Matching Items (6)
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- All Subjects: feminism
- Creators: Gruber, Diane
- Resource Type: Text
Description
Social entrepreneurship has received a great deal of attention in recent years. Scholars constantly debate of the meaning of the term and the direction of the field. This paper explores literature written between the years 2010 \u2014 2015 in an effort to understand the current state of social entrepreneurship and gain insight as to the direction it is headed. This paper looks at definitions, characteristics, geographical differences, legal designations, and major themes such as social enterprise, social innovation, & social value as well as the implications for performance measures in an attempt to understand the broad concept that is social entrepreneurship.
ContributorsTalarico, Anthony (Author) / Shockley, Gordon (Thesis director) / Hayter, Christopher (Committee member) / Department of Management (Contributor) / School of Public Affairs (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This project explores the promise and peril of networked self-portraits, focusing on comparisons between artists Andy Warhol and Cindy Sherman, celebrity and reality star Kim Kardashian, Democratic presidential candidate and former first lady Hillary Clinton, and artists Rafia Santana and Alexandra Marzella. I defined selfies as networked self-portraits using a front-facing camera. My introduction is more or less a literature review of photographic theory and art history texts, but all the significant themes brought up in that are relevant to the rest of my arguments. The arguments draw from feminist visual theory including Laura Mulvey, art history texts, as well as critical race theorists like Franz Fanon. While I chose four artists in my examination, I used them as a jumping off point to talk about how identity can be networked and what it means for small slices of life to be photographed and spread via social media. I decided to include feminist visual theory to inform my exploration of female bodies, especially how mediation sets up normative behaviors and representations. I used race theory to talk about visibility of people of color, especially in contrast to the white artists I talked about in my thesis. By way of Kardashian and Clinton, I explored the idea of celebrity and visual culture, as well as motherhood and what femininity could look like in the 21st century. I tend not to make any sweeping conclusions about the best way to network femininity using selfies, but rather explore the different challenges that women face when they place historically-policed bodies into what could be a digital utopia online.
ContributorsNorthfelt, Peter (Author) / Dove-Viebahn, Aviva (Thesis director) / Thornton, Leslie (Committee member) / Department of English (Contributor) / School of Public Affairs (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Over the last 30 years, the public has become somewhat less willing to accept the “feminist” label. However, most Americans indicate support for general feminist ideals. In fact, many of these ideals have become so prevalent in American culture that they are not considered feminist anymore. This thesis will examine the reason behind this disparity and analyze where public opinion began to shift. The disparity between the definition of feminism and the definition perceived by the public will be explored along with the idea that the American people still want and need a “feminist movement,” but that its current state is not resonating with the majority of the public.
ContributorsKasle, Lauren Jessica (Author) / Lennon, Tara (Thesis director) / Woodall, Gina (Committee member) / School of Public Affairs (Contributor) / School of Life Sciences (Contributor) / School of Politics and Global Studies (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This research explores how to best communicate positive body images to women. This project was intended to improve a blog I created my freshmen year in college called You're Not A Potato where I used original illustrations to tell a narrative about body image issues. The thesis begins with an historical overview of body image issues and finds that women have been dealing with high levels of body dissatisfaction since the Victorian era. The thesis then recaps the role of traditional media as well as contemporary social media and the role they play in imposing rigid beauty ideals on women's bodies. After an analysis of social media culture, it becomes evident women still communicate about their bodies in a negative manner, not only towards themselves, but towards others. To address this issue, I define the Body Positive movement and explore how public figures are using social media to implement Body Positivity. To conclude this project, I utilize my new-found knowledge in body positive communication by impacting my university campus community. I started a "You're Not a Potato" Campaign for Body Pride week with the help of the ASU Wellness Team and designed and facilitated several engaging programs that reflected the values of the Body Positive movement to our students. Through this research, I discovered how our appearance-based culture has stolen self-confidence from young women today, but by the end of this project, I explain how we can attempt to rebuild our culture by effectively communicating self-love and body acceptance in our online and physical communities.
ContributorsMouton, Brianna Anais (Author) / Gruber, Diane (Thesis director) / Taylor, Jameien (Committee member) / Manninen, Bertha (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
As a writer and reader of young adult (YA) literature, I find it is impossible to ignore the rise of traditional masculinity within new, adolescent heroines. In the 21st century, readers have seen the rise of supposedly strong female characters—heroines who carry assault rifles and avoid their emotions. By relinquishing their emotions and their flaws, these heroines have sacrificed the qualities about themselves that initially made them appear so interesting. My desire to see more realistic heroines like myself developed into a creative fiction project that follows and acknowledges the voices of feminine heroines. I call these protagonists “female strong.” My project—a collection of linked short stories—is peopled with the types of heroines that are severely lacking in YA novels and in the film industry. In my own short stories, I have embraced the narratives about young women who are both strong and emotional. I wanted to create memorable female characters that the reader could root for simply because of their feminine strength, even if their flaws were naivety, or lack of confidence, or even if they failed to achieve their resolution in the end. Female-strong characters are vital because they present a view of women who aren’t purely fantasy; they are placed in the real and are feminine, too. In other words, they don’t have to be a gorgeous, knockout model who can kick butt; instead, they can derive strength from their intellect, or their intuition, or perhaps even from their emotion.
ContributorsGoldsmith, Ilyssa Sallie (Author) / Gruber, Diane (Thesis director) / Amparano, Julie (Committee member) / School of Humanities, Arts, and Cultural Studies (Contributor) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Fifty years after the beginning of the modern feminist movement, there is still much to criticize when looking at female representations in all types of media through a feminist lens. With the enormous popularity of the superhero genre in so many media \u2014 comic books, films, television, comic-cons \u2014 now is the time to ask: how much has the depiction of female superheroes changed? Due to the huge amount of superhero media, there is a wide range of depictions of female characters. Will new audiences be presented with empowering female protagonists or simply new variations on the same basic character types? This thesis will explore that question by, first, presenting an historical overview of superheroes in their various media. It then turns to the history of female superheroes, comparing them to their male counterparts to trace the ways in which they were presented as characters in their own right, or as merely appendages to the male characters. Some female superheroes represented a new type of female protagonist: powerful, independent, and committed to fighting justice. In others, the female superheroes were simply retreads of already existing perceptions and expectations of women. They were less powerful than their male counterparts, dependent and clingy, and fighters of injustice only because it made them better girlfriends, wives, or prospective wives. The thesis also looks at the visual depictions of women, who never seem to have fully broken away from the oldest dichotomy in Western culture: the virgin or whore. Female superheroes have, for the most part, been drawn as either demure, modest, girlish figures, or as highly sexualized, sometimes borderline pornographic, figures. After completing this historical overview, the thesis turns to an examination of what many have hailed as the most progressive contemporary depiction of the female superheroine: the recent television series Jessica Jones. For many fans, the character breaks important ground in the superhero genre. Jessica is a realistic, multi-dimensional character who channels strength by overcoming her PTSD and defeating her former abuser. She is not dependent on male characters, and her interactions with others show that she is a self-sufficient, compassionate person who can both control her own sexuality as well as pick up a minivan. While the character herself is not overtly feminist, her characteristics, interactions with others, and the story itself have feminist overtones. Jessica Jones shows us that it is possible to have a multi-dimensional, lead female protagonist in a superhero show.
ContributorsSwartz, Alex Cole (Author) / Gruber, Diane (Thesis director) / Kolomyjec, Wanda (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05