Matching Items (51)
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- Creators: School of Humanities, Arts, and Cultural Studies
Description
The Undoing Project is an ongoing educational feminist YouTube channel that serves as an introduction to feminism and feminist theory. The objective for this project is to present feminist theory and feminist ideology in an accessible and entertaining way. Through this project I sought to accomplish three goals: to challenge the negative image of feminism, bridge the gap between the language of academia and the public, and to acknowledge and unlearn ingrained prejudices. The videos focus on theory, history, legislation, current events, and pop culture. The initial project consists of ten videos addressing the feminist wave models, a brief history of the feminist movement, and discussions of concepts like hegemony, intersectionality, masculinity, femininity, and race.
ContributorsBuchholtz, Kaylee Marie (Author) / Brian, Jennifer (Thesis director) / Grzanka, Patrick (Committee member) / Brouwer, Dan (Committee member) / Barrett, The Honors College (Contributor) / College of Public Service and Community Solutions (Contributor) / School of Social Transformation (Contributor) / Department of English (Contributor)
Created2015-05
Description
"The Legal Adventures of Frankie and Rosie" is a creative project that explores the nontraditional format of comics to express creative nonfiction. The project is a set of 30 independent comics that focuses on two primary college-going students who are based off of the authors. The characters, Frankie and Rosie narrate their stories through dialogue. The authors use this narrative model to archive their college experience at ASU. Representing creative nonfiction through comics yields an amalgamated format that can be challenging for both the writers to produce as well as for the readers to consume. Ultimately, the project serves as an attempt to test whether or not the comic medium can stand by itself as an appropriate format to express creative nonfictional narratives without becoming a diluted combination of its purer predecessors.
ContributorsBennewitz, Dana (Co-author) / Ray, Payel (Co-author) / Martin, Thomas (Thesis director) / Scott Lynch, Jacquelyn (Committee member) / Civil, Environmental and Sustainable Engineering Programs (Contributor) / Barrett, The Honors College (Contributor) / School of Geographical Sciences and Urban Planning (Contributor) / Electrical Engineering Program (Contributor) / School of Social Transformation (Contributor) / School of Mathematical and Statistical Sciences (Contributor)
Created2015-05
Hiking and Hegemony: Destabilizing the nature/culture and gender binaries through outdoor recreation
Description
This paper explores the contested relationships between nature, culture, and gender. In order to analyze these relationships, we look specifically at outdoor recreation. Furthermore, we employ poststructuralist feminist theory in order to produce three frameworks; the first of which is titled Mother Nature’s Promiscuous Past. Rooted in Old World and colonial values, this framework illustrates the flawed feminization of nature by masculinity, and its subsequent extortion of anything related to femininity — including women and nature itself. This belief barred women from nature, resulting in a lack of access for women to outdoor recreation.
Our second framework, titled The Pleasurable Potential of Outdoor Recreation, cites second-wave feminism as a catalyst for women’s participation in wilderness exploration and outdoor recreation. The work of radical feminists and the women’s liberation movement in 1960s and 1970s empowered women at home, in the workplace, and eventually, in the outdoors; women reclaimed their wilderness, yet they continued to employ Framework One’s feminization of nature. Ecofeminsim brought together nature and women, seeking to bring justice to two groups wronged by the same entity: masculinity. In this context, outdoor recreation is empowering for women.
Despite the potential of Framework Two to reinscribe and better the experiences of women in outdoor recreation, we argue that both Frameworks One and Two perpetuate the gender binary and the nature/culture binary, because they are based upon the notion that women are in fact fundamentally different and separate from men, the notion that nature is an entity separate from culture, or human society, as well as the notion that nature is in fact a feminine entity.
Our third framework, Deer Pay No Mind to Your Genitals, engages poststructuralism, asserting that outdoor recreation and activities that occur in nature can serve to destabilize and deconstruct notions of the gender binary. However, we argue that care must be exercised during this process as not to perpetuate the problematic nature/culture binary, a phenomenon that is unproductive in terms of both sustainability and gender liberation. Outdoor recreation has been used by many as a tool to deconstruct numerous societal constraints, including the gender binary; this, however, continues to attribute escapist and isolationist qualities toward nature, and therefore perpetuating the nature/culture divide. Ultimately, we argue outdoor recreation can and should be used as a tool deconstruct the gender binary, however needs to account for the fact that if nature is helping to construct elements of culture, then the two cannot be separate.
