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Johnson, Lakesia Denise. "The Iconography of the Black Female Revolutionary and New Narratives of Justice". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1213127495.
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Pacheco, Tâmara. "Desconstruindo estereótipos: narrativas da mulher negra no batuque de umbigada paulista". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100134/tde-11122017-155233/.
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Os batuques manifestam-se em cidades brasileiras como práticas de terreiro. Sob a guarda de mulheres negras e homens negros mais velhos, o tambu (tambor) é o meio de comunicação entre os vivos e os mortos, seguindo os fundamentos africanos banto, na região que ficou conhecida como Oeste Paulista. Neste estudo, tratamos como a mulher negra no batuque de umbigada paulista relaciona sua experiência de vida à cultura negra. Em tempos midiáticos da sociedade de consumo, partimos da visão folclórica acerca da batuqueira para refletir de que forma em seu repertório pessoal ela desconstrói essas e outras imagens controladoras. Entre as mais antigas e emblemáticas herdeiras da tradição, três mulheres negras com mais de 65 anos dispõem-se a testemunhar suas histórias, traçando elementos de enfretamento ao racismo e ao sexismo e revelando aspectos de superação da violência simbólica infringida pelos papéis sociais padronizados. Paralelamente às narrativas de desconstrução de estereótipos, voltamo-nos às teorias que tratam da produção e reprodução social na modernidade e da pós-modernidade e o lugar da mulher negra desde o século XIX, no pós-abolição, até o contexto atual da globalização neoliberal, bem como do feminismo negro, visando identificar estratégias de resistência cotidianas que podem ser vistas como ação política na luta contra o racismo e o sexismoThe Paulista Umbigada Batuque is set in the city as a cultural practice related to the terreiro, or sacred land. It has been kept under the care of elder black women and men, wherein the tambu (a kind of drum) is the tool of communication between the living and the dead, following the African-Bantu teachings that manifests in this region known by Oeste Paulista (Western of Sao Paulo State). In this study, we are concern about how the black women from batuque reflect on the relation between their life experiences and the black culture. In the context of a mass media consume society, and by criticizing the folkloric perspective about the batuqueira (the batuque women), we reflect on how these women deconstruct the controlling images that surround and curtail them. Among the eldest and most representative women of this tradition, three black women commit themselves to narrate their stories for this research, laying out elements of their experience in confronting racism and sexism, and in disclosing the symbolic violence infringed against them by the standardized and socially imposed roles. Besides the narratives concerned the deconstruction of stereotypes, our analysis also looks for theories about social production and reproduction in modernity, the post-modernism debate, and the role fulfilled by the black women since the XIX century, after the abolition of slavery, until nowadays in a neoliberal and globalized world context, as well as in the context of the black feminist thinking.Through the analysis of these narratives and contexts, our work aims to identify the daily strategies of resistance in batuque, which can be considered as well a political action against racism and sexism
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Silva, Bianca Dantas Alves Gomes da Silva. "Existir e resistir - mulheres negras no graffiti : a produção cultural de Negahamburguer e Nenesurreal /". Araraquara, 2019. http://hdl.handle.net/11449/183248.
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Orientador: Dagoberto José FonsecaBanca: Claudete Camargo Pereira Basaglia
Banca: Valquíria Pereira Tonório
Resumo: Essa dissertação tem como objetivo compreender de que modo as mulheres negras atuam no mundo do graffiti e quais as possíveis transformações presentes nesse campo majoritariamente ocupado por representações masculinizadas. Buscamos verificar como as relações de gênero se apresentam na prática de graffiti, sob a perspectiva das categorias de raça/etnia, a fim de compreender o lugar das mulheres negras nesse universo. Para tanto, nos atemos à produção cultural de duas grafiteiras negras: a Negahamburguer, de São Paulo/SP e a NeneSurreal, de Diadema/SP. Ambas são referências no universo do graffiti e iniciaram a prática por meio de afinidades com o Movimento Hip-Hop. Orientada pelas reflexões dos Estudos de Gênero, partimos do referencial teórico proposto pela historiadora e pesquisadora brasileira Lélia Gonzalez, que se constitui no desenvolvimento de estudos debruçados a compreender as mulheres negras enquanto agentes do processo de construção e transformação cultural.
Resumen: Esta disertación tiene como objetivo comprender cómo actúan las mujeres negras actúan en el mundo del graffiti y cuáles son las posibles transformaciones presentes en ese campo mayoritariamente ocupado por representaciones masculinizadas. Buscamos verificar cómo las relaciones de género se presentan en la práctica de graffiti, bajo la perspectiva de las categorías de raza/etnia, a fin de comprender el lugar de las mujeres negras en este universo. Nos atemos a la producción cultural de dos grafiteras negras: la Negahamburguer, de São Paulo / SP y la NeneSurreal, de Diadema / SP. Ambas son referencias en el universo del graffiti y iniciaron la práctica por medio de afinidades con el Movimiento Hip-Hop. Orientada por las reflexiones de los Estudios de Género, partimos del referencial teórico propuesto por la historiadora e investigadora brasileña Lélia González, que se constituye en el desarrollo de estudios dedicados a comprender a las mujeres negras como agentes del proceso de construcción y transformación cultural.
Mestre
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Cochran, Shannon M. Phd. "Corporeal (isms): Race, Gender, and Corpulence Performativity in Visual and Narrative Cultures". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281917081.
