The purpose of the present study was to examine the impact of "individualistic" vs. "collective" cultural patterns on the distribution of attachment patterns. Participants were English-speaking Anglo-American (n=70), Hispanic (n=70), and Asian (n=60) females.

Dr. Kwan Hsu was neither a superstar nor a celebrity. Her name does not come up in conversations about important contributors to her field of biophysics nor is she instantly recognizable for her contributions to Portland State University's international program or the state of Oregon's business ties with China. Yet she was a contributor, a cog-in-the-wheel, at the very least, in all of these areas and more. She was a peripheral member of a well-known Chinese family, but few in the United States know of or perhaps have interest in, but otherwise, she had no great connections or family ties to generate interest in her story. How does one process a collection for a woman who does not meet the traditional criteria for excellence or success or public interest for an archive? Where is the value to the larger historical narrative of our time in preserving the memories of someone who was non-remarkable, or, conversely, someone who may be even too unique to contribute to that greater narrative? These are the questions I wrestled with when I first came to this collection. As my research progressed, I realized that I faced more questions, and that to come to any understanding that might answer them, I was going to have to research the history of archives and archival processes. Science, the Cold War, Communist China, women, the immigrant experience, all of these issues became part of my thesis, however shallowly I was able to investigate them. Questions of identity and historiography, of power and discourse were explored. In the end, what I found was that a collection that on the outside looked unimpressive and unenlightening, could indeed be very valuable, and provide insight into any number of areas of current interest in historical research. This is that story.

This study examined psychological, social, and cultural factors that can affect suicide risk among Mong/Hmong youth between the ages of 18 and 25. Emerging evidence suggests that Mong/Hmong youth are at an increased risk for suicide (Huang, Lee, & Arganza, 2004; Jesilow & Xiong, 2007). Additionally, initial findings and theories have suggested potential associations between Mong/Hmong youth suicide risk and intergenerational family conflict, ethnic identity, acculturation, depression, and spirituality. The seriousness of suicide risk among Mong/Hmong youth in this country has been overlooked for decades; therefore, the purpose of this study was to examine these associations with the hope that the findings would be beneficial in future efforts to reduce suicide risk among Mong/Hmong youth. This research was a cross-sectional exploratory study that used a purposive sampling method in addition to snowball sampling. The sample consisted of 165 Mong/Hmong youth between the ages of 18 and 25 from three California academic institutions. Results indicated that of 165 respondents, 59% (n=98) have had passing thoughts of suicide. There was a correlation between ethnic identity, intergenerational family conflict, depression, and spiritual beliefs. Furthermore, ethnic identity and intergenerational family conflict were significant predictors of depression. Lastly, depression and having a belief in Mong/Hmong traditional spiritual and healing practices were predictors of suicide risk among the sampled population. Two open-ended protective factor questions were explored to encourage participants to reflect on their resilience to suicide by sharing how they responded to thoughts of ending their life and what helped them to overcome those thoughts. Five themes were identified as protective factors: (1) having the cognitive ability to understand how death affects loved ones; (2) optimism and having a positive orientation toward the future; (3) connectedness with family, friends, and community; (4) having a sense of self-worth; and (5) a social life. Implications for social work practice and policy include the development, expansion and delivery of culturally appropriate mental health treatment services for young adults. This entails the incorporation of traditional Mong/Hmong mental health healing practices into western mental health treatment, ongoing clinical research to better understand the mental health needs of the Mong/Hmong young adult population, and educating and empowering the Mong/Hmong community to access the mental health system, thereby reducing the stigma associated with mental health and increasing access to treatment.

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No description available.

本論は、1970年代から2000年代のアメリカのテレビドラマにおけるアジア系女性の表象を分析したものである。作中でアジア系女性が築く他の人物との関係性に焦点を当て、その変遷を各時代背景とともに論じた。70年代のアジア系女性は、既存の体制を維持、強化する関係性を築いていたが、2000年代にはアジアに対する抑圧の片鱗が見られつつも、アジア系女性が主体性を発揮できる関係を構築していた。終章では、こうした表象の変遷に影響を及ぼした一つの要因として、メディア表象の改善を求めるアジア系活動団体の歴史について考察している。 / This dissertation examines how US television series represented Asian women from the 1970s to the 2000s. By focusing on the relationships of Asian women with other characters, it analyzes why representational transitions occurred in relation to the socio-cultural context of each program. In the 1970s, Asian women's relationship with other characters reflected and even seemed to support the existing social hegemonic structure. In the 2000s, “Asian” roles remained underprivileged, but they demonstrated more autonomy in their relationships with others. In the last chapter, I introduce the history of Asian American media organizations, one of the factors that brought about these transitions over the years. / 博士(メディア学) / Doctor of Philosophy in Media Studies / 同志社大学 / Doshisha University

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No description available.

As an Actor Combatant with the Society of American Fight Directors, theatrical violence is something that has always captivated me. When a female combat instructor once told me that even though I throw a great punch I will never be able to use it because women are always on the receiving end of violence in theatre, I wondered if this was truly the case. After a thorough exploration of several works with theatrical violence, I am glad to say that it is not the case. When most scholars examine violence in theatre, the focus is either male-centric or specifically on domestic violence situations involving a male abusing a female. I will examine theatrical violence through a new lens that has yet to be thoroughly critically explored: violence where the female is the aggressor. Through selected works of three American minority female playwrights: Suzan-Lori Parks' In the Blood, Maria Irene Fornes' Conduct of Life, and Young Jean Lee's Songs of the Dragons Flying to Heaven, I will analyze the female-enacted violence that occurs within these plays using feminist theories and psychology to examine how it happens, why it happens, who the victims are, and what these acts of violence say about minority American women in society today. I will explore the stage directions and dialogue surrounding the violence and analyzing the use or absence of weaponry, the breakdown or build-up of language prior to and after the violent action, and whether or not the violent action occurs before or after a violent action is committed against the female. For comparison, I will also analyze work by an American male playwright with violence in the same way: Tracy Letts' August: Osage County.

We all have stories to share, to build, to pass around, to inherit, and to create. This story - the one I piece together now - is about a Thai-/Bengali-/Muslim-/American-/Feminist looking for home, looking to manage the tension and conflict of wanting to belong to her family and to her feminist community. This thesis focuses on the seemingly conflicting obligations to kinship on the one hand and to feminist practice on the other, a conflict where being a good scholar or activist is directly in opposition to being a good Asian daughter. In order to understand how and why these communities appear at odds with one another, I examine how the material spaces and psychological realities inhabited by specific hyphenated, fragmented subjects are represented (and misrepresented) in both popular culture and practical politics, arguing against images of the hybrid body that bracket its lived tensions. I argue that fantasies of home as an unconditional site of belonging and comfort distract us from the multiple communities to which hyphenated subjects must move between. Hyphenated Asian-/American bodies often find ourselves torn between nativism and assimilationism - having to neutralize, forsake, or discard parts of our identities. Thus, I reduce complicated, difficult ideas of being to the size of a thimble, to a question of loyalty between my Asian-/American history and my American-/feminist future, between my familial background and the issues that have become foregrounded for me during college, between the home from which I originate and the new home to which I wish to belong. To move with fluidity, I must - in collaboration with others - invent new stories of identity and belonging.