Thesis (Ph. D.)--Case Western Reserve University, 2010. / Title from PDF (viewed 2009-12-30). Department of History. Includes abstract. Includes bibliographical references and appendices. Available online via the OhioLINK ETD Center.

Thesis (Ph. D., Education)--University of Idaho, May 2007. / Major professor: Karen Guilfoyle. Includes bibliographical references (leaves 244-262). Also available online (PDF file) by subscription or by purchasing the individual file.

This paper explores an emerging genre of the female hero archetype that is rooted in Joseph Campbell’s traditional definition and exemplified by Buffy Summers of the television series Buffy the Vampire Slayer and Kara “Starbuck” Thrace of Battlestar Galactica. As representations of the female hero within this genre, they reimagine pre-existing stereotypes, such as the female victim and the male hotshot pilot, and then pursue a hero’s journey of death and resurrection that is unique because of their gender. This new trend is the result of third-wave feminism and necessary for the further development of feminist literary works, particularly within the realm of Sci-Fi/Fantasy.

When Amy comes to work at the Festival on the Grand, she enters a world in which feminism has disappeared. Without a way to access feminism, the Festival staff: Judith, Poppy, James, Lisa, and Amy endure the patriarchal rule of Artistic Director, Nick Noble. Tempo captures the Festival in the week leading up to its prestigious 40th anniversary opening night: the Berlioz Requiem and concludes by asking the audience to consider our current treatment of feminism. The afterword that accompanies the script is part personal reflection, part critical analysis. The reflection includes the process of developing, writing, and workshopping the script as well as how the play conveys feminism in form, content, and inspiration. The analysis considers the notion of post-feminism and the dangers of blindly embracing it. This project aims to encourage an audience to be critical of post-feminism and revive feminism in creative and useful ways.

Democracies worldwide are facing a third wave of autocratization, in which a new model tactic has emerged to end democracies. During previous waves coup d’état have been the main reason why democracies breakdown. However, they do still occur during the third wave of autocratization, but previous research has focused on theoretically develop the reasons for why coups occur through focusing on the military and specific regions. In addition, various definitions exist regarding coup d’état, and as a result, its definition has become fragmented, which has had real-life implications. The Capitol Insurrection that occurred in the United States on January 6th, 2021, introduced an unprecedented attack on one of the world’s most prominent and noticeable democracies, intending to overturn the 2020 Presidential Election. The Capitol Insurrection has been defined as a domestic terrorist attack and, thus, not an attempted takeover. Therefore, this thesis aims to analyze the concept of coup d´état to develop the understanding of takeover attempts in democracies. In addition, it aspires to theoretically develop the concept of takeovers in democracies through applying a multiple-case design consisting of three cases that have been defined as coups and three cases that follow the new tactic used in the third wave of autocratization. The thesis summarizes the previous definitions and explanations regarding takeovers and applies that to analyze how and what characterized the six cases. In addition, the findings of the six cases are compared to the previous definitions to analyze what speaks for and against a broadened definition of a takeover. The analysis of this thesis finds and argues for that there is a need to redefine the model tactic during the third wave of autocratization to a type of takeover performed by the chief executive and political elites, in other words, performed by the government for government.

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The Taiwanese middle class has experienced two waves of crisis over the past three decades in the context of a colonization transition involving globalization and democratization as primary catalysts. On the economic front, Taiwan’s economy has become increasingly integrated into the Chinese market, resulting approximately one million of the Taiwanese middle class relocating to China. Moreover, neoliberal economic reforms have led to a downsized state sector of the Taiwanese economy. These economic changes affect the growth and stability of the Taiwanese middle class. Meanwhile, on the political front, an ongoing democratic consolidation and decolonization efforts have brought about significant political changes in Taiwan that have deepened Taiwanese nationalism. While economic and political processes appear to be opposite, however, in reality they have been mutually reinforcing, causing increasingly differentiated middle class. The political economy dynamics conditioned in a colonial context suggest that the swing voters of a differentiated middle class play a pivotal role in determining electoral outcomes, and electoral outcomes reshape the differentiated middle class.

This thesis explores how the term bitch functions as an ideograph in a heavily mediated, third wave moment. Bitch is important to study due to its potentially negative implications for women and feminism. The study attempts to expand rhetorical scholarship’s current understanding of not only the ideograph, but third wave feminism and the current mediated moment. This thesis uses Oprah Winfrey’s announcement to ban the word bitch from her network, OWN (Oprah Winfrey Network), as a case study. I argue that the media that responded to Winfrey’s announcement contributed to a single, overarching narrative that reinforced that the word bitch is harmful to women. This thesis begins with Chapter One, which is an introduction and rationale that explains why the prevalence of bitch in a mediated society is worthy of study. Chapter Two is a review of the literature that explores the history of the word bitch and a consideration of third wave feminism. In Chapter Three, I review the methodology that guides this study by discussing feminist rhetorical criticism, how previous scholarship has treated mediated texts, and consideration of the ideograph. In Chapter Four, I analyze Oprah Winfrey’s ban of the word bitch from OWN. In Chapter Five, I articulate how bitch functioned as an ideograph, the role the media played in the case study, and a consideration of implications for rhetorical scholarship and directions of future research. / Literature -- Critical orientation -- Analysis -- Bitch and empowerment / Access to thesis permanently restricted to Ball State community only / Department of Communication Studies

The dissertation rests firstly on the author's previously published work (German, 1989; German, 2007; German, 2013) which attempted to analyse the position of women in British society in terms of their relationship to class, work and oppression; and secondly on original research in the form of interviews with a number of Second Wave and Third Wave feminists, which aimed to elicit their responses to a variety of questions in relation to class, women's role at work, and feminist activism. The aim is to contrast the expectations and influences of the different generations of feminists in order to understand what has motivated them and what issues continued to be important for them. The research investigates differences between the two groups of women, considering the extent to which this reflects the different economic and social circumstances in which they were shaped politically. It argues that there is a strong ideological commitment to women's equality across the different age groups, itself based on the inability of successive generations to achieve full equality, but that there are considerable differences of approach to activism and campaigning priorities, as well as to some theoretical questions. It considers the extent to which the Third Wave reflects a fragmentation from Second Wave approaches. It argues that the continued centrality of class in understanding women's oppression and other forms of oppression is related to the discrepancy between the expectations of oppressed groups for equality and capitalism's structural inability to deliver such equality.