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Hahlin, Sanna. ""This is my father and he's a woman" : En undersökning av framställningar av transpersoner i tv-serierna Orange Is the New Black och Transparent". Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-134684.
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The purpose of this essay is to examine how transgender people are represented in modern day popular fiction. To do this, I have analyzed two tv-programmes, Orange Is the New Black and Transparent. To do this, I have used thematic analysis as well as analyzed the images produced within the programs. The theories that I base my analysis on is largely based on the theories of representation as coined by Stuart Hall as well as queer theory and Judith Butler’s take on gender. I find that they share many common themes such as the process of “coming out” and a clear focus on what transgender peoples’ bodies look like and how they interact with gender. It is mainly trans women who are the subject of fictional movies and tv-programmes and this is perhaps because they are believed to be more approachable and hu-morous than other transgender people. The key to representation is variation and overlook-ing the fact that trans women are somewhat overrepresented, Orange Is the New Black and Transparent portray transgender people in a realistic and intersectional fashion.
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Howell, Danielle Marie. "Cloning the Ideal? Unpacking the Conflicting Ideologies and Cultural Anxieties in "Orphan Black"". Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460059315.
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Harris, John Rogers. "The performance of black masculinity in contemporary black drama". Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054742668.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains vii, 233 p. Includes abstract and vita. Advisor: Stratos E. Constantinidis, Dept. of Theatre. Includes bibliographical references (p. 214-233).
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Kajikawa, Loren Yukio. "Centering the margins black music and American culture, 1980-2000 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930277371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Robinson, Penelope A. "A postfeminist generation : young women, feminism and popular culture". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/37397.
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The under-theorisation of the concept of generation within feminism has led to negative and unproductive disputes. In the heated generational exchanges of the 1990s, feminists were cast according to age into opposing sides: old or young, mothers or daughters, second wave or third wave. These categories are limiting and the conflict harmful for feminist politics. In order to avoid these pitfalls, a theoretical framework is developed that draws on the work of Karl Mannheim and post feminist cultural analyses to elucidate the significance of popular culture in marking a generation. This framework then enables an examination of the way feminist discourses are played out in popular culture and helps explain young women’s complex engagement with feminism. This thesis brings together interviews with young Australian women and an analysis of two television programmes that exhibit post feminist characteristics: Sex and the City and Desperate Housewives. It examines the ways in which young women critically engage with these texts and explores popular culture as an arena where feminist discourses are contested. The era is characterised as post feminist because of the entanglement of feminism with popular culture, but it is also marked by the intersection of equality feminism with a neoliberal emphasis on individualism. Within this context, second wave feminist discourses of equality have slipped into the rhetoric of choice, which has important implications for feminist theory. The pervasive sense of choice and opportunity circulated by these discourses obscures the structural limitations that continue to affect women’s lives and demand that women make the “right” choices, build a successful career, find a suitable long-term partner, and become a good mother. This thesis mobilises post feminism as a valuable analytical concept that can be used to characterise the current generation of young women, not simply because they have grown up after the height of second wave feminism, but because the prevailing discourses of this historical moment reflect both continuity with, and a challenge to, earlier feminist debates. The mainstreaming of many feminist ideas and their reflection in popular culture provides the conditions for new forms of feminism to emerge.
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Robinson, Penelope A. "A postfeminist generation young women, feminism and popular culture /". View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/37397.
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Thesis (Ph.D) -- University of Western Sydney, 2008.A thesis submitted to the University of Western Sydney, College of Arts, School of Social Sciences, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
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Maddison, Stephen. "Queer sisters : gay male culture, women and gender dissent". Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362271.
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Gay male culture is suffused with indications of the importance of women and bonds with women. Indeed the Stonewall riots, mythologised moment of the birth of modern gay politics, are often said to have been catalysed by gay male grief at the death of Judy Garland. Why should a culture apparently founded on same-sex desire be so preoccupied with relationships across gender difference? The thesis attempts to map the shape and effects of bonds with women by using a materialist analytical framework in relation to texts and their critical retinue. The first chapter looks at A Streetcar Named Desire, a play that has engendered significant cultural contest which spans key historical and political shifts in the nature of gay male identity. This chapter attempts to show how a diverse range of critical engagements with Tennessee Williams's work, including authoritative and resistant, heterosexual, homosexual and queer ones, exhibit considerable investment in the proposition that the playwright's sexuality not only structures a libidinous desire, but a gender identification. The second chapter situates gay men within the homosocial gender bonds mapped by Eve Sedgwick, and draws attention to the dissident opportunities gay male culture has exploited within this narrative system. It goes on to examine the potential political and cultural links between such strategies and the resistance of straight women who are also organised as homosocial subjects. This chapter includes a reading of Tarantino's Pulp Fiction as homosocial text and looks at a number of autobiographical and journalistic writings which identify a predominant dissident strategy which I refer to as heterosocial bonds. The latter part of the thesis comprises two complementary chapters. The first of these, chapter three, assesses the plausibility of heterosocial bonding in the representations of relationships between straight women, lesbians and gay men in the American situation comedy Roseanne. Chapter four conducts a similar inquiry in relation to Pedro Almodovar and the representational alignment he makes with women in the film Women on the Verge of a Nervous Breakdown. The analysis conducted in both of these chapters attempts to treat the texts not only as generic and formal representations,but as attempted acts of bonding. The thesis attempts to judge the political expediency and effectiveness of heterosocial bonding, and locates the difficulty and contingency of such endeavours within the fabric of homosocial structures.
