This paper seeks to establish a critical understanding of issues of sexualization and re-appropriation and how they relate to contemporary fashion advertising that specifically utilizes the Lolita Effect.

In 1974, decades before foreign terrorists became a fixture in the American consciousness, the Symbionese Liberation Army (SLA), an American domestic terrorist group, abducted nineteen-year-old media heiress Patricia (Patty) Hearst. The abduction kicked off a four decade multi-faceted media spectacle. The media and public raptly followed Hearst’s imprisonment as a hostage, apparent conversion to SLA revolutionary and criminal, eventual rescue and arrest, trial and conviction, presidential pardon, marriage to her bodyguard, half-hearted career as an actress, and ultimate withdrawal from the public eye. Along the way, the media portrayal of Hearst twisted and turned. She was the heiress, the hostage, the criminal, the victim, depending on the moment in time. The varying depictions of Hearst reflected evolving events, but also specific images of Hearst that captured the attention of the American public and the media. Resonant images of Hearst from her kidnapping, arrest, trial, and release – spanning the five years from 1974 to 1979 – demonstrate that the heiress’s case became a magnification of American anxieties of the time concerning celebrity, feminism and gender, the radicalization of youth, and terrorism. In a time dominated by print, radio, and television media, Hearst’s portrayal showcased the media spectacle as cultural parable for a controversial time.

Without pretensions to exhaustiveness, this study briefly examines the mid- to late-twentieth-century flowering of western theory and criticism built around autobiographical writing and follows the feminist branch(es) of that theory and criticism through a reading of the following four memoirs: Autobiography of a Face by Lucy Grealy, All the Lost Girls by Patricia Foster, Lying by Lauren Slater, and Prozac Nation by Elizabeth Wurtzel. Using both Freudian and Lacanian psychoanalytic theory as they relate to literature, I argue that the selves these four women write in their memoirs are not selves built around the model historically set for women by feminist criticism of autobiography. Instead, Grealy, Foster, Slater, and Wurtzel, each raised by a relatively ineffectual or absent father and a strong-willed mother, fashion autonomous Lacanian 'I's for themselves out of relationships with their mothers that more closely resemble the adversarial relationship Freud posited between fathers and sons than they do the communal and less autonomy-engendering mother-daughter relationships many feminist critics predict.

This thesis explores how science fiction and fantasy retellings of the fairy tale "Beauty and the Beast" bring visionary insights to the fairy tale. Stories such as Tanith Lee's science fiction novella "Beauty" and Mercedes Lackey's fantasy novel The Fire Rose constitute living and developing incarnations of "Beauty and the Beast." To better explore the visionary leaps made by these stories, they are placed in contrast with one of the original recordings of the story by Madame Marie Le Prince de Beaumont and the 1991 Disney film version, Beauty and the Beast.

Literature uses dance to reveal underlying messages of fantasy through the themes of the central narrative of female characters. Examining the original texts with respect to their varying adaptations for film and stage, performance literature reveals how directors relate a three-dimensional story to an audience from a two-dimensional world. Hans Christian Andersen’s “The Red Shoes” shows an underlying semiotic code where transitioning from the black and white of reality to the red of fantasy is only accomplished through dancing. Oscar Wilde’s Salome displays an eroticization of the exotic solo-improvised dance that provides a semblance of control for the main character. The story of Giselle reveals a meta narrative describing the desire and plight of the professional dancer. Henrik Ibsen’s A Doll’s House, in contrast, provides a world in which dance as a fantasy element cannot exist. Examining the physical elements of these works of literature elucidates the use of dance as a lens that lets the performance become speech.

This is a historically based screenplay inspired by the life of Sister Benedetta Carlini.

Conventional wisdom holds that civil society building always strengthens democracy, and that civil society gains by undermining the state. Many studies have taken the case of democratic countries, such as the United States and India. However, the emerging civil society within authoritarian China raises an interesting question to the neoclassical hypothesis. Does civil society building necessarily leads to democracy? How do we evaluate the work of local civic groups and why does that matter? This thesis seeks answer through a case study of women’s organizing around the issue of domestic violence in China, exploring to what extent the growth of women’s organizing challenges or strengthens the hegemony of state, and in what ways transnational feminism facilitates the development of feminist activism in China. The case study finds a positive correlation between the increasing women’s organizing around the issue of domestic violence and the level of state intervention. Through closely examining the work of local women’s groups in China, it identifies the structural barriers and the state regulations limiting women’s organizing, but it also explores mobilizing strategies by women’s groups and the changes they have made despite the authoritarian setting. Ultimately, this thesis attempts to argue that civil society building is a political process structurally depended on the political economy of the state, and that the state also plays a significant role in “producing” certain kind of civil society. A situated analysis suggests that local groups adopt certain political strategies and prioritize certain issues over others under political, economic, and social constraints of their living environment, meaning that the strategies and focuses of civil society groups under the authoritarian setting in China will be different from the groups in the developed, democratic countries. Meanwhile, transnational feminism provides women activists with alternative discourses on gender issues and alternative sites for mobilization.

Why is it important to study the gender gap in physics? Despite entering the workforce in increasing numbers over the last fifty years, women remain severely underrepresented in science and technology-related careers, particularly in positions of authority. Simultaneously, numerous studies verify that women have the ability to perform as well as – or better than – males in physics, and, when presented in certain lights, as many women as men show an interest in physics. Changes must be made in order to strive for equality and, given the changing demographic of the workforce, increase our country’s diminishing scientific prowess.

This thesis draws on ethnographic research from three communities of conservative Christian women who find empowerment and agency through their religious traditions. Two communities are politically active, outspoken women who also believe strongly in "traditional" roles for women, and one community idealizes conservative standards of sexuality while accepting women who work as sex workers. These women did not view their positions as contradictory, rather, they used religious beliefs and religious practices to enact, embody or explain their complex genders and sexualities. This thesis draws on ethnographic, feminist and queer theories while showcasing the diversity within a movement largely believed to be monolithic. The researcher aims to encourage more dialogue between liberal feminists and conservative Christians.

This project works to illuminate some of the main theoretical claims that writers of the third wave make in order to understand these claims as rhetorical devices used to make themselves visible and real. Being visible is a common theme in third wave texts and realness is a site that is both contested and embraced. Being Visible and being real work together to situate third wave actors in a U.S. feminist continuum that is sprinkled with contradiction and ambiguity. This thesis will examine the contextual development of third wave feminism, and then using examples of realness and visibility in the three third wave anthologies, Being Real, Third Wave Agenda, and Catching a Wave, this thesis will interrogate at the rhetorical significance of those themes.