This study examines the ways in which Black gay men in Atlanta create and experience community and culture every day, notwithstanding those discursive sources that situate life for Black gay men as particularly troubled. Drawing on ethnographic methods, including participant observation and interviewing, I attempt to show the complexity of Black gay men by exploring their world in Atlanta, Georgia, a city that has increasingly become known as a Black Gay Mecca. Qualitative research examining the ways Black gay men create and experience community has the potential to broaden academic discourses that have increasingly medicalized the Black gay male experience, and complicate popular social sentiment which (when recognizing the existence of Black gay men) often posits their life as one dimensional or dimensionless.

This creative thesis illustrates how the writer initiated a ‘call-and-response’ dialogue as a healing strategy to heal her relationship with her non-abusive biological father after revealing to him that her stepfather had sexually abused her from ages 14 to 22. This memoir both contributes to the field of Women’s Studies and provides an example that other sexual abuse survivors can follow to heal their intimate relationships.

My thesis looks at the creation of moral panics surrounding childhood, sexuality, and media proliferation of “stranger danger,” in American culture. I have chosen to analyze the television program “To Catch a Predator” to illustrate the ways in which these “stranger danger” narratives are related to childhood sexual moral panics and how these two phenomena work to encourage viewership and consumerism in American culture. The exacerbation of “predator” moral panics in reality television maintains the fear of invasion of secure suburban space largely due to the portrayal of African American men as threatening and/or violent within “To Catch a Predator’s” narrative.

This research studied three women who have performed in hip hop music videos. Previous literature concerning these women, including memoirs, men’s magazine interviews, and Black feminist scholarship, has situated them as video vixens, terminology that all three participants disputed applied to them. The research was completed in two parts—a face-to-face phenomenological interview and a semi-structured telephone interview. In the phenomenological interview, the initial question—what are your experiences as a woman who dances/models in music videos?—was posed. The answers ranged from musings about professionalism and the lack thereof in the industry to the politics of skin color and nationality. The semi-structured interview allowed the participants to clarify or expound on experiences they discussed during the first interview.

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In this thesis, I provide an analysis of 1960s American popular culture by examining Playboy, "The Playboy Philosophy," Cosmopolitan, and Sex and the Single Girl. These cultural artifacts furthered the feminist movement by challenging gender structures and sexuality. I discuss how these publications focused on the advancement of the individual through careerism, consumerism and sexuality. These publications assisted in challenging and breaking down various aspects of gender and sexual boundaries and assisted in reworking social limitations that kept women from advancing themselves outside of the pre-set gender roles of domesticity. Regardless of the traditional feminist critique of Hugh Hefner and Helen Gurley Brown, this thesis argues that in fact these popular culture icons and their publications worked to re-negotiate sexual liberation, which assisted in furthering women's liberation. This thesis analyzes the writings and advertisements of these publications and shows that Hugh Hefner and Helen Gurley Brown have positive correlations to feminist discourse.

This study explores the historic relationship between pop music divas and gay male fandom. It charts fan experiences from the early 60s with Judy Garland to contemporary times with pop diva Lady Gaga. This project also gives a description of the embodied experience of Brett Farmer's "queer sublimity of diva reception." Farmer (2005) argues that diva worship among gay men has become a queer sublimity, "the transcendence of a limiting heteronormative materiality and the sublime reconstruction, at least in fantasy, of a more capacious, kinder, queerer world" (p. 170). Using the methods of participant observation in drag performance and karaoke singing, performance ethnography, and autoethnography, I attempt to understand how a diva's performance can influence the lives of gay men and how it can inspire visions of a more perfect world for everyone.

This thesis argues that the inscription of bodies is necessary in order to constitute the cosmos, gender and sex. A study of the Vedic cosmogonic mythologies of the deities Purusha and Prajapati illustrates the ways in which sacrifice, as a form of inscription, constitutes the cosmos by ordering and fashioning the boundaries of the bodies of the deities through differentiation and unification. An analysis of samskaras, or consecratory rites of The Law Code of Manu, show that they operate as regulatory norms in order to constitute sex and gender. But the instability and unnaturalness of the categories of gender and sex are exposed when an analysis of the samskara rituals of the bride and student show that performative acts and speech involved in their respective rites are nearly identical. This discussion of bodies, gender and sex is founded on Judith Butler's work to show how bodies, sex, and gender are also social and cultural constructs. In particular, Butler's work with performativity reveals the ways in which performative action and speech acts constitute people through their stylized and strained repetition. It is this repetition that proves to be deceiving as it creates the illusion that sex and gender are inherent to bodies. We discover that the problems maintaining the appearance of these categories is experienced in both the cosmogonic myths and with the wife and student.

