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Past research has determined the glass ceiling is still unbroken and that few women hold top positions as administrators as opposed to men. Men continue to dominate women in occupations of superintendent and secondary principals of schools. Cultural beliefs and traditions set limitations for Navajo female administrators regarding the taboo of “women can’t lead” mentality. The research questions in this study addressed perceived obstacles and barriers facing Navajo female school administrators, the extent Navajo female administrators believe Navajo beliefs limit their career advancement, and if Navajo female administrators believe they encounter more obstacles than their male counterparts.
Data were collected from 30 Navajo female administrators in public and bureau-operated schools in New Mexico. The survey consisted of 21 questions in a Likert-scale format with restricted responses, accessed on a Survey Monkey website. Results of the survey indicated that the respondents generally believed their career choice and opportunities were supported. However, approximately a quarter of the respondents believed support and opportunities were limited. And the overall data suggest there is room for improvement in all areas. In spite of the negative views, the respondents believe other women should be encouraged to go into school administration.
In this essay, I set out to explore and analyze how Shirley Jackson’s The Haunting of Hill House, and the character of Eleanor Vance in particular, disrupts and redefines the traditional conventions of the Female Gothic within the context of the 20th century. I utilize Tania Modleski's gendering of Freud's theory of psychoanalysis in her exploration of the ‘Female Uncanny,’ arguing that the source of the Uncanny in the Female Gothic can be found in the "fear of being lost in the mother." I argue that Jackson's complex personal life, including her fraught relationship with her mother and her difficult marriage with literary critic Edgar Hyman, color her fiction and the primary motivations of her protagonist, Eleanor Vance. I also outline the traditional structure of the Gothic novel and the heroine's journey. With the necessary context provided, I then explain how Eleanor Vance’s character rejects these Gothic traditions and ushers in a new era of Female Gothic fiction.