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Tully, Meg. "Trainwreck feminism: women, comedy and postfeminist culture". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6315.
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This dissertation develops the theoretical framework of “trainwreck feminism.” Forwarded by contemporary women in comedy like Mindy Kaling, Abbi Jacobson, Ilana Glazer, and Amy Schumer, trainwreck feminists adopt the trope of the trainwreck—excessive in need, sex, and madness—to demonstrate the disastrous consequences of growing up in postfeminist culture that both insists women are finally liberated and continues to police their choices. Engaging ongoing debates about whether postfeminism is over since feminism is becoming a status symbol for celebrities and public figures, I argue that postfeminism remains a powerful cultural force, and women in comedy are some of its most vocal critics. Trainwreck feminism exposes the misogyny at the core of postfeminist culture, while arguing that feminist activism is still needed. Trainwreck feminism is reflective of a larger rejection of postfeminist culture, a contradictory moment that celebrates feminism’s achievements while insisting the movement is outdated. Trainwreck feminism represents a larger re-politicization of feminism in pop culture.
Each chapter examines a different comic and the specific branch of postfeminism they undermine: Mindy Kaling and the postfeminist life cycle, Abbi Jacobson and Ilana Glazer and commodity feminism, and Amy Schumer and choice feminism. Ultimately, these women imbue the trainwreck with true feminist potential, pointing a finger at postfeminist culture as a source of women’s madness. Because they are cautionary tales, trainwrecks can highlight the unspoken rules and expectations of femininity. While comedy can have a fairly nasty, depoliticizing relationship with feminism, often turning feminism into a lifestyle or label devoid of political activism, I argue that some contemporary comic texts are actively politicized, inspiring viewers to critique and change the world around them. They do so by appropriating particular vernacular rhetorics that appeal to younger, millennial audiences and using it to demonstrate how postfeminism has failed women. That is, each comic I examine leverages postfeminist sensibilities in order to critique and undermine them, engaging in a trainwreck feminism that highlights the contradictions, absurdities, and misogyny at the heart of postfeminist culture.
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Jones, Allison. "Saints and sirens : how popular culture creates female icons /". Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20151044.
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Allen, L. V. "Representation, gender and women in Black South African popular music, 1948-1960". Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595465.
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The emergence of the commercial mass media catering for urban black South African audiences during the 1950s provided opportunities for the negotiation of new professional spaces for women musicians; they became ambiguous icons of urban black aspirant identity, and sites for the contestation of emergent gender relations. From the black Christian, educated elite, which controlled urban, non-traditional moral values and definitions of cultural worth until the late 1940s, they inherited a dichotomous model of respectability versus deviance. However, parallel shifts in power from the elite to the masses occurred in politics and culture during the 1950s, and the cultural tastes of the broad base of urban Africans became more important. New hybrid musical styles evolved, the most popular being those that re-Africanised American popular styles. Commercial success came to depend on an artist's ability to express the emergent experience of an urbanising township population: an ability to embody aspirant and reflective identity and fulfil multiple roles and fantasies. The most successful musicians were those able to embody cultural hybridity and inhabit spaces between diverse worlds: the west and Africa; modernity and tradition; the educated elite and ordinary workers; between aspiration and reality; Hollywood and township streets. With the emergence of the popular pictorial, the film and recording industry, and the evolution of vaudeville into large high-profile variety shows and materials, female artists proved particularly effective at expressing these multiple, often contradictory cultural identities. Women musicians were experienced as voices and as bodies; their gender impacted significantly on the ways in which they were able to function professionally. They needed to forge a workable space between respectability and deviance, and negotiate their relationship to a number of roles expected of them as public women. Although they accomplished the reformulation of aspects of the period's gender relations, their impact was contested and fractured; it resulted from efforts of individuals driven by their own personal, artistic goals, rather than for the general betterment of women's position in society.
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Ellis, Aimé Jero. "The "bad nigger" in contemporary Black popular culture : 1940 to the present /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Weekes-Barnard, Debbie. "Understanding young black female subjectivity : theorising the interrelations of #race' and gender". Thesis, Nottingham Trent University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387522.
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Tolley, Rebecca. "Review of Alcohol in Popular Culture: An Encyclopedia, ed. by Rachel Black". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5639.
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Mangham, Andrew. "Violent women and sensation fiction : crime, medicine and Victorian popular culture /". Basingstoke : Palgrave Macmillan, 2007. http://catalogue.bnf.fr/ark:/12148/cb41142635d.
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David, Stephen Morris. "Popular culture in South Africa : the limits of black identity in "Drum" magazine". Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Hay_Diss_03.
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Ng, Bo-sze. "Slimming culture in Hong Kong a sociological study /". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31478694.
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Hershkowitz, Robin Hershkowitz. "Popular Memoirs of Women Held Captive". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530381667241048.
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Claiborne, Corrie Beatrice. "Quiet brown Buddha(s) : Black women intellectuals, silence and American culture /". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488199501403452.
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Porterfield, Laura Krstal. "Hidden in plain sight: Young Black women, place, and visual culture". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238388.
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Urban EducationPh.D.
