Barrett, The Honors College Thesis/Creative Project Collection
Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.
Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.
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- All Subjects: feminism
Description
In today’s economy, advertisers understand that sex sells. The foundations of this concept, however, are influenced by patriarchal expectations that women are first and foremost sexual objects for men. Women are sold beauty and demeanor expectations for them to utilize when making themselves attractive for men and men are sold the idea of beautiful, docile women. This dynamic perpetuates strict definitions of acceptable gender displays and reinforces socially permitted gendered behavior. As a society in the 21st century, we understand the damage of sexist ideals, but where we fall short is in the monitoring of channels that perpetuate and maintain those stereotypes and how affected the public really is by the male gaze, and lack of a female gaze, in media. In this paper, I search for a female gaze, but in doing so recognize the inequalities inherent in yet another gendered practice of looking and instead steer the conversation towards personalized perspectives informed by an understanding of the dominant practice of looking and its inverse.
The primary perspective from which people are depicted in media today is shaped by the male gaze. The male gaze is comprised of patriarchal ideals and relies on the understanding that the spectator or viewer is a standard human being, which heteronormativity tells us is a man. From this perspective, the scope of visual representations of men and women in media has been molded after the hierarchized gender displays within which masculinity has primacy over femininity. By presenting a limited spectrum of behavior acceptable for men and women, the media hegemonically manipulates the social constructs of gender and gendered behavior across all levels of society.
This honors thesis applies semiotic and feminist methodologies to engage visual forms of media through art, film, and social media to challenge the social constructs of gender perpetuated and reinforced by dated stereotypes of gender and gendered behavior. First, the theoretical foundation will provide a framework for semiotic and feminist analysis of visual representations of gender in media. Then, I will present data representing the real-world impact that this social construction of gender has on adolescents in America using The State of Gender Equality for U.S. Adolescents, published by Plan International Inc. I will then bring together the explicated methodologies and evidential data alongside my own experiences as a female consumer of visual media to reveal alternative practices of looking that do not revolve around patriarchal norms, looking for a female gaze. In doing so, I hope to present recourse in the face of persistent use of sexist imagery across all levels of our culture and every medium of visual self-expression by providing tools that can be used to interrogate gendered perceptions and inform self-examination in pursuit of a feminist practice of looking.
The primary perspective from which people are depicted in media today is shaped by the male gaze. The male gaze is comprised of patriarchal ideals and relies on the understanding that the spectator or viewer is a standard human being, which heteronormativity tells us is a man. From this perspective, the scope of visual representations of men and women in media has been molded after the hierarchized gender displays within which masculinity has primacy over femininity. By presenting a limited spectrum of behavior acceptable for men and women, the media hegemonically manipulates the social constructs of gender and gendered behavior across all levels of society.
This honors thesis applies semiotic and feminist methodologies to engage visual forms of media through art, film, and social media to challenge the social constructs of gender perpetuated and reinforced by dated stereotypes of gender and gendered behavior. First, the theoretical foundation will provide a framework for semiotic and feminist analysis of visual representations of gender in media. Then, I will present data representing the real-world impact that this social construction of gender has on adolescents in America using The State of Gender Equality for U.S. Adolescents, published by Plan International Inc. I will then bring together the explicated methodologies and evidential data alongside my own experiences as a female consumer of visual media to reveal alternative practices of looking that do not revolve around patriarchal norms, looking for a female gaze. In doing so, I hope to present recourse in the face of persistent use of sexist imagery across all levels of our culture and every medium of visual self-expression by providing tools that can be used to interrogate gendered perceptions and inform self-examination in pursuit of a feminist practice of looking.
ContributorsPreston, Phoebe Jane (Author) / Gaffney, Cynthia (Thesis director) / Kirsch, Sharon (Committee member) / School of Humanities, Arts, and Cultural Studies (Contributor) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Composed by Adele Etheridge Woodson in 2018, Thrive is an original composition for live euphonium and prepared electronic backing track; it was commissioned by David Gonzalez and premiered at the International Women’s Brass Conference at Arizona State University. The musical piece incorporates multiple audio bytes from personal interviews and videos found online, including words said by pop figure icons, Congressmen, and President Donald J. Trump. The goal of Thrive is to creatively highlight the fight for gender equality among a male-dominant, misogynist society. It also serves as a fresh piece of repertoire for the euphonium, which often lacks original compositions by living composers. This paper will discuss Etheridge Woodson’s creative writing process, creation of the backing track, its world premiere, audience reaction, and a personal reflection.
ContributorsEtheridge Woodson, Adele (Author) / Swoboda, Deanna (Thesis director) / Roumain, Daniel Bernard (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
Description
Sexual violence is a problem that is present in communities worldwide for individuals of every gender identity and religious communities are certainly not immune, including Muslim communities. This project will explore how sexual violence manifests in Muslim communities while also discussing how sexual violence is rooted in cultural patriarchy rather than the religion of Islam itself. Islam is a religion of radical gender equality. The religious discrimination against women that has been witnessed throughout the past fourteen centuries is actually the remnant of unequal gender dynamics found in pre-Islamic patriarchal culture. Sexual violence is explicitly prohibited in Islam, as evidenced by the Qur’an and ahadith (records of the Prophet Muhammad’s life) and has no place in the global Muslim community, referred to as the Ummah.
