'un corpus filmique riche, protéiforme et méconnu doit permettre de dessiner cette histoire complexe et de montrer que, puissant instrument de contre-pouvoir et d'agitation directe, la caméra s'impose aussi aux femmes comme un moyen d'expression et de créativité privilégié dans leur quête d'identité individuelle et collective. La première partie revient sur l'irruption de la "question des femmes" à l'intérieur du cinéma militant reconfiguré après mai 1968 : l'ouverture d'un front féministe spécifique au sein d'un cinéma orienté principalement vers la lutte des classes se révèle très limitée et parfois conflictuelle. La seconde partie interroge l'apparition d'une pratique féministe autonome des femmes, qui s'orientent vers une démarche politique d'auto-représentation, dans le champ de la vidéo militante. S'emparer de la caméra répond ici à une exigence politique de prise de parole et de réappropriation de leur corps et de leur sexualité par l'image. Au-delà du noyau dur des films d'intervention, la troisième partie interroge les usages et les politiques féministes du cinéma. Elle soumet en particulier le "cinéma des femmes" à l'épreuve du féminisme, au crible de ses théories et de ses pratiques. / May 1968 in France opens the way to a renewal of a cinema of social and political intervention that most often adopts a documentary form. Two years later, the Women's Liberation Movement a "new feminism" emerges and invites women to fight against their own oppression and for a freedom of choice with matters regarding their body and their sexuality. This thesis proposes to study the relations forged between cinema, video and feminism between 1968 and 1981 in France, both historically and aesthetically, in terms of production/distribution practices and film forms. In what ways has the camera been invested with the task of accompanying and popularizing feminist struggles ? What has the impact of feminism been in the field of cinema and video ? A look at a rich, diverse and little known body of films allows us to trace this complex history and to show that, as a powerful anti¬establishment and direct action instrument, the camera imposes itself as a preferred means of expression and creativity in women's search for an individual and collective identity. The first part addresses the sudden development of the "woman question" in a militant cinema that reconfigures itself after May 1968 : the opening of a specific feminist coalition within a cinema that was mostly oriented towards class struggle reveals itself as very limited and sometimes antagonistic. The second part questions the appearance of an autonomous feminist practice by women that takes a political approach to self-representation in the field of video activism. Here, taking hold of the camera is a response to a political need to speak out and to reappropriate their body and their sexuality through the image. Beyond the hard core of militant films, the third part examines the uses and the feminist politics of cinema. In particular, it puts "women's cinema" to the test in terms of feminism in order to closely examine its theories and practices.

Summaries in French and English / Text in French / Les romans analyses - Une si longue lettre et Un chant ecarlate de Mariama Ba, O pays, mon beau peuple! by d'Ousmane Sembene et Agar d' Albert Memmi - proposent tous une histoire se deroulant en Afrique et ayant pour theme le mariage mixte et/ou polygame, theme particulierement riche comme foyer d'observation socioculturelle et interculturelle des milieux evoques. Le chapitre 1 cerne le theme du mariage et ses diverses configurations mixtes et polygames dans les quatre roamns. Sont examines dans les chapitres suivants: les rapports familiaux et sociaux tels qu'ils sont vecus par les couples protagonistes; la polygamie, centrale aux deux romans de Ba et omnipresente dans celui de Sembene; les religions des societes concernees, telles qu' ell es affectent les couples en jeu; les images de la femme - et surtout de la femme africaine - qui ressortent des situations conjugates developpees par les auteurs; l'eventuelle influence du sexe de l'auteur sur la representation de la femme. / The novels analysed - Une si longue lettre and Un chant ecarlate by Mariama Ba, O pays, mon beau peuple! by Ousmane Sembene and Agar by Albert Memmi - all tell stories set in Africa and share the theme of mixed and/or polygamous marriage, a particularly fertile theme through which to focus a socio-cultural and intercultural examination of the social environments portrayed. Chapter 1 identifies the theme of marriage and the various mixed/polygamous configurations it assumes in the four novels. The succeeding chapters examine: family and social relationships as experienced by the protagonists; polygamy, central to both novels by Ba and omnipresent in Sembene's novel; the religions of the societies portrayed, insofar as they affect the couples concerned; the images of woman - and particularly the Afiican woman - emerging from the marital situations developed by the authors and, finally, the possible influence of authorial gender on the presentation of woman. / Classics and Modern Euorpean Languages / M.A. (French)

Summaries in French and English / Text in French / Les romans analyses - Une si longue lettre et Un chant ecarlate de Mariama Ba, O pays, mon beau peuple! by d'Ousmane Sembene et Agar d' Albert Memmi - proposent tous une histoire se deroulant en Afrique et ayant pour theme le mariage mixte et/ou polygame, theme particulierement riche comme foyer d'observation socioculturelle et interculturelle des milieux evoques. Le chapitre 1 cerne le theme du mariage et ses diverses configurations mixtes et polygames dans les quatre roamns. Sont examines dans les chapitres suivants: les rapports familiaux et sociaux tels qu'ils sont vecus par les couples protagonistes; la polygamie, centrale aux deux romans de Ba et omnipresente dans celui de Sembene; les religions des societes concernees, telles qu' ell es affectent les couples en jeu; les images de la femme - et surtout de la femme africaine - qui ressortent des situations conjugates developpees par les auteurs; l'eventuelle influence du sexe de l'auteur sur la representation de la femme. / The novels analysed - Une si longue lettre and Un chant ecarlate by Mariama Ba, O pays, mon beau peuple! by Ousmane Sembene and Agar by Albert Memmi - all tell stories set in Africa and share the theme of mixed and/or polygamous marriage, a particularly fertile theme through which to focus a socio-cultural and intercultural examination of the social environments portrayed. Chapter 1 identifies the theme of marriage and the various mixed/polygamous configurations it assumes in the four novels. The succeeding chapters examine: family and social relationships as experienced by the protagonists; polygamy, central to both novels by Ba and omnipresent in Sembene's novel; the religions of the societies portrayed, insofar as they affect the couples concerned; the images of woman - and particularly the Afiican woman - emerging from the marital situations developed by the authors and, finally, the possible influence of authorial gender on the presentation of woman. / Classics and Modern Euorpean Languages / M.A. (French)