My study highlights a link of U.S. American hypermasculinity running through Cormac McCarthy's two novels Blood Meridian (1985) and All the Pretty Horses (1992), Toni Morrison's Song of Solomon (1977), and James Baldwin's Another Country (1960). My literary interpretations of these texts suggest that U.S. American hypermasculine man originated in the American frontier and transformed into a definition of hegemonic masculinity embraced by many southern rural American men. These southern rural American men then concocted the myth of the black rapist in order to justify the mass murder of African American men after Reconstruction, inadvertently creating a figure more hypermasculine than themselves. Many black men embraced the myth of the black rapist as well as the baser patriarchal aspects of white male southern power. Consequently, black hypermasculinity evolved into the paragon of American hypermasculinity. Failed Heroes further argues that some protagonists in postwar American literature heroically fail in order not to perpetuate hypermasculinities. Continuing a modernist trend of anti-heroism, the selected protagonists develop into marginalized men due to their failure to live up to hypermasculine societal expectations. The protagonists' failure to perpetuate hypermasculinities proves heroic since it illustrates the destructiveness of these sensibilities; as a result, a sense of ironic heroism emerges from the narratives. In Blood Meridian, set in the mid-nineteenth century U.S. American West, the kid fails heroically to construct a masculine identity outside of the textual order of the judge, indicting the hypermasculine philosophies of the judge and calling into question the book's violence. In no way is the kid a classic hero; rather, his collapse exists as a direct critique of the judge's destructive philosophies. In All the Pretty Horses, set in the mid-twentieth century U.S. American South, John Grady fails to actualize his cowboy fantasy, but proves heroic in exposing its danger and destructiveness. At the end of the novel he vanishes into the countryside a failure, but unlike the mythic cowboy, he assumes the role of heroic failure because his narrative contributes to the relinquishment of a destructive male myth. In Song of Solomon, set in Ohio and Virginia during Reconstruction and the Civil Rights and Black Liberation Movements, Milkman Dead functions as a black man who has the opportunity to break free from choking definitions of black masculinity. In the end he fails to break free and flies to Africa, leaving his family and his only hope at real freedom, his aunt Pilate, to die. Continuing a cycle of male flight at the expense of his family, community, and cultural guide renders him a failure. Morrison's final critique of hypermasculinity positions Pilate as the failed hero and shifts the emphasis of the novel to the women who represent victims of kinship systems and the incest taboo. The incest in the novel functions as a metaphor for Pilate's philosophy that black identity ought to come from black culture, a notion I call cultural incest. Another Country, set in New York City during the 1940s and 1950s, details the plight of an urban African American man struggling to reconcile his homosexual desire with the black hypermasculine cool pose he dons as overcompensation. Rufus Scott's death proves heroic as a critique of the rigid definitions of urban black masculinity. African Americans, and by extension all Americans, might employ their U.S. American history of oppression as a platform for a new vision of masculinity based on heteronormative failure and queerness. The association of blackness with oppression, and as a result non-normative sexuality, presents an opportunity to redefine blackness as abjection. The very failure of African Americans in measuring up to destructive notions of hypermasculinity might exist as a new definition of blackness and masculinity for all Americans.

In this thesis, I explore the perceived character of Islamophobia in American society, and how Islamophobia is embedded in the everyday lived experiences and identity negotiations of a sample of Middle Eastern immigrants, ten years post-9/11. Data consist of 13 qualitative interviews with first-generation Middle Eastern immigrants, including Muslims, Christians, and those who claim no religion. Findings suggest that perceived discrimination and cultural hostility vary across both gender and religion. Women who cover with the hijab perceive far more discrimination and humiliating experiences than men or women who do not cover in the sample. Iranians also receive extremely poor treatment, especially from border patrol agents in airports, regardless of religion. Overarching themes of identity negotiation include: (1) a Muslim First identity; (2) the individualizing of the Muslim faith through modified religious practices and diverse social networks; and (3) negotiating the Iranian vs. Persian identity. I conclude that while overall trends of discrimination are perceived to be receding from their peaks in the 9/11 backlash; there is a real possibility for sustained hostility towards those who are visibly Muslim, particularly for women, which has implications for trends in identity negotiation.