This paper also delves into feminism in Islam and argues that Muslim women should not be forced to choose between their faith and their human rights; rather, women should be able to obtain an education and should play an essential role in the interpretation of religious texts.
The purpose of this thesis project is twofold: to examine the intersection of Islam, women, and sexual violence prevention as well as to develop and apply a sexual violence prevention curriculum that can be implemented within Muslim communities. The textual analysis of this project will include discussions regarding the primary source of the Qur’an as well as the secondary sources of ahadith and existing literature written by Muslim scholars, primarily female Muslim scholars. This will allow for an analysis of how women are portrayed in Islam as well as how Islamic texts and traditions challenge the patriarchy and rape culture in which sexual violence manifests. Using this foundational knowledge, the goals of the sexual violence prevention curriculum will be to facilitate a discussion between Muslims regarding what sexual violence looks like and what rape culture is, create support networks for survivors, discuss what to do if a friend discloses that they are a survivor or victim of sexual violence, reduce roadblocks to reporting, and analyze literature on feminism in Islam in order to support a movement for sexual violence prevention.
This paper also delves into feminism in Islam and argues that Muslim women should not be forced to choose between their faith and their human rights; rather, women should be able to obtain an education and should play an essential role in the interpretation of religious texts.
The purpose of this thesis project is twofold: to examine the intersection of Islam, women, and sexual violence prevention as well as to develop and apply a sexual violence prevention curriculum that can be implemented within Muslim communities. The textual analysis of this project will include discussions regarding the primary source of the Qur’an as well as the secondary sources of ahadith and existing literature written by Muslim scholars, primarily female Muslim scholars. This will allow for an analysis of how women are portrayed in Islam as well as how Islamic texts and traditions challenge the patriarchy and rape culture in which sexual violence manifests. Using this foundational knowledge, the goals of the sexual violence prevention curriculum will be to facilitate a discussion between Muslims regarding what sexual violence looks like and what rape culture is, create support networks for survivors, discuss what to do if a friend discloses that they are a survivor or victim of sexual violence, reduce roadblocks to reporting, and analyze literature on feminism in Islam in order to support a movement for sexual violence prevention.
ContributorsHill, Samantha (Author) / Ali, Souad T. (Thesis director) / Frick, Kimberly (Committee member) / School of Politics and Global Studies (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
Description
Psychological studies and feminist theories have determined the existence of many forms of
male bias in the English language. Male bias can be traced through American history in the form of laws of coverture and the categorization of women in law. Taking into account the connections between sexist language, history, and law, this paper investigates 1) how and why legal language is biased, 2) why male bias has persisted in law over time, and 3) what impact male-biased law has on women. The works of ancient philosophers, feminist historians, psycholinguistic scientists, and modern philosophers of law are used to explain the patriarchal gender hierarchy’s influence on law. Case law and legal policies demonstrate that sexism has been maintained through history due to the preservation of male-biased language and the exclusion of women from the public sphere. Today, the use of masculine generics continues to taint the legal profession by reflecting, rather than denouncing, its patriarchal roots.
male bias in the English language. Male bias can be traced through American history in the form of laws of coverture and the categorization of women in law. Taking into account the connections between sexist language, history, and law, this paper investigates 1) how and why legal language is biased, 2) why male bias has persisted in law over time, and 3) what impact male-biased law has on women. The works of ancient philosophers, feminist historians, psycholinguistic scientists, and modern philosophers of law are used to explain the patriarchal gender hierarchy’s influence on law. Case law and legal policies demonstrate that sexism has been maintained through history due to the preservation of male-biased language and the exclusion of women from the public sphere. Today, the use of masculine generics continues to taint the legal profession by reflecting, rather than denouncing, its patriarchal roots.
ContributorsHabib, Shanika Sabin (Author) / Stoff, Laurie (Thesis director) / Fedock, Rachel (Committee member) / Department of Psychology (Contributor) / School of International Letters and Cultures (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This thesis seeks to understand how the film Legally Blonde has portrayed the interaction between femininity and women. Specifically, this paper will consider how feminism—defined through the context of the era and Legally Blonde—has empowered women to enter male-dominated professional workspaces—specifically in consideration of the legal profession. The feminism presented in Legally Blonde can be characterized through Elle Wood’s simultaneous displays of intelligence and focus on typical feminine interests: such as marriage, cosmetics, and the like (Marsh, 2005; Lucia, 2005; Hoffman-Longtin & Feldner, 2016). The “third-wave” feminist era surrounding Legally Blonde promotes the duality of women in expressing femininity and holding agentic capability (Dole, 2008). This thesis uses the film’s definition of feminism to consider the changes in women entering the legal profession, the identity of women who connect to the film, and the media’s responses and portrayal of the film. Legally Blonde defines feminism by presenting women as both intelligent and typically feminine—challenging the typical gender role of women in society with her expression of capability and seriousness. While the film elucidates a definition of feminism based on femininity and female agency, some women may not fit into this definition based on the lack of consideration of intersectionality in the film. While the film underlines a changing shift in acceptance of women’s expression of femininity, the film’s message may not apply to all women. Yet, Elle Woods remains a role model for many women to attend law school and her impact is emphasized in popular culture even today.
ContributorsBoucher, Nicole S (Author) / Ingram-Waters, Mary (Thesis director) / Szeli, Eva (Committee member) / Historical, Philosophical & Religious Studies (Contributor) / Department of Psychology (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05