Hidden curriculum scholars have long since recognized the function of the visual in shaping the educational experiences of youth. Scholars have noted that the hidden curriculum of schooling has functioned as a primary socialization mechanism to reproduce capitalism, the state, gender, racial, and class-based inequalities. Today, urban high school spaces present both invisible and visible curricula that are shaped not only by the many images that comprise a school's visual culture, but also by the wider visual landscape. This is of particular import for working-class young Black women who are often framed and seen as social and economic problems within the discourse on urban schools/urban school failure. This discourse teaches. It is taught in and through the everyday visual texts, spaces, and places young Black women navigate to the point that the discourse linking Black femaleness, poverty, and failure becomes natural/normal. It is normalized to the point that it becomes "hidden in plain sight." The simultaneous transparency and invisibility of knowledge presents urban educators concerned about the Black girl and other youth of color with three intersecting problems. First, the educative role of the visual has been underexplored in the research literature on urban schools/urban schooling. Second, within the context of urban schools, we do not know enough about if and or how the educative role of the visual shapes young Black women's relationship with teaching and learning. Third, we do not know if or how the contentious relationship between visual learning inside and visual learning outside of school shapes young Black women's relationship with education as a formal institution and or a process. Given these three intersecting problems, this dissertation project centers on examining the educative impacts of place, visual culture, and design in an effort to fill the gap in the scholarship regarding this portion of the educational experiences of young Black women. Using visual ethnography and discourse analysis as primary methods, I engage a group of five primary student participants who attend a non-traditional, design-focused science and technology magnet school where they are one of the largest student cohorts. Einstein 2.0 is an instance of a progressive, non-normative, small learning community that is attentive to the power of the visual in shaping the teaching and learning experiences, especially for youth of color. In this way, it is a case that can help us better understand the challenges, opportunities, and complexities of harnessing the visual in the urban school context. In this study I argue that by creating a safe and emotionally engaging environment that rejects using punitive disciplinary frameworks and pseudo-factory/pseudo-prison design, Einstein's visual and school culture gave rise to an increased sense of emotional readiness for both producing and receiving knowledge that stands in sharp contrast to the more traditional ways urban schools often approach managing and controlling its student(s') body(ies). Given the increased role of the visual in shaping teaching and learning for youth in the 21st century urban context and the persistent link between young Black women and urban educational/societal failure, having the emotional readiness to deal with these challenges is crucial to their self-definitions (Collins, 2000) and internal motivation to reject and or exceed societal expectations. Using Einstein's approach to visual and organizational culture as a model, I make specific recommendations for educators tasked with or concerned about creating engaging school spaces for young Black women and other youth of color. These recommendations demand further attention to the ways that the visual, spatial, and emotional interact to contour the educational experiences and consumption practices of youth in urban America today.
Temple University--Theses
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Sullivan, Rebecca. "Revolution in the convent : women religious and American popular culture, 1950-1971". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ55383.pdf.
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Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture". Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
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McGee, Adam Michael. "Imagined Voodoo: Terror, Sex, and Racism in American Popular Culture". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11350.
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I analyze the historical and cultural processes by which American racism is reproduced, approaching the issue through the lens of "imagined voodoo" (as distinct from Haitian Vodou). I posit that the American Marine occupation of Haiti (1915-34) was crucial in shaping the American racial imaginary. In film, television, and literature, imagined voodoo continues to serve as an outlet for white racist anxieties. Because it is usually found in low-brow entertainment (like horror) and rarely mentions race explicitly, voodoo is able to evade critique, disseminating racism within a culture that is now largely--albeit superficially--intolerant of overt racism.African and African American Studies
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Murphy, Kylie. "Bitch: the politics of angry women". Thesis, Murphy, Kylie (2002) Bitch: the politics of angry women. PhD thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/217/.
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'Bitch: the Politics of Angry Women' investigates the scholarly challenges and strengths in re theorising popular culture and feminism. It traces the connections and schisms between academic feminism and the feminism that punctuates popular culture. By tracing a series of specific bitch trajectories, this thesis accesses an archaeology of women?s battle to gain power.
Feminism is a large and brawling paradigm that struggles to incorporate a diversity of feminist voices. This thesis joins the fight. It argues that feminism is partly constituted through popular cultural representations. The separation between the academy and popular culture is damaging theoretically and politically. Academic feminism needs to work with the popular, as opposed to undermining or dismissing its relevancy.
Cultural studies provides the tools necessary to interpret popular modes of feminism. It allows a consideration of the discourses of race, gender, age and class that plait their way through any construction of feminism. I do not present an easy identity politics. These bitches refuse simple narratives. The chapters clash and interrogate one another, allowing difference its own space.
I mine a series of sites for feminist meanings and potential, ranging across television, popular music, governmental politics, feminist books and journals, magazines and the popular press. The original contribution to knowledge that this thesis proffers is the refusal to demarcate between popular feminism and academic feminism. A new space is established in which to dialogue between the two.
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Murphy, Kylie. "Bitch : the politics of angry women /". Murphy, Kylie (2002) Bitch: the politics of angry women. PhD thesis, Murdoch University, 2002. http://researchrepository.murdoch.edu.au/217/.
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'Bitch: the Politics of Angry Women' investigates the scholarly challenges and strengths in re theorising popular culture and feminism. It traces the connections and schisms between academic feminism and the feminism that punctuates popular culture. By tracing a series of specific bitch trajectories, this thesis accesses an archaeology of women?s battle to gain power.
