Matching Items (6)
Filtering by
- All Subjects: Women's Studies
- Creators: Fahlman, Betsy
Description
Social stereotypes in industrial countries have long regarded women as lacking the capacity for understanding the intricacies of machines, from appliances to cars. A major barrier excluding women from technology was the specialized language spoken by those in the industry. It is through my unique perspective as a female Automotive Master Technician that I explore the photographs, paintings, and prints during the interwar period between World War I and World War II created by female artists from a technical point of view. The First World War had artists such as Olive Edis who recorded female ambulance drivers while Dorothy Stevens, Henrietta Mabel May and Anna Airy showcased the skillset of the women machinists. During the interwar period Elsie Driggs rendered monumental structures while capturing the essence of the airplane all in the Precisionist style as Sonia Delaunay used her theory of Simultanism on the inner workings of the Spitfire airplane. For WWII, photographers M. Thérèse Bonney and Ann Roesner both snapped pictures of women operators of the lathe and drill press. Ethel Gabain’s prints displayed women machining parts and Edna Reindel depicted women in shipyards. During the New Deal and WWII, Barbara Wright shot over 2,600 images of women. Finally, Laura Knight painted portraits of award winning women and to uplift the spirits of the public. These artists proved that women were more than capable of understanding this complex language of machines.
ContributorsLanakai, Diem (Author) / Fahlman, Betsy (Thesis advisor) / Brown, Claudia (Committee member) / Reilly, Maura (Committee member) / Cohen, Liz (Committee member) / Arizona State University (Publisher)
Created2021
Description
This thesis expands the scope of literature surrounding the work of Juno Calypso, Christina Quarles, and Lisa Yuskavage by increasing the scope of their theoretical interpretations. Juno Calypso’s case requires establishing a critical foundation for her interrogations of domestic space, her subversions of feminine performance—particularly through accusatory address of the gaze—and her demonstrations of the new-hysterical process that I argue for via her alter-ego, “Joyce.” Similarly, I emphasize Christina Quarles’ subversions of art historical traditions, such as the gaze, meta-framing, and figural language, instead of her explorations into race and linguistic titular play. Finally, Lisa Yuskavage’s inclusion will bring discussions of her contemporary artworks fully into the present, leaving behind the scandalous-or-not questions plaguing her oeuvre in favor of contemporary figural reinterpretation. Through comparisons of each one’s approach to contemporary, artistic feminist theories and dilemmas, the artists convey informative insights into today’s visual culture. The thesis brings these ruminations to light through study of Calypso’s, Quarles’, and Yuskavage’s shared themes and characteristics, including subconsciously-influenced practices, multiplicity, and uncanny space. I account for one of Calypso’s most crucial yet divergent strategies of spatial uncanniness—gendered space. Calypso, Quarles, and Yuskavage are also linked by their ostensibly domestic spaces and featuring feminized figures. Yuskavage uses hyperfeminine performance as means of questioning the conventional and the pleasure one expected to receive from it; Quarles instead uses ambiguity to challenge the traditional white femininity assigned to subjecthood in order to reinforce her dissolution of race and gender. Unanswered performance and gaze questions of femininity, feminine performance and feminine rituals drive Calypso’s photographs, in which an onlooker’s voyeurism is highlighted by their mid-procedure state. Yuskavage uses the home as extension of cheesy self, a site of performance, but Quarles uses domestic spaces as sites or causes of internal struggle. Calypso is closer aligned to Yuskavage’s intersectional-feminist anxieties than Quarles’ post-pandemic ones. The temporal span of the artworks’ creation (2015-2022) is reflective of the dramatic social paradigm shifts experienced by Western societies post-BLM and other social movements, and post-COVID pandemic; the arguments made by this essay will contribute to the understanding of ongoing change experienced by women.
ContributorsBugno, Celia (Author) / Fahlman, Betsy (Thesis advisor) / Anderson, Lisa (Committee member) / Hoy, Meredith (Committee member) / Arizona State University (Publisher)
Created2023
Description
While women in higher income countries can expect to survive a diagnosis of breast cancer, women in lower- and middle-income countries such as Bangladesh have mortality rates near 50%, suggesting that there are significant barriers to care seeking for breast problems. Given limited literature on barriers to care among native, rural South Asian populations, this study thus sought to understand 1) the impacts of breast problems on women and their families, including the extent of abuse among women with breast problems, and 2) the barriers and facilitators of care for women with breast problems in rural Bangladesh.
