Matching Items (3)
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- All Subjects: Women
- Creators: Anderson, Lisa
- Member of: ASU Electronic Theses and Dissertations
Description
Overt forms of sexism have become less frequent (Swim Hyers, Cohen & Ferguson, 2001; Sue & Capodilupo, 2008). Nonetheless, scholars contend that sexism is still pervasive but often manifests as female microaggressions, which have been defined as often subtle, covert forms of gender discrimination (Capodilupo et al., 2010). Extant sexism scales fail to capture female microaggresions, limiting understanding of the correlates and consequences of women’s experiences of gender discrimination. Thus, the purpose of the current study was to develop the Female Microaggressions Scale (FeMS) based on an existing theoretical taxonomy and content analysis of social media data, which identifies diverse forms of sexism. Two separate studies were conducted for exploratory factor analysis (N = 582) and confirmatory factor analysis (N = 325). Exploratory factor analyses supported an eight-factor, correlated structure and confirmatory factor analyses supported a bifactor model, with eight specific factors and one general FeMS factor. Overall, reliability and validity of the FeMS (general FeMS and subscales) were mostly supported in the two present samples of diverse women. The FeMS’ subscales and body surveillance were significantly positively correlated. Results regarding correlations between the FeMS subscales and anxiety, depression, and life satisfaction were mixed. The FeMS (general FeMS) was significantly positively correlated with anxiety, body surveillance, and another measure of sexism but not depression or life satisfaction. Furthermore, the FeMS (general FeMS) explained variance in anxiety and body surveillance (but not depression, self-esteem, or life satisfaction) above and beyond that explained by an existing sexism measure and explained variance in anxiety and depression (but not self-esteem) above and beyond that explained by neuroticism. Implications for future research are discussed.
ContributorsMiyake, Elisa (Author) / Tran, Giac-Thao Thanh (Thesis advisor) / Bernsten, Bianca (Committee member) / Tracey, Terence (Committee member) / Arizona State University (Publisher)
Created2018
Description
This project explores television as the mediation of lived experience through a semiotic phenomenological lens. To do so, this thesis explores representations of gendered violence in self-identified feminist, Sally Wainwright's two shows: Last Tango in Halifax (2012) and Happy Valley (2014). By employing a phenomenological framework to Sally Wainwright's own relationships and experiences, I will seek to examine the semiotic codes embedded in the interactions between women in Happy Valley and Last Tango in Halifax. This will also provide a foundation for discussion on how and why the characters in her shows appear in ways that submit to and subvert the dominant 21st century understanding of 'feminine' on television.
ContributorsFry, Elisabeth (Author) / Sandlin, Jennifer (Thesis advisor) / Cavender, Gray (Committee member) / Anderson, Lisa (Committee member) / Arizona State University (Publisher)
Created2017
Description
In this study, I sought to learn how members of college women’s choirs feel about
their choir and women’s choirs in general. Singers from 19 institutions in the American
Choral Directors Association Southern division participated. From the potential survey
population (n=986), 302 respondents participated (response rate = 28%).
These research questions guided this study:
1. How do current members of college women’s choirs feel their choir is
perceived compared to other types of choirs at their college or university and
in their community?
2. How do current members of college women’s choirs feel about singing in this
group? About women’s choirs in general?
A researcher-developed survey instrument was used to gather demographic
information and other data related to the research questions. After a pilot study, the
survey was edited for clarity. The director of choral activities and the director of the
women’s choir at each institution was contacted via email. The schools that agreed to
participate received the link to the survey and an email script to send to students. Two
weeks later, a follow-up email was sent with the same materials. Two weeks after that,
the survey window closed. The data were collected and analyzed for frequency and
percentage. While analysis of variance (ANOVA) tests found no significant differences,
the analysis of some of the independent variables, especially those having to do with the
age and experience of the singers, were highly suggestive.
In this study, women’s choir members responded positively to statements about
the value of their choir within their institutions and communities. While respondents
often indicate that women’s choirs are seen as inferior to mixed choirs, they nevertheless
enjoy the repertoire they sing and like being challenged. Respondents answered
affirmatively in Likert-scale questions about their women’s choirs and women’s choirs in
general, but answered more critically in open-ended response questions about the same
topics. The survey results echo the findings of earlier studies, amplified by the choir
members’ own opinions. The data in this study offer clear means to ensure that all
students in all choirs are proud of their work and feel equally valued.
their choir and women’s choirs in general. Singers from 19 institutions in the American
Choral Directors Association Southern division participated. From the potential survey
population (n=986), 302 respondents participated (response rate = 28%).
These research questions guided this study:
1. How do current members of college women’s choirs feel their choir is
perceived compared to other types of choirs at their college or university and
in their community?
2. How do current members of college women’s choirs feel about singing in this
group? About women’s choirs in general?
A researcher-developed survey instrument was used to gather demographic
information and other data related to the research questions. After a pilot study, the
survey was edited for clarity. The director of choral activities and the director of the
women’s choir at each institution was contacted via email. The schools that agreed to
participate received the link to the survey and an email script to send to students. Two
weeks later, a follow-up email was sent with the same materials. Two weeks after that,
the survey window closed. The data were collected and analyzed for frequency and
percentage. While analysis of variance (ANOVA) tests found no significant differences,
the analysis of some of the independent variables, especially those having to do with the
age and experience of the singers, were highly suggestive.
In this study, women’s choir members responded positively to statements about
the value of their choir within their institutions and communities. While respondents
often indicate that women’s choirs are seen as inferior to mixed choirs, they nevertheless
enjoy the repertoire they sing and like being challenged. Respondents answered
affirmatively in Likert-scale questions about their women’s choirs and women’s choirs in
general, but answered more critically in open-ended response questions about the same
topics. The survey results echo the findings of earlier studies, amplified by the choir
members’ own opinions. The data in this study offer clear means to ensure that all
students in all choirs are proud of their work and feel equally valued.
ContributorsConway, Ashley Elizabeth (Author) / Schildkret, David (Thesis advisor) / Anderson, Lisa (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2020