Our second framework, titled The Pleasurable Potential of Outdoor Recreation, cites second-wave feminism as a catalyst for women’s participation in wilderness exploration and outdoor recreation. The work of radical feminists and the women’s liberation movement in 1960s and 1970s empowered women at home, in the workplace, and eventually, in the outdoors; women reclaimed their wilderness, yet they continued to employ Framework One’s feminization of nature. Ecofeminsim brought together nature and women, seeking to bring justice to two groups wronged by the same entity: masculinity. In this context, outdoor recreation is empowering for women.
Despite the potential of Framework Two to reinscribe and better the experiences of women in outdoor recreation, we argue that both Frameworks One and Two perpetuate the gender binary and the nature/culture binary, because they are based upon the notion that women are in fact fundamentally different and separate from men, the notion that nature is an entity separate from culture, or human society, as well as the notion that nature is in fact a feminine entity.
Our third framework, Deer Pay No Mind to Your Genitals, engages poststructuralism, asserting that outdoor recreation and activities that occur in nature can serve to destabilize and deconstruct notions of the gender binary. However, we argue that care must be exercised during this process as not to perpetuate the problematic nature/culture binary, a phenomenon that is unproductive in terms of both sustainability and gender liberation. Outdoor recreation has been used by many as a tool to deconstruct numerous societal constraints, including the gender binary; this, however, continues to attribute escapist and isolationist qualities toward nature, and therefore perpetuating the nature/culture divide. Ultimately, we argue outdoor recreation can and should be used as a tool deconstruct the gender binary, however needs to account for the fact that if nature is helping to construct elements of culture, then the two cannot be separate.
ContributorsPolick-Kirkpatrick, Kaelyn (Co-author) / Downing, Haley Marie (Co-author) / Dove-Viebahn, Aviva (Thesis director) / Schoon, Michael (Committee member) / School of Sustainability (Contributor) / School of Social Transformation (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Dysmorphia is a series of large-scale paintings that address the relationship between a body image disorder called Body Dysmorphia (BDD) and plastic surgery. The audience sees women of all colors, shapes and sizes in their most vulnerable state. However, the shapes of their bodies and the abnormal background are not what we are used to seeing. Presented in the IAP Studios, Dysmorphia aims to start a conversation around the rising global occurrences of cosmetic procedures, the patients who suffer from Body Dysmorphia, and how the two subjects relate. Plastic surgery is a highly controversial conversation that the world is currently having. However, BDD is not a common topic that comes up within those discussions. Many surgeons may not realize or choose to ignore the fact that a vast majority of their patients have a body image disorder. Sometimes the patients themselves may not even realize it. Whether we believe plastic surgery is a positive life-changing choice or that it takes advantage of those who have disorders such as BDD, the end result will be up to the audience to determine. By establishing a connection between the two contrasting ideals, society can then begin to identify where they might fit in the conversation. Dysmorphia aims to spark informative discussions about these kinds of social issues by exploring the female body and bringing to light plastic surgery's attempt to alter it.
ContributorsArnold, Brittany Marie (Author) / Kim, Marianne (Thesis director) / Clark, Patricia (Committee member) / School of Art (Contributor) / School of Humanities, Arts, and Cultural Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Abstract Retrograde presents questions about the creation and value of art through a graphic novel. Materials used to create the work were illustration paper, ink, brushes, and printed screen tones. The piece was created in four stages: first, each panel was sketched into the first draft; second, the sketch was researched and fully developed into a complete drawing; third, the sketch was completely traced with ink and texture was added; finally, the drawing tones were added with ink and screen tones. The plot of Retrograde revolves around the protagonist, Vera, as she attempts to find a place for her art in an artistic community that rejects her for her lack of commercial success and for the advantages she got through connections. When Vera appears to have succeeded, a sudden plot twist reveals a conspiracy which undermines her success. By following Vera, the novel illustrates a corrupt artistic society in which the value of art is established by a small amount of artistic elites. The written portion of the project expounds on the various ideas that drove the novel, including how art forms like graphic novels come to be situated low in artistic hierarchies and how interpretations can be negatively guided by already established institutions. Among some of the theorists referenced within the paper are Walter Benjamin, Clement Greenberg, and Susan Sontag. In conclusion, the project illustrates an inclination to judge art by potential commercial value and by already established hierarchies, limiting the possibilities of new interpretations and shifts in those same hierarchies. Keywords: art, art theory, graphic novels
ContributorsCervantes, Liliana (Author) / Dove-Viebahn, Aviva (Thesis director) / Solis, Forrest (Committee member) / School of Humanities, Arts, and Cultural Studies (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
DescriptionPresents a television script adaptation of Jane Austen's Persuasion, as well as a study of adaptive theory and processes and analysis of three adaptations of Jane Austen's Pride and Prejudice.
