Digital rebellion is a design project that is meant to educate as well as criticize misogynistic content on the internet, with focus on the social media app TikTok. It is meant to engage in conversation surrounding feminism, toxic masculinity, misogyny, and social sustainability for users somewhat familiar with the context but accessible for individuals who might not be. TikTok is a feeding ground for unsolicited opinions, without a good foundation you can quickly get buried under them. Digital rebellion highlights feminist methods on the app with the purpose to combat problematic content with humor. How feminism as a movement has used humor and continue to use it to keep the fire burning for future generations.

Misogyny, a hatred against women, is an attitude that causes emotional distress and can negatively affect women's psychological and physical health. It has shown itself in extreme ways and can be crippling to women. Studies have shown that psychological distress is heightened when women are subjected to sexist events. Misogyny exists in the classroom, workplace, and politics, and is virtually inescapable from women. It is not uncommon for women in positions of power are often unjustly branded with cruel epithets. Despite the modernity of today's culture, misogyny is still a prevalent issue. This study seeks to assess the underlying predictors that are related to misogyny. In order to identify these predictors, factors such as Big Five personality traits, spirituality, and moral reasoning will be examined. Factors such as demographics were also considered. Participants consisted of university students within a general psychology course who completed an online questionnaire for course credit. The study title was deceptive in order to obtain more accurate results. Results indicate that there is a relationship between misogyny and the predicted variables.

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With the rise of feminist sentiment and the growing awareness of gender equity in China, social media has become an increasingly central space for Chinese feminist expression. However, the complex dynamics of feminist expression in these online spaces—and the role of popular culture in facilitating such discourse—are still to be fully elucidated. This dissertation delves into these understudied facets, focusing on the social media platforms Douyin (the Chinese version of TikTok) and Bilibili (China’s largest anime fandom hub), through a cross-platform comparative analysis of the online discussion sparked by the stand-up comedy acts of Chinese female comedians. It further narrows its focus to young (age 22-33) female audiences' engagement with these comedy routines online, probing their perceptions of the confluence between feminist discourse, humor, and social media. Drawing on a mixed-methods qualitative approach that combines content analysis of videos and comments on Douyin and Bilibili with in-depth interviews with 15 young female participants, this dissertation demonstrates how users employed the platform’s creative features to challenge everyday sexism by echoing or building upon the stand-up comedians’ gags. At the same time, the analysis also uncovers how social media is used to insult and push back against these feminist voices. Subsequently, audience analysis reflects the dual use of female comedians' humor as a tool for cultural critique and community formation, while highlighting the deterrents to engagement, such as the polarized reception, stigma surrounding feminism, and online censorship. The findings shed light on the sophisticated role of social media as a platform for digital feminist expression, and the ways in which it can amplify both feminist discourse or, conversely, give voice to misogynistic attacks. They also uncover audience perceptions regarding the influence of popular culture in enhancing female representation, albeit within a frequently binary discourse. Additionally, the study addresses broader cultural implications, including the weaponization of “Westernness” in misogynistic rhetoric and the impact of censorship on audience interaction. By situating the investigation within the context of China's digital landscape and framing stand-up comedy—a genre that resonates with millennials and Gen Z—as a unique lens through which to view feminism, this dissertation transcends mere observation of a cultural phenomenon to offer a deeply personal exploration. It aspires to enrich the literature on social media as a fertile ground for gender-related discussions and to chronicle the emergent feminist ethos of our era.

Almost ten years have passed since incels came on the map. Incel, a portmanteau of the words involuntary and celibate, is a motley, like-minded group of young men with the commonality that they cannot achieve a (sexual) relationship with a woman. Since 2014, more than 100 different individuals have been either killed or injured in the incel uprising against women's oppression of men. Misogyny and self-hatred permeate the incelosphere and affect their understanding of the world. From a bluepilled rejection of the truth to a blackpilled understanding of a matriarchy that can only be escaped through suicide or the extermination of women. The purpose of this thesis is to investigate how responses to perceived strains are expressed in the incel forum Incels.is and how this can be seen in the light of radicalization. Based on a theoretical thematic analysis strategy, 339 collected threads from the forum form the foundation for an analysis based on a perceived strain-related radicalization framework. The framework is created based on Robert K. Merton's five responses to strains and Brian Van Brunt and Chris Taylor's Incel description of the radicalization funnel model. The study revealed that incels exhibit responses relating to four out of the five types of responses to perceived strains. The perceived responses to strains also show signs that incels on Incels.is is located throughout all eight stages of The Incel Funnel. Comments and postings have demonstrated signs of varying degrees of radicalization as responses to perceived strains. However, this study can only provide insights into the investigated part of incels.is, and not make any definitive conclusions about the members of the incelosphere as a whole.