Sixty-three study participants (43 women and 20 men) were interviewed about their experiences. Interviewers elicited barriers to care, facilitators of care, and questions about the attitudes and behaviors of family and community members were in structured interviews.
The study found that breast problems and their treatment put significant resource and emotional strains on the family. Furthermore, over a third of women in this study reported abuse of some kind, with emotional abuse, neglect, and abandonment being the most frequently reported.
The study reinforced barriers to care identified in the literature for South Asian populations, but only a quarter of participants reported stigma of any kind. Lack of knowledge about breast cancer and inability to pay for care were the most frequently reported barriers, followed by access to care and fear of treatment. Facilitators of care among women who received a biopsy point to the importance of support by the husband and husband’s family, as well as the ability to identify economic support for and knowledge about care.
This study contributes to the understanding of two overarching themes: structural violence and the value of women, as well as how these themes influence poor outcomes for women with breast cancer in rural Bangladesh. Suggestions for future studies and short and long-term interventions to address study findings are offered.
Sixty-three study participants (43 women and 20 men) were interviewed about their experiences. Interviewers elicited barriers to care, facilitators of care, and questions about the attitudes and behaviors of family and community members were in structured interviews.
The study found that breast problems and their treatment put significant resource and emotional strains on the family. Furthermore, over a third of women in this study reported abuse of some kind, with emotional abuse, neglect, and abandonment being the most frequently reported.
The study reinforced barriers to care identified in the literature for South Asian populations, but only a quarter of participants reported stigma of any kind. Lack of knowledge about breast cancer and inability to pay for care were the most frequently reported barriers, followed by access to care and fear of treatment. Facilitators of care among women who received a biopsy point to the importance of support by the husband and husband’s family, as well as the ability to identify economic support for and knowledge about care.
This study contributes to the understanding of two overarching themes: structural violence and the value of women, as well as how these themes influence poor outcomes for women with breast cancer in rural Bangladesh. Suggestions for future studies and short and long-term interventions to address study findings are offered.
ContributorsSteiness, Heather Lynn Story (Author) / Hruschka, Daniel J (Thesis advisor) / Wutich, Amber (Committee member) / Ginsburg, Ophira (Committee member) / Arizona State University (Publisher)
Created2016
Description
Under-representation of women doctors in medical work force despite their overwhelming majority in medical schools is an intriguing social issue for Pakistan raising important questions related to evolving gender relations in Pakistani society. Previous research on the broader issue of under-representation of women in science has focused primarily on the structural barriers to women’s advancement. It does not account for the underlying subtle (and changing) gendered power relations that permeate everyday life and which can constrain (or enable) the choices of women. It also does not address how women are not simply constructed as subjects within intersecting power relations, but actively construct meaning in relation to them. It raises interesting questions about the cultural shaping of subjectivities, identities and agency of women within the web of power relations in a society such as Pakistan.
To analyze the underlying dynamics of this issue, this dissertation empirically examines the individual, institutional and social factors which enable or affect the career choices of Pakistani women doctors. Based on the ethnographic data obtained from in-depth, person centered, open ended interviews with sixty women doctors and their families, as well as policy makers and the stake holders in medical education and health administration in Lahore, Pakistan this dissertation seeks to address the complex issues of empowerment and agency in the context of Pakistani women, both in individual and collective sense.
Participation in medical education is ostensibly an empowering act, but dissecting the social relations in which this decision takes place reveals that becoming a doctor actually enmeshes women further in the disciplinary relations within their families and society. Similarly, the medical workplaces of Pakistan are marked by entrenched gendered hierarchies constraining women’s access to resources and their progression through medical career. Finally, the political implications of defining work in medicine, and devaluing care in capitalist economies is explored.
To analyze the underlying dynamics of this issue, this dissertation empirically examines the individual, institutional and social factors which enable or affect the career choices of Pakistani women doctors. Based on the ethnographic data obtained from in-depth, person centered, open ended interviews with sixty women doctors and their families, as well as policy makers and the stake holders in medical education and health administration in Lahore, Pakistan this dissertation seeks to address the complex issues of empowerment and agency in the context of Pakistani women, both in individual and collective sense.
