Cross-dressing is a recurrent theme in Shakespeare's comedies, and the theatrical trend of gender bending casting has added an extra layer of complexity to performing his work. How does the gender of the actor affect the performance of a role in Shakespeare? How does it affect the perception of the role, and how can an actor utilize that perception to connect more fully with the audience? How does the female perspective illuminate hitherto unexplored elements of Shakespeare's text and characters? I was inspired by Orlando Shakes' all male production of Twelfth Night to research gender theory in relation to classical texts. I was largely inspired by Judith Butler's theories of gender performance, and herein use feminist and gender theory as a lens to view Shakespeare's work. I put on my own production of an All-Female Twelfth Night in which I played Viola. This thesis is an exploration of my process as a scholar, actor, and activist in the context of that production. It follows the journey from page to praxis, as I attempt to apply academic theories to live theatre. It is my intent that this will serve as a possible roadmap for future gender bending in Shakespeare productions, and to empower female theatre makers in that process.

Elizabeth Tudor succeeded to England's throne during a time when misogynist societal ideology questioned the authority of a female monarch. Religious opposition to a woman ruler was based on biblical precedent, which reflected the general attitude that women were inferior to men. Elizabeth's dilemma was reconciling her femininity with her sovereignty, most notably concerning her justification for power, the issue of marriage and succession, and the conflict over the execution of Mary, Queen of Scots. The speeches Elizabeth presented to Parliament illuminate her successful solidification of her authority from a feminine gendered position. She established and reinforced her status through figurative language that presented her femininity as favorable to ruling England, ultimately transcending her womanhood to become an incarnation of the state. Elizabeth's speeches reflect her brilliance at fashioning herself through divine and reciprocal imagery, which subsequently redefined English society, elevating her to the head of a male-dominated hierarchy. By establishing her position as second to God, Elizabeth relegated all men to a status beneath hers. Elizabeth's solution to the perceived liability of her gender was to recreate herself through divine imagery that appropriated God's authority as her own. She reinforced her power through a reciprocal relationship with Parliament, evoking the imagery of motherhood to redefine the monarchy as an exchange rather than an absolute rule.

My Masters thesis focuses on socialist Indian freedom fighter Bhagat Singh’s memory in contemporary Pakistani Punjab. I use the analytical category of memory to argue that Bhagat Singh is invoked by various groups and individuals, specifically those who identify as leftists or Marxists, in contemporary Pakistan to serve a range of political purposes. My analysis particularly sheds light on how activists and writers use the figure of Bhagat Singh to highlight the erasure of regional and lingual identities in Pakistan. Their remembrances underline a perceived historical injustice; the imposition of a national identity based on Urdu language and Sunni Muslim-ness, which tended to marginalize Punjabi ethno-lingual identities. Using my ethnographic research, I further argue that Bhagat Singh and his afterlives in leftist progressive narratives also capture the tensions and differences among the Punjabi intellectuals and activists themselves. Due to the lack of adequate archival sources, my research draws heavily on oral history and contemporary Punjabi poetry and prose that I meticulously collected during my trips to Lahore in the past two years. I transcribed and translated this material from Punjabi into English on my own. Finally in my analysis of gendered literary language, I also demonstrate how mourning, and hope coexist in the Punjabi contemporary emancipatory imagination. Such overlaps illustrate how the past is continuously in dialogue with the present.

<p>This study treats the "feminism" of Anna Laetitia Barbauld (1743-1825), a middle class English woman who is notably responsible for refashioning children's literature and for advocating the teaching of conformity in childhood education. Though her work has been relatively unexplored, Barbauld was one of the most versatile and prolific writers of her time. This thesis explores what proves to be her most pivotal text, "Washing-Day" (1797), a poem that is particularly indicative of Barbauld's "feminist" and poetic ingenuity. I begin with an introductory chapter that discusses the exclusion of Barbauld and her female Romantic counterparts from public discourse. In this discussion, I consider strategies for integrating these "new" poets into literary studies, and suggest that we must read their texts closely-which entails isolating the ambivalences and self-differences wherein the breath of the poetry subsists. I then turn to a tropological manoeuver inherent in Barbauld's poetry, which I have called "interruption," and examine how this manoeuver operates within and without "Washing-Day." In Chapter One, I theorize the "breath" of "Washing-Day"-that is, how Barbauld performs and occupies the texts of her forefathers in the process of authorizing herself to write. The second chapter circles back to the poem's beginning and analyzes Barbauld's "interruption" of patriarchal texts and discourses. Having worked through the poem in two close analyses, I arrive at the conclusion that Barbauld's feminism is performative, that it tacitly operates at the level-or movement-of difference.</p> / Master of Arts (MA)

