Mano tapybos objektu tapo trys moteriškosios linijos kartos penkios herojės: aš, mama, dvi tetos, močiutė. Savęs kaip moters suvokimas, moteriškumo ieškojimas, savo tapatumo pagrindo kūrimas sąmonėje nulėmė būtent moterų giminės linijos pasirinkimą. Čia siekiama suteikti moteriškumui naują pavidalą, paremtą moterų patirtimi ir padėsiantį joms įprasminti save ir savo troškimus. Išnyrančius veidų fragmentus dengia tapetai, kurie simbolizuoja laiko tėkmę. Jų atsikartojimas darbuose primena apie uždarą laiko ciklą. Tapetų motyvai slepia tam tikrą moters gyvenimo etapą. Nors gyvena dabartyje, tačiau pro tapetus išnyrantys veidai byloja daug asmeniškų dalykų: kraujo giminės, stiprų šeimos ryšį. Kūrybinių darbų kolekcijos tapybinės savybės, motyvų traktavimas aiškiai mane atskiria nuo ekspresyvios tapysenos. Vaizduose dominuoja tapybinė precizija, šviesos – šešėlio žaismas, plokštumos – apimties derinys. Paveiksluose nėra „tapybinės ekstazės“ iškrovos: visos kūrinio dalys, jų kompozicinė dermė iš anksto apgalvota. Portretai komponuojami taip, kad būtų arti pritraukiamas žiūrovas. Tapydama juos su fizinėmis, apšvietimo, faktūrų savybėmis, priartinu prie realistinio vaizdavimo. / My object of painting became five heroes of three female generations: me, my mother, my two aunts, my grandmother. Perception of oneself as a woman, search of femininity, laying the foundation of one’s identity in one’s consciousness have determined the choice of female continuity. In paintings accents are put in such a way, so it would be obvious, that one woman transforms another’s heritage. Here it is wanted to give femininity a new form, based on women’s experiences and helping them give a sense to themselves and their dreams. Surfacing face fragments are covered with wallpapers that symbolise the flow of time. Their repetition in paintings reminds of closed cycle of time. Wallpaper motives hide a certain line of woman’s life. Even though it lives in present, faces surfacing through the wallpapers tell a lot of intimate things: strong family, blood relation. Creative properties of painting collection, approach of motives clearly separates me from expressive painting. Images dominate with painting precision, lights – play of a shadow, planes – size combination. There is no discharge of “painting ecstasy” in the paintings: all parts of creation, their positional harmonisation is considered in advance. Portraits are composed in such a way, that the spectator is closely attracted. Painting them with physical, lighting, facture properties I zoom in on the realistic depiction.

Indiepop was, and is, a musical genre that coalesced around UK punk and post-punk in the early 1980s. From punk, indiepop borrowed certain ideas about the politics of cultural production. What differentiated it from punk was its sound: a decidedly pop emphasis on short, melodic song structures and seemingly simple instrumentation. In embracing independent production, indiepop staked a claim for subculture authenticity over the inauthentic mass products of the mainstream music industry. Yet the defining musical elements were characteristic of the historically feminine pop idiom. The result was indiepop, where masculine authenticity and feminine pop forms melded together and created a music scene that fit uneasily within traditional definitions of subculture. This thesis explores the means by which participants in indiepop, through a concerted project to write their version of musical history, made sense of their particular scene and its place within the larger sphere of (masculine) rock culture.

There is a clear relationship between motherhood and space in the sense that motherhood is constituted spatially, taking specific and shifting forms in different spaces and because gendered geographies are made, remade or contested in terms of how women practise motherhood and other social identities in particular spaces. The meanings of motherhood are subject to constant renegotiation when gender identity is lived and constructed in times of hardship, political change or upheaval. Over the last few decades, Nicaragua has experienced dictatorship, insurrection, revolution, Contra war, more than a decade of neoliberal structural adjustment policies and a number of disasters including Hurricane Mitch which hit Nicaragua in October 1998. The social and cultural context in which women mother is a complex one. Family life is unstable and fluid and Nicaragua has large numbers of single mothers. However, a number of institutional actors have attempted to undermine this complexity by trying to fix the meanings of motherhood, family, femininity, masculinity and sexuality in simplified and reified ways. These attempts contribute to the pervasiveness of dominant discourses of motherhood. In many ways, everyday practices of motherhood are at odds with dominant discourses and the goal of this thesis is to broaden understandings of the way motherhood intersects with other cultural processes in particular spaces and of how women negotiate competing facets of multiple identities. Based on qualitative research conducted in Matagalpa with a group of single mothers, this thesis explores a number of arenas in which women negotiate motherhood, including family breakdown, revolution and counterrevolution, structural adjustment and disaster, and demonstrates how everyday practices challenge dominant understandings. Given that individuals participate in a number of discursive practices simultaneously, the intersection of dominant discourses and everyday practices work to create specific geographies of mothering. This means for example that women might adopt more masculine subject positions in relation to work and family while engaging in maternal politics in the political sphere or that male violence towards women can be condemned and single motherhood adopted as a positive form of identity assertion while uneasiness is expressed about the absence of fathers in children’s lives. By contextualising the conditions in which women mother and focusing on how individual women feel about and reflect upon their lives, this study illustrates the multiple dimensions of motherhood which exist within Nicaraguan culture and the contradictions faced by women who mother in sites of intense cultural struggle. This study has important implications for the epistemological transformation that is taking place within feminist geography in particular and within human geography more broadly. Motherhood has the discursive power to shape and define gender identities, but it can also be used to unsettle or destabilise gender and sexuality in material and discursive space.

In this thesis I argue that science fiction is not a genre exclusively made up of written texts but a community or series of communities. I examine the science fiction community's engagement with questions of femeninity, masculinity, sex and sexuality over the past seventy years, that is from 1926 until 1996. My examination of this engagement is centred on the battle of the sexes, the lives of James Tiptree, Jr. and the Award named in Tiptree's honour. I make connections between contemporary feminist science fiction and the earliest pulp science fiction engagements with sex and sexuality.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 6, 2008) Includes bibliographical references.

Thesis (Ph.D.)--University of Wisconsin-Madison, 2003. / Includes bibliographical references (leaves 524-538).

Thesis (MA(Psychology))-University of Pretoria, 2007. / Includes bibliographical references.

Tez (Yüksek Lisans) - Süleyman Demirel Üniversitesi, Sosyal Bilimler Enstitüsü, İşletme Anabilim Dalı, Yönetim ve Organizasyon Bilim Dalı, 2007. / Bibliyografya var.

Thesis (M.A. (Health Social Science))--Mahidol University, 2006. / LICL has E-Thesis 0012 ; please contact computer services.

Thesis (M.A,)--George Mason University, 2008. / Vita: p. 101. Thesis director: Amelia Rutledge. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies. Title from PDF t.p. (viewed Aug. 27, 2008). Includes bibliographical references (p. 97-100). Also issued in print.