Feminism is a large and brawling paradigm that struggles to incorporate a diversity of feminist voices. This thesis joins the fight. It argues that feminism is partly constituted through popular cultural representations. The separation between the academy and popular culture is damaging theoretically and politically. Academic feminism needs to work with the popular, as opposed to undermining or dismissing its relevancy.
Cultural studies provides the tools necessary to interpret popular modes of feminism. It allows a consideration of the discourses of race, gender, age and class that plait their way through any construction of feminism. I do not present an easy identity politics. These bitches refuse simple narratives. The chapters clash and interrogate one another, allowing difference its own space.
I mine a series of sites for feminist meanings and potential, ranging across television, popular music, governmental politics, feminist books and journals, magazines and the popular press. The original contribution to knowledge that this thesis proffers is the refusal to demarcate between popular feminism and academic feminism. A new space is established in which to dialogue between the two.
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Choyke, Kelly L. "The Power of Popular Romance Culture: Community, Fandom, and Sexual Politics". Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1573739424523163.
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Cocarla, Sasha. "Straddling (In)Visibility: Representations of Bisexual Women in Twenty-First Century Popular Culture". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34608.
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Throughout the first decade of the 2000s, LGBTQ+ visibility has steadily increased in North American popular culture, allowing for not only more LGBTQ+ characters/figures to surface, but also establishing more diverse and nuanced representations and storylines. Bisexuality, while being part of the increasingly popular phrase of inclusivity (LGBTQ+), however, is one sexuality that not only continues to be overlooked within popular culture but that also continues to be represented in limited ways. In this doctoral thesis I examine how bisexual women are represented within mainstream popular culture, in particular on American television, focusing on two, popular programs (The L Word and the Shot At Love series). These texts have been chosen for popularity and visibility in mainstream media and culture, as well as for how bisexual women are unprecedentedly made central to many of the storylines (The L Word) and the series as a whole (Shot At Love). This analysis provides not only a detailed historical account of bisexual visibility but also discusses bisexuality thematically, highlighting commonalities
across bisexual representations as well as shared themes between and with other identities. By examining key examples of bisexuality in popular culture from the first decade of the twenty-first century, my research investigates how representations of bisexuality are often portrayed in conversation with hegemonic understandings of gender and sexuality, specifically highlighting the mainstream "gay rights" movement's narrative of "normality" and "just like you" politics. Finally, it is in recognizing how representations of bisexuality are framed by specific reoccurring
themes/tropes, as well as how these themes/tropes work together within larger social, cultural, and political climates, that it becomes possible to challenge existing gender and sexuality norms and ideals and create a more nuanced and complex understanding of bisexuality.
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Smith, Ashley Lorrain. "Girl Power: Feminism, Girlculture and the Popular Media". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2200/.
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This project is an interrogation of three examples from recent popular culture of girlculture, specifically texts that target young female consumers: the Spice Girls, Scream and Buffy the Vampire Slayer. These examples are fundamentally different than texts from earlier female targeted generic models because they not only reflect the influence of the feminist movement, they work on feminism's behalf. The project's methodology grows out of feminist film theories and cultural studies theories. One chapter is dedicated to each text, and each reading works to reappropriate girlculture texts for a counter-hegemonic agenda by highlighting the moments when each text manages to subvert its mass mediated conservative biases.
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Ward, Jonathan D. T. ""What is it?" : containing the threat of the black male body in American popular culture". Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/60782/.
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This thesis takes a critical look at the representation of the black male body in American popular culture throughout the twentieth century, intending to examine the meanings ascribed to this body and analyze the ways that these meanings are communicated to the consumers of these cultural productions. The focus will be on visual examples of popular cultural productions, with the intention of examining representations of the black male body in film, photography, and television, and the viewer. In looking at these cultural texts, the thesis will seek to examine the relationship between visual text and spectator, in terms of how these contribute to understandings of black masculinity. Because of the impact of cultural productions upon conceptions of the world, the self, and the relationship between the two, this thesis will seek to develop an understanding of the way that black masculinity is depicted visually, and what the implications of this are for American culture.
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West, Edmund. "Ebony Magazine, Lerone Bennett, Jr., and the making and selling of modern black history, 1958-1987". Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/ebony-magazine-lerone-bennett-jr-and-the-making-and-selling-of-modern-black-history-19581987(398d9db5-507b-44d3-8952-216fd8e03b10).html.
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This thesis is concerned with the ways in which Ebony magazine sought to recover, popularise and utilise black history between the late 1950s and the late 1980s. The dominant scholarly approach to Ebony has focused on the magazine's bourgeois values and visual aesthetics, and has ignored its importance as a creator and disseminator of black history. By contrast, I highlight the multiple ways in which black history became central to Ebony's content from the late 1950s onwards. Far from viewing Ebony as peripheral to or simply reflective of popular debates into the black past, I place the magazine at the heart of contestations between the corporate, philosophical and political uses of black history during the second half of the twentieth century. In Ebony, this shift was quarterbacked by Lerone Bennett Jr., the magazine's senior editor and in-house historian. Bennett's emergence as a prominent black historian and intellectual, and his increased desire to present history 'from a black perspective', was paralleled by Ebony's broader move from a more politicised to a more market-driven moment. Rooted in my unique position as the first scholar to look at Bennett's unprocessed papers at Chicago State University, and one of the first researchers to examine Bennett's collections at Emory University, this thesis sheds new light on the work of Bennett, on Ebony's significance as a 'history book' for millions of readers, and on the magazine's place at the centre of post-war debates into the form and function of African-American history.