ContributorsLeone, Mary Katherine (Author) / Mann, Annika (Thesis director) / Luna, Ilana (Committee member) / Barrett, The Honors College (Contributor) / School of Humanities, Arts, and Cultural Studies (Contributor)
Created2014-05
Description
The Science of Water Art project is a collaborative work that brings together professionals, community members, college students and children to think about the role that water plays in each of our lives. Using a sample of 4th grade classrooms in Maricopa County, over 3000 drawings of children's perception of water today and in the future were collected. The 9-11 year olds were asked to draw pictures of 1) how they saw water being used in their neighborhood today (T1), and 2) how they imagined water would be used in their neighborhood 100 years from now (T2). The artwork was collected and coded for nine different themes, including: vegetation, scarcity, pollution, commercial sources of water, existing technology, technology innovation, recreational use, domestic use, and natural sources of water. Statistically significant differences were found between boys and girls for vegetation, technology and domestic use themes. This project allows for a look into how climate change and water insecurity is viewed by younger generations and gives a voice to children so that they may share their outlooks on this vital resource.
ContributorsVins, Holly Elizabeth (Author) / Wutich, Amber (Thesis director) / Newland, Judy (Committee member) / Beresford, Melissa (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Social Transformation (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2013-05
Description
This thesis in partial fulfillment of my degree from Barrett, the Honors College at Arizona State University delves into the career and viewpoints of Elizabeth Banks, a nineteenth-century American journalist who traveled to London in the 1890s to write about differences between American and British culture and lifestyles. Her three books include Campaigns of Curiosity: Journalistic Adventures of an American Girl in London (1894), The Autobiography of a "Newspaper Girl" (1902), and The Remaking of an American (1928). Banks asked that all of her personal documents be destroyed after her death, so these published books serve as the only remnant of her transatlantic life. With that in mind, I approached the documents with the idea that Banks chose what to include, what to exclude, and how to present her persona as opposed to giving a complete, unbiased picture. Banks used these books to formulate a public identity that served her purposes, which makes sense considering she needed the approval of her readership in order to subsist financially. The contradictions among the three works, and even within each individual work, allowed Banks to appear nonthreatening to the status quo, but still interesting enough to deserve attention. While the context of her environment experienced changes, so did her public "performance." She altered her image in conjunction with what she identified as important to her readers. I rely on a careful reading of her three published books, contextualized with secondary sources to understand how Elizabeth Banks constructed a public identity during a time characterized by social shifts, especially due to the rise of the women's movement, an interest in access to rights previously reserved for men, and reevaluation of the relationship between the social classes. This thesis takes an interdisciplinary approach that utilizes concepts from women and gender studies to better analyze Banks and her lived experiences. While other research on Elizabeth Banks reaches the same conclusions I do, and while other historians have identified Banks's public character as complex and contradictory, this work focuses specifically on how these contradictions operated. By placing portions of her works directly alongside one another, and by analyzing exactly how she incorporated differing ideologies into her pieces, her public identity can be more fully understood as multifaceted and existing in relation to society's changing demands. Also, this thesis considers the importance of the social constructs of class and gender to Banks's identity. The first chapter focuses on gender and her experience as a woman journalist. The second chapter deals with class politics as they impacted her work. Even though I address these social identities in separate chapters, I approached Banks with intersectionality in mind, as Banks's experience of gender is related to class, and vice versa. Elizabeth Banks crafted her public identity in conjunction to public opinion. She knew that she required the approval of her readers. By policing boundaries created by gender and class, she appears as an outsider looking in. She blurs the lines between masculine and feminine and middle class and working class. She does not firmly set herself in any one group, which allowed her to expand her appeal. This analysis of Banks illuminates how a woman could effectively navigate the public arena in nineteenth-century England.
ContributorsColes, Alexandra Patricia (Author) / Fuchs, Rachel (Thesis director) / Hopkins, Richard (Committee member) / Switzer, Heather (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Social Transformation (Contributor) / School of Art (Contributor)
Created2013-05
Description
Sentencing reform has been the subject of much debate in the 21st century and has resulted in a great deal of consternation in state and federal systems of government (Chesney-Lind, 2012). The public does not view incarceration as an important topic needing attention or requiring change, which makes invisible the needs and histories of prisoners as a consequence of not addressing them (Connor, 2001). Through an analysis of the spectrum of women’s crime, ranging from non-violent drug trafficking to homicide, I conclude within this paper that the criminal justice system was written as a male-oriented code of addressing crime, which has contributed to women being made into easier targets for arrest and female imprisonment at increasing rates for longer lengths of time.