Seigneur Dildoe, as this dissertation will contend, was a fixture in Restoration literature and culture (1660-1700). But what was his provenance, by what means did he travel, and why did he come? This dissertation provides a literary history of the fascinating and highly irreverent dildo satire tradition, tracing the dildo satire’s long and winding progress from antiquity to Restoration England, where the tradition reached its early modern zenith. Adding breadth, context, and texture to existing treatments of the trope’s political and sexual potency, this dissertation investigates the dildo satire’s roots in both Greek comedy (Aristophanes, Herodas) and Latin invective (Martial, Juvenal), its influential association in early modern Italy with Catholicism and monastic life (Aretino), and its introduction in early modern England (Nashe), where it cropped up in the works of a surprising number of literary giants (Shakespeare, Jonson, Donne, Marvell). In Restoration England, we find in the satiric dildos of Butler, Rochester, and the contextually rich “Seigneur Dildoe” articulations of a dildo gone viral: the mock-heroic Seigneur deployed as a politically central motif symptomatic of its society’s acute patriarchal fissures. Throughout I argue that the dildo satire’s longevity is due not to a uniformity of purpose or signification (misogynist, anti-Catholic, emasculating, or otherwise), but to its innate versatility and ambiguity as a fugitive sexual and political figure. I also argue that what does in fact unite the satiric dildo’s variety of contingent ends, against what has been assumed in the scholarship, is its status as a markedly anti-Phallic figure. / Graduate / 2018-01-09 / 0401 / 0733 / missmenno.sf@gmail.com

The purpose of this study was to look at the impact of early misogynistic treatment of females on subsequent attachment security and the quality of the later caregiving of their own children. A Misogyny Scale was created for use in this study.

In a heteronormative society where hegemonic masculinity prevails, beauty is often synonymous with, and presented as, feminine. For example, pictures of tall, thin women with perfect teeth and perfect skin gloss the covers of magazines and other forms of media as representative of some beauty ideal. This “ideal” is the barometer by which, on many levels, all women are judged. While some women may choose to ignore these messages, few women can always escape comparison. Our society constantly informs us that appearance matters. More specifically for women, a feminine physical appearance is often considered “ideal.” But what exactly does this construct, feminine, signify? Fundamentally, femininity is not static. To speak of it as a logical, simple construct is problematic for it means different things and is expressed in different ways in different environments. Furthermore, to assert one definition by which all others will be measured is difficult in that it presumes a homogenous population and/or idealizes one specific representation. In this research project I conducted in-depth interviews with 43 non-heterosexual women to discern how they constructed “femininity.” What did it look like? What meanings did it connote? When was it important and how was it negotiated? Applying a cognitive sociological lens and using grounded theory methods, I describe what femininity, or arguably femininities, look(s) like within this subpopulation. This project contributes to and extends the literature on gender, sexuality, and appearance. It does this by demonstrating the importance of analyzing non-heterosexual women’s experiences and understandings of femininity within a patriarchal society that valorizes hegemonic masculinity. Most literature contemplating appearance and related misogynistic messages emphasizes a heteronormative perspective. However, feminine and femininity uniquely impact non-heteronormative women. Non-heterosexual women must negotiate both misogynistic and heterosexist messages concurrently. By simultaneously addressing this “double” subordination or marginalization, this research endeavors to provide a more comprehensive overview of meanings and ramifications of appearance choices.

The following project serves to question the effects of capitalism upon modes of eroticism, misogyny and sexism by focusing upon the black masculine female (butch/stud) within Street Lit. Chapter one defines Street Lit, its importance, and Trick(Ster)ing as a concept. Chapter 2 is a close analysis of two primary texts utilizing Trick(Ster)ing as a method of survival and resistance in a capitalist society. The final chapter discusses the relationship between black female masculinity and misogyny. / text