The intent of this thesis and thesis project was to execute a successful run of the play, Stop Kiss by Diana Son while achieving the playwright’s intended message. Opal Clark directed this production of Stop Kiss at East Tennessee State University under special arrangement with Dramatists Play Service, Inc. It was performed to sold out audiences in ETSU Theatre and Dance Studio 205 October 2-7, 2017. The play explores experiences and hostility toward same sex couples, their relationships with one another and how one individual discovers sexuality. The discovery and actualization of the characters’ struggles were communicated in the play using student performers and crew members. The project was documented through a series of journal entries written by the director, who was guided by mentor Professor Robert Funk. The director details the exploration and process in daily journal entries. Additionally, a feminist criticism of the script further explores the portrayal of the plotline. The consequences and implications of dramatic choices within the context of the play are analyzed within this section.

Despite decades of important contributions by male nurses, nursing is still viewed as a feminine profession. Moreover, male nursing students continue to experience gender bias and gender-based educational barriers within schools of nursing. This has led to failure and drop-out rates much higher than those experienced by their female counterparts. The purposes of this quantitative survey study were to (a) explore the relationship between perceived gender bias, gender-based educational barriers within nursing education, and resiliency in recent male nursing graduates; and (b) to identify those gender-based barriers that were considered to be most prevalent and most important. A view of gender from a social constructivist approach framed the study. Two previously validated data collection tools, the Inventory of Male Friendliness in Nursing Programs-Short(c) (IMFNPS(c)) and the Brief Resilience Scale(c) (BRS(c)) were used to gather data from recent male nursing graduates (N = 97). The results demonstrated no significant correlation (Spearman rho = 0.1025, p = 0.3178), between mean scores on the IMFNPS and the BRS; however, overall mean resilience scores were high (M = 3.90, SD = 0.62). The gender-based educational barriers identified as being most prevalent and most important included (a) curriculum did not include a discussion of the historical contributions of male nurses, (b) clinical experiences were limited during the obstetrical rotation; and (c) male students feared that they would be accused of sexual inappropriateness when providing nursing care for female patients. Positive social change can occur for male nursing students if the most prevalent gender-based barriers are minimized or eliminated, men are provided with the appropriate skills to care for female patients, and resilience education is included within all nursing curricula.

<p>This thesis examines fictional representations of Indian women’s responses to trauma in the background of communal violence. It argues that fiction allows for the reimagination of women’s conditions during communal riots, and their responses to trauma as a result of those riots. While ethnographic research seeks answers from traumatized victims, a fictional text can open up spaces for debates about conditions of women and their responses to trauma in the background of communal violence. Through Manju Kapur’s <em>A Married Woman</em> and Anita Rau Badami’s <em>Can You Hear the Nightbird Call?</em>, this project examines women’s negotiations of their religious and national identities within the private and the public and their responses to trauma caused by communal violence.</p> <p>The Introduction draws on texts on gender and diaspora theory as well as scholarly work on the evolution and history of communalism in India. It also looks at the historical backgrounds of two events of communal violence that underpin Kapur’s and Badami’s texts, namely, the Ramjanmabhoomi-Babri Masjid controversy and the resulting 1992 riots, and Indira Gandhi’s assassination and the resulting 1984 anti-Sikh riots. Chapter 1 examines Indian women’s negotiations of religious identities in <em>A Married Woman</em>. Through the characters of Astha, Pipee and Sita, I argue that Kapur draws parallels between women as Other and religious minorities as Other. Her text shows the ways in which trauma crosses religious borders of Hindu-Muslim, and opens up possibilities for envisioning ways of ethically coexisting with the Other. Chapter 2 investigates communal violence in India and Canada in <em>Can You Hear the Nightbird Call?</em> Focusing on the characters of Bibi-ji, Leela and Nimmo, I argue that communal violence subsumes class, religion and location. Her text highlights how trauma crosses national boundaries and how the three women are torn apart by their losses.</p> <p>In my Conclusion, I suggest for new avenues of research that might contribute to a further understanding of the dynamics of communal violence and trauma, and a future investigation into the negotiation of male religious identities in the background of communal violence.</p> / Master of Arts (MA)