In the last decade, California’s imprisoned population of women has increased by nearly 400% (Chesney-Lind, 2012). The focus of this thesis is to discuss the treatment—or lack thereof—of women within California’s criminal justice system and sentencing laws. By exploring its historical approach to two criminal actions related to women, the Three Strikes law (including non-violent drug crimes) and the absence of laws accounting for experiences of female victims of domestic violence who killed their abusers, I explore how California’s criminal code has marginalized women, and present a summary of the adverse effects brought about by the gender invisibility that is endemic within sentencing policies and practice. I also discuss recent attempted and successful reforms related to these issues, which evidence a shift toward social dialogue on sentencing aiming to address gender inequity in the sentencing code. These reforms were the result of activism; organizations, academics and individuals successfully raised awareness regarding excessive and undue sentencing of women and compelled action by the legislature.
By method of a feminist analysis of these histories, I explore these two pertinent issues in California; both are related to women who, under harsh sentencing laws, were incarcerated under the state’s male-focused legislation. Responses to the inequalities found in these laws included attempts toward both visibility for women and reform related to sentencing. I analyze the ontology of sentencing reform as it relates to activism in order to discuss the implications of further criminal code legislation, as well as the implications of the 2012 reforms in practice. Through the paper, I focus upon how women have become a target of arrest and long sentences not because they are strategically arrested to equalize their representation behind bars, but because the “tough on crime” framework in the criminal code cast a wide and fixed net that incarcerated increasingly more women following the codification of both mandatory minimums and a male-oriented approach to sentencing (Chesney-Lind et. al, 2012).
In the last decade, California’s imprisoned population of women has increased by nearly 400% (Chesney-Lind, 2012). The focus of this thesis is to discuss the treatment—or lack thereof—of women within California’s criminal justice system and sentencing laws. By exploring its historical approach to two criminal actions related to women, the Three Strikes law (including non-violent drug crimes) and the absence of laws accounting for experiences of female victims of domestic violence who killed their abusers, I explore how California’s criminal code has marginalized women, and present a summary of the adverse effects brought about by the gender invisibility that is endemic within sentencing policies and practice. I also discuss recent attempted and successful reforms related to these issues, which evidence a shift toward social dialogue on sentencing aiming to address gender inequity in the sentencing code. These reforms were the result of activism; organizations, academics and individuals successfully raised awareness regarding excessive and undue sentencing of women and compelled action by the legislature.
By method of a feminist analysis of these histories, I explore these two pertinent issues in California; both are related to women who, under harsh sentencing laws, were incarcerated under the state’s male-focused legislation. Responses to the inequalities found in these laws included attempts toward both visibility for women and reform related to sentencing. I analyze the ontology of sentencing reform as it relates to activism in order to discuss the implications of further criminal code legislation, as well as the implications of the 2012 reforms in practice. Through the paper, I focus upon how women have become a target of arrest and long sentences not because they are strategically arrested to equalize their representation behind bars, but because the “tough on crime” framework in the criminal code cast a wide and fixed net that incarcerated increasingly more women following the codification of both mandatory minimums and a male-oriented approach to sentencing (Chesney-Lind et. al, 2012).
ContributorsD'Souza, Kristin Tessa (Author) / Gomez, Alan (Thesis director) / Fonow, Mary Margaret (Committee member) / Leone Hamm, Donna (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor)
Created2013-05
Description
Revenge porn is the accepted term used to describe the distribution of explicit photos online with the intent to incite embarrassment or shame. Perpetrators are typically ex-lovers seeking revenge on a former partner. This harassment has become widespread alongside increased access to online networks and "sexting" culture. Early studies indicate revenge porn reflects a larger cultural attitude of "slut shaming", the tendency to shame women for behaving in a sexual manner outside the boundaries of traditional female sexuality. Focus groups were organized to discuss views regarding revenge porn, Internet privacy, and legislature.
ContributorsEikren, Emilee Irene (Author) / Ingram-Waters, Mary (Thesis director) / Christopher, Scott (Committee member) / Barrett, The Honors College (Contributor) / T. Denny Sanford School of Social and Family Dynamics (Contributor) / School of Social Transformation (Contributor) / School of Social and Behavioral Sciences (Contributor)
Created2015-05