Participation in medical education is ostensibly an empowering act, but dissecting the social relations in which this decision takes place reveals that becoming a doctor actually enmeshes women further in the disciplinary relations within their families and society. Similarly, the medical workplaces of Pakistan are marked by entrenched gendered hierarchies constraining women’s access to resources and their progression through medical career. Finally, the political implications of defining work in medicine, and devaluing care in capitalist economies is explored.
ContributorsMasood, Ayesha (Author) / Tsuda, Takeyuki (Thesis advisor) / Wutich, Amber (Committee member) / Gaughan, Monica (Committee member) / Arizona State University (Publisher)
Created2017
Description
Counter-Landscapes: Performative Actions from the 1970s – Now presents a group of artists working in both natural and urban environments whose work exploits the power of place to address issues of social, environmental, and personal transformation. Through a focused selection of key works made between 1970 and 2019, which extend beyond traditional categories, Counter-Landscapes illuminates how the methodologies created by women artists in the 1970s and 1980s are employed by artists today, both men and women alike. Developing a practice of performative actions, these artists countered the culture that surrounded and oppressed them by embodying the live elements of performance art in order to push for social change. Looking back to the 1960s and the counter-culture mindset of the times, I approach the histories of land, performance, and conceptual art through feminist studies. Then I apply the same feminist approach to philosophical histories of landscape, place, and space. Through a discussion of an extensive range of works by 25 artists, this research seeks to demonstrate the indelible influence of feminist art practice on contemporary art. It brings the work of an innovative generation of women artists—Marina Abramović, Eleanor Antin, Agnes Denes, VALIE EXPORT, Rebecca Horn, Leslie Labowitz, Suzanne Lacy, Ana Mendieta, Adrian Piper, Lotty Rosenfeld, Bonnie Ora Sherk, Beth Ames Swartz, and Mierle Laderman Ukeles—together with more recent work by artists who have adopted and extended their methods. These artists, both male and female, include Allora & Calzadilla, Francis Alÿs, Angela Ellsworth, Ana Teresa Fernández, Maria Hupfield, Saskia Jordá, Christian Philipp Müller, Pope.L, Sarah Cameron Sunde, Zhou Tao, and Antonia Wright.
ContributorsMcCabe, Jennifer (Author) / Fahlman, Betsy (Thesis advisor) / Hoy, Meredith (Committee member) / Asmall Willsdon, Dominic (Committee member) / Arizona State University (Publisher)
Created2020
Description
Over the last four centuries, Black women have been overwhelmingly understood, imagined, and defined through a Eurocentric and oppressive lens. The Eurocentric or white lens places pseudo-characteristics on Black women that inaccurately describe them. The qualities ascribed to Black women are rooted in racial ideologies that benefit and progress the interest of White supremacy. This history has placed Black women in tension with institutionalized medicine, discouraging them from seeking or using healthcare resources. Without trust in a system positioned to heal, treat, and prevent health ailments, Black women cannot dialogue with those that are a part of that system. Paulo Freire argues that "dialogue is the encounter between men, mediated by the world, in order to name the world (Freire, 2000, p. 90)." By centering Black women and their voices, I envision (re)naming the world. Understanding how Black women from Lincoln County, Mississippi describe their health and bodies sheds light on their daily experiences that facilitate self-care, womanhood, and identity. This dissertation covers three related studies that are addressing: 1) how Black women from Mississippi see their bodies outside of deficit health, 2) how Black women’s sisterhood has been a collective effort to build womanhood and health, and how societal stereotypes can interfere or damage the progress of sisterhood, and 3) the importance of allowing for Black women’s ways of knowing to create liberatory data collection methods that represent who they are and their truth. I examine these dynamics using a mixed-methods approach including community-based participatory research and rapid ethnographic assessment sampling techniques (e.g., working with a community advisor), semi-structured interviews, Sister-girl Talks (focus groups), participant observation, and autoethnography. The results of the three-study mixed methods dissertation has both theoretical and practical implications for understanding the vital role that Black women need to play bring healing to their health in both healthcare settings (e.g., clinics) and healthcare planning (health evaluation programs and interventions.
ContributorsMitchell, Charlayne (Author) / Slade, Alexandra (Thesis advisor) / SturtzSreetharan, Cindi (Thesis advisor) / Davis, Olga I (Committee member) / Ore, Ersula J (Committee member) / Wutich, Amber (Committee member) / Arizona State University (Publisher)
Created2021