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Piper, Gemmicka F. "Black intimacy in the popular imagination: re-examining African American women’s fiction from 1965-2000". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6622.
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Contemporary African American fiction repeatedly explores intimacy. These explorations have been most sustained in black women’s writing. Although female authors share an interest in romantic interactions, their portrayals reveal wide-ranging attitudes about this theme. Some accounts depict intimacy as a barrier to female advancement. In other texts, feminine success hinges on maintaining a committed relationship. These distinct outlooks not only reflect competing gender discourses within late 20th, early 21st century America but also significant developments in black women’s literature. In this dissertation, I analyze how fictional depictions of heterosexual intimacy reveal crucial facts about black women’s writing. I argue that various subgenres captured under the heading, popular black women’s literature, include narratives about male-female relationships that complicate the efforts celebrated as the black women’s literary renaissance of the 1970s. By focusing on the span from 1965-2000, I suggest that at the same moment when Toni Morrison, Alice Walker, and Gloria Naylor were expressing post-civil rights era black femininity in fictions filled with deteriorating heterosexual intimacy, other black women writers were using popular fiction to expose different possibilities for male-female interconnection. These authors exist in the same socio-cultural milieu as their high modernist peers; however, their writings reflect different reactions to decisions about where intimacy fits in the construction of black identity.
My dissertation contains four chapters, and each chapter engages roughly a decade and considers different dimensions of black female popular literature. Looking at the mid-1960s to the mid-1970s roots of this genre’s interest in intimacy, chapter one establishes Toni Cade Bambara as a founding figure. Chapter two studies the black romance novel from the late 1970s to the mid-1980s concentrating on pioneers, Rosalind Welles and Sandra Kitt. Dealing with Terry McMillan’s rise to fame between the late 1980s and the mid-1990s, chapter three examines chick lit, the site where capitalist feminism and black relationship concerns converge. The final chapter uses Terri Woods’ work to interpret ghetto fiction of the late-1990s. Popular black women’s literature notes the dynamic nature of black cultural identity and responds to that dynamism with portraits of intimacy that register shifting intra-racial realities within the broader context of evolutions in inter-racial democracy. By identifying intimacy as a telling theme in post-civil rights era experience, my research points out the variegated textures of black civic exertion in both literary and political terms.
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McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.
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Feral, Anne-Lise Louise Josiane. "Genre and gender in translation : the poetological and ideological rewriting of heroine-centred and women-oriented fiction". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4105.
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This thesis examines the impact of poetics and ideology on the French translations of eight contemporary heroine-centred and women-oriented fictional texts (including Helen Fielding’s Bridget Jones’s Diary). Using a systemic and descriptive framework (Toury 1995) as well as works on manipulation in translation (Lefevere 1992)(Venuti 1998), I explore the various ways in which these generically hybrid and ideologically complex texts have been rewritten according to the dominant poetics and ideology of the French roman sentimental. Interviews undertaken with editors and translators identify the perceived appeal of these texts to the French market: their romantic plot. As a comparative analysis of originals and translations reveals, this resulted in specific translational strategies regarding gender representations, notably poetological elements subverting a dominant model of romantic femininity. This thesis sheds light on the subtle differences between French and Anglo-American generic traditions and gender ideologies and its contribution is three-fold. Firstly, it adds to an emerging body of case studies which examine poetological and ideological revisions in the French translations of heroine-centred and womenoriented fictional texts (Cossy 2004, 2006, 2006a)(Le Brun 2003). Secondly, as the selection of a thematically – rather than formally – linked corpus of texts is still relatively uncommon in translation and intercultural studies, this thesis advances a new paradigm in the analysis of poetics and ideology in translation (Munday 2008): a self-reflexive approach which favours transversal examinations of specific aspects in thematically linked corpora. Thirdly, this study suggests that if women’s entertainment, produced and translated for mass consumption, reaches a broad audience worldwide and plays an important part in women’s socialisation, interdisciplinary studies of translations across forms can constitute a useful way of detecting the unspoken gender values of the cultures for which and by which they are produced.
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Boyd, Elizabeth Bronwyn. "Southern beauty : performing femininity in an American region /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Williams, Jeanne Pauline. "The Evolution of Social Norms and the Life of Lois Lane: A Rhetorical Analysis of Popular Culture". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1225217886.
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Dinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Flournoy, Ellen L. "Powerful submission : popular texts and the subjectivity of Christian right women". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001796.
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Amemate, Amelia AmeDela. "Black Bodies, White Masks?: Straight Hair Culture and Natural Hair Politics Among Ghanaian Women". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu157797167417396.
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Davis, Lisa A. "Feminism and The Women of Stars Hollow: The Gilmore Girls". University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1276797081.
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Boone, William. "The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/21145.
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African American StudiesPh.D.
Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is grounded in Afro-modern, Afrocentric and African-centered theory and utilizes textual and content analysis. This dissertation offers a panoramic view of pre-hip hop era and hip hop era icons, iconology, archetypes and aesthetics and teases out their influence on hip hop aesthetics. I identify specific figures, movements and events within the context of African American and American folk and popular culture traditions and link them to developments within hip hop culture, discourse, and aesthetics. Because hip-hop emerged as an American phenomenon, I examine pre-hip hop American popular culture in the twentieth century such as America's World's Fairs, superhero mythology, popular culture iconography, etc. and illustrate the ways in which they served as cultural, social and historical precursors to hip hop aesthetics. Chapter 1 provides an introduction, which includes a definition of terms, statement of the problem and literature review. It also offers a perfunctory discussion of hip hop as culture. Chapter 2 examines pre-hip hop era African-American and American iconography, iconology and archetypes and the subcultures that spawned them (e.g. sports culture, comic super hero narratives, westerns, and the culture of capitalism, etc.). I explore early twentieth century popular culture, iconography, and manhood, and link them to hip-hop aesthetics. Lastly, this chapter identifies Afrocentric cross-currents within hip hop culture, which I describe as the post-Afrocentric movement in hip hop culture, and illustrate the ways in which hip hop culture grappled with the efficacy and viability of Afrocentric motifs, theory and aesthetics Chapter 3 offers a comparative analysis of blues and hip hop aesthetics. I explore gender dynamics within the context of inter-genre, call-and-response between male emcees and female neo-soul artists. Chapter 4 traces the development of hip-hop aesthetics and draws on African, American and African-American cultural practices to analyze its development. I focus on early characteristics of hip-hop culture, which are foundational components of hip-hop expression such as the influence of comic book super hero narratives. Hip-hop aesthetics are an amalgamation of post-modern, post-industrial, urban blues sensibilities filtered through African-American musical traditions. I utilize Bakari Kitwana's conceptualization of the hip hop worldview as a basis for highlighting hip hop attitudes, aesthetics, and expectations. Lastly, chapter 4 expands upon previous socio-economic discussions on hip hop culture with a focus on hip hop aesthetics and expression. In chapter 5, I identify specific pre-hip hop icons and their influence on hip-hop aesthetics. I examine the significance of the selection of these icons and their relevance to hip-hop aesthetics. This chapter explores hip-hop iconography, iconology and archetypes. I explore the significance of specific icons and archetypes within hip-hop culture and examine the socio-historical, political, and cultural implications of their selection. Icons and archetypes are integral parts of African, African-American, and American culture. I illustrate how these cultural origins are reflected within hip-hop's engagement of American popular culture icons. I also identify more recent hip hop icons and archetypes (e.g. the hater and gold digger), which operate as signifiers in hip hop narratives and aesthetics. Chapter 6 identifies specific characteristics of hip hop expression. I examine black male identity construction as it relates to hip-hop aesthetics and archetypal influences, particularly notions of 'bad" and "cool" within hip-hop culture. Perhaps more than any other African-American archetype, the badman/bad nigga archetype has survived within African-American male narratives. I explore the evolution of bad within hip hop aesthetics and offer a cultural analysis of 1984, identifying specific icons (e.g. Run-DMC), attitudes, values and trends that shaped both hip-hop culture and American popular culture. 1984 is an ideal site by which to examine the interface between race, class, sex, politics, American violence, technology, and pop culture. I examine specific cross-currents within 1980s American popular media and explore the ways in which hip hop narratives and aesthetics reappropriate and engage specific popular culture texts. I assert that not only was the framework for hip-hop aesthetics were solidified during the early 1980s, but also the framework for a new popular culture discourse effected by shifts in public policy concerning public space, racial representations and an emerging global market culture. I identify key figures, icons, archetypes, and popular media, circa 1984, and their influence on hip hop aesthetics and discourse.
Temple University--Theses
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Goodman, Jennifer Robyn Potter. "Mirroring mediated images of women how media images of thin women influence eating disorder-related behaviors and how women negotiate these images /". Digital version:, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992802.
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Green, Joshua Lumpkin. "Digital Blackface: The Repackaging of the Black Masculine Image". Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1154371043.
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Pindi, Nziba Gloria. "Performing Black Feminisms in Diasporic Contexts: Sub-Saharan Women Negotiating Identity across Cultures". OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1101.
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In this study, I argue that theorizing about the lived experiences of Black diasporic subjects, specifically, Sub-Saharan African women living in the U.S., must simultaneously take into account cultural parameters of their home country and host culture. I use the term “Black feminisms” as an umbrella term to advocate for an interdisciplinary approach to Black feminist thought and African feminism as tools for analyzing the lived experiences of Sub-Saharan women in diaspora. Specifically, this dissertation investigates how Sub-Saharan women living in the U.S. define, understand and orient to feminist practices in everyday life and how such processes shape their identities as diasporic subjects. By doing so, it seeks to examine how Black feminisms can operate as a tool for promoting social justice through the analysis of Sub-Saharan women’s identity politics in diasporic contexts. To gain insights on Sub-Saharan women’s understanding and performance of feminisms across cultures, I relied on a combination of ethnographic methods. First, I used a critical-performance ethnographic framework to explore how feminism is understood and deployed by Sub-Saharan women in diasporic contexts. My data were collected via a combination of in-depth qualitative interviews, co-performative fieldwork, and every day interactions. Second, I used autoethnographic narrative to explore my own everyday performances of feminisms as a diasporic Congolese woman moving between Congolese and American cultures. Participants’ lived experiences reveal that diaspora operates as a liminal/third/”in-between” space where Sub-Saharan women have to constantly negotiate gendered practices in everyday life at the borderland of two cultural worldviews: African and American. By immigrating to the U.S., these women are expected to integrate the cultural and social values of their host culture while maintaining the customs, traditions, and beliefs that constitute their African cultural legacy and which continue to shape their identities in their daily life. Consequently, while participants unanimously agreed on the relevance of feminism for improving the living conditions of African women on the continent and elsewhere, they insisted on a feminist agenda resonant with the peculiarities of African culture, yet promoting cultural exchange between African and American cultures. In light of these findings, this dissertation advocates for a hybrid feminist agenda - which I refer to as “Black diasporic feminism”- applicable to the lived experiences of Sub-Saharan women in diasporic contexts.