Concepts of mental health and normality cannot be understood apart from cultural norms and values. The most significant of cultural constructions that shape our view of madness is gender. Madness has been perceived for centuries metaphorically and symbolically as a feminine illness and continues to be gendered into the twenty-first century. Works of art and literature and psychiatric medicine influence each other as well as our understanding and perception of mental illness. Throughout history, images of mental illness in women send the message that women are weak, dangerous, and require containment. What are the cultural links between femininity and insanity, and how are they represented? Through the lenses of disciplines such as theatre criticism, feminist theory, and psychiatry, this thesis examines the history of madness as a gendered concept and its depictions in art and literature. Additionally, it will explore the representation of female madness in contemporary dramatic literature as compared to the medical model used during the era in which it was written as well as the social and cultural conditions and expectations of the period. The three plays under consideration are: Long Day’s Journey Into Night, written in 1941 by Eugene O’Neill; Fefu and Her Friends, written in 1977 by Maria Irene Fornés; and Next to Normal, produced on Broadway in its current form in 2009 and written and scored by Brian Yorkey and Tom Kitts. None of these plays tell a tidy story with a straightforward ending. In none do treatment facilities offer refuge or health professionals offer answers. Struggling characters resort to drug abuse, fall prey to internalization, or leave treatment all together, having been subjected to enough victimization. The relationship between patient and physician is depicted to be, at best, ambivalent. The themes in these plays illuminate women’s mental illness as an extensive problem with many contributing factors, and the origins of which are quite complex.

The Appalachian studies tradition ascertains that Appalachian people politically, socially, and academically represent a heterogeneous minority group of our own. In post-capitalistic America, however, the Appalachian region serves as a hotspot for media misrepresentation and tourism that perpetuate through works of fiction, nonfiction, and scholarship both negative and positive stereotypes in the overall American consciousness. Twenty-first-century Appalachian authors, I contend, are reinventing Appalachia from its postmodern rubble through fictionalized reconceptualizations of our region’s history, shifts in our collective consciousness from anthropocentric to ecocentric, and subversions of the heteronormative discourse of our internal colony through explorations of the psychosexual. The contemporary Appalachian texts that exemplify these abilities are Ron Rash’s The Cove, Barbara Kingsolver’s Prodigal Summer and Jeff Mann’s Loving Mountains, Loving Men because each represents a paradigm shift within their own aesthetic metanarratives in Appalachian literary history.

The research on sex-role development, psychological androgyny, and personality variables in lesbian women was reviewed. Since previous research suggested that lesbian women tend to have characteristics which might be labelled androgynous, a study was undertaken to assess the presence of androgyny among lesbian and heterosexual women and to cross-validate the findings on the relationship between androgyny and self-esteem. In order to assess sex-role classification, the PRF-Andro Scale was administered to 30 lesbian and 30 heterosexual women. The Texas Social Behavior Inventory was used to measure self-esteem. Results showed that a significantly greater proportion of the lesbians were androgynous, and a significantly smaller proportion were feminine as compared to heterosexual women. No differences were found in the proportion of either group classified as masculine and indeterminate. A complex relationship was found between samples, sex -role classification, and self-esteem. An attempt was made to integrate and interpret the results of this study. Suggestions were made for future research in this area.