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Kilbourne, Kylee. "With Great Power: Examining the Representation and Empowerment of Women in DC and Marvel Comics". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/433.
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Throughout history, comic books and the media they inspire have reflected modern society as it changes and grows. But women’s roles in comics have often been diminished as they become victims, damsels in distress, and sidekicks. This thesis explores the problems that female characters often face in comic books, but it also shows the positive representation that new creators have introduced over the years. This project is a genealogy, in which the development of the empowered superwoman is traced in modern age comic books. This discussion includes the characters of Kamala Khan, Harley Quinn, Gwen Stacy, and Barbara Gordon and charts how these four women have been empowered and disempowered throughout their comic canon. It rejects the lens of postfeminism and suggests that an intersectional feminism is still needed in today’s ever-evolving and diversifying world. Popular culture must be representative of everyone, and today’s women authors will be the driving force of diversity in comic books.
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Georgelas, Althea. "Media to Medium: Representations of Violence, War & Women in Pop Culture". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1822.
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My work is inspired by the mass Media and how it affects the world around me. I am interested in how violence, war and women are represented in popular culture and how this has trickled down into social behavior. I also wonder how much entertainment media reflects deep social ideals. I define mass media as the viral proliferation of ideas using television, cinema, video gaming and the Internet. I am concerned about the social and psychological affects of violent media and how it impacts the lives of women and girls. This is of particular interest to me because I am a woman who has grown up in a media-saturated culture. Many aspects of my life and my identity have been shaped through media influence. I frequently use source material collected from the Internet. My method is to choose a specific word or phrase, and then use search engines to retrieve the associated media. By doing this I am assured that, on any given day, the images and videos returned to me are those most disseminated in mass media for that particular subject. Once I have collected this media I regularly use it to create digital collages, multi channel sound compositions and animated video. There are two threads within this process that intersect as I am working through an idea. At times I manipulate media and synthesize new material to represent my own personal vantage point. This allows me to directly comment on popular media and how it affects my life. The other thread in my practice is the subversion of media to challenge its meaning. These two approaches enable me to comment on media using a format of art-making that is similar to mass media itself. By using appropriated images and sound from popular media I am adopting a language that is understood by media makers and consumers alike. Working in this vein allows me to insert my own voice into the ongoing media-driven dialogue and thus help shape its collective consciousness. At the root of this exploration is a deeply unsettling concern for how mass media shapes social behavior in a way that reduces the individual voice and strips its power to resist. Mass media influences culture but it can also represent collective thought and action. There is a relationship that exists between media and how people act in the real world. Media and consumer are caught in a kind of feedback loop and I question how the individual identity fares. How do women survive in a culture where the blending of entertainment and violence so often targets makes them a target? How has violent popular media affected my life and those around me? How can people secure a truly representative voice against the media that oppresses them? I want my art to push these boundaries so that marginalized voices can be heard.
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Hansen, Gitte Marianne. "Navigating contradiction : female characters, normative femininity and self-directed violence in contemporary Japanese narrative and visual culture". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707971.
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Hopkins, Susan. "Pop heroines and female icons : youthful femininity and popular culture". Thesis, Queensland University of Technology, 1999.
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The thesis suggests much feminist theorising on girls' and young women's relationship to popular culture is limited by a 'moral-political' approach which searches for moral and
political problems and solutions in the consumption of popular images of femininity. The thesis offers a critique of such 'moral-political' interpretations of the relationship between youthful femininity and popular culture. Following thinkers such as Friedrich Nietzsche and
Jean Baudrillard, the thesis opposes the political preoccupation with 'reality' and 'truth'. The study follows Nietzsche's and Baudrillard's notion of the 'Eternal-Feminine' which accepts the necessity of illusion, deception and appearances. Through a close textual
analysis of magazines, films, television and music video, this study offers an aesthetic appreciation of popular culture representations of femininity. The thesis comprises six essays, the first of which explains my Nietzschean inspired aesthetic approach in more detail. The second essay looks at images and discourses of supermodels and model femininity in women's magazines. The third looks at image-based forms of 'girl power' from Madonna to
the Spice Girls. The fourth essay examines the 'Cool Chics' of the pay TV channel TVJ,from Wonder Woman to Xena: Warrior Princess. The fifth essay, 'Gangster Girls: From
Goodfellas to Pulp Fiction' considers the 1990s model of the femme fatale, the bad girl who thrives on moral chaos. The final essay 'Celebrity Skin: From Courtney Love to Kylie
Minogue' suggests some of the most powerful feminine role models of our time have built their careers not on notions of authenticity and truth but rather on the successful management of illusion and fantasy. The essay argues that our social world has outgrown the traditional
moral-political approach which aims to lead girls and young women from 'deceptive''immoral' appearances to moral, 'authentic' 'reality'. The pleasures of popular culture, Isuggest, cannot always be linked to deep meanings but may be drawn from superficial appearances and beautiful surfaces.