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Description
This dissertation integrates humanities with social science methodologies within a critical framework, seeking to explore the relationship between the neoliberal restructuring and the intersection of gender, class and heteronormativity in contemporary China. In this project, neoliberalism is conceptualized as an art of governance centering on the intersection of race, gender, class and sexuality to create market subjects and sustain market competition. Focusing on China's recent socio-economic and cultural upheavals, this dissertation tries to address these questions: 1. How have class inequalities, binaristic gender and heteronormative discourses been employed intersectionally by the Chinese state to facilitate China's social transformation? 2. How has this process been justified and consolidated through the intersection of gender, class, sexuality and race? 3. How do the marginalized groups respond to these material and cultural practices? Building on the discursive analysis of China's televised 60th anniversary ceremony and If You Are the One, a popular Chinese reality show, as well as the data from the interview, focus group and participant observation of more than 100 informants, it is found that the intersection of gender, class and heteronormativity is central to China's neoliberal transition. A group of flexible and cheap laborers have been disarticulated and rearticulated from the population as the voluntary servitude to China's marketization and re-integration with the global economy. New controlling images, such as the bourgeois nucleus family, are created to legitimize this process. However, these disparate material and discursive practices have entailed contradictions and conflicts within the intersectional biopolitical system, and created contingent spaces of ungovernability for the marginalized groups. Building on these discursive analyses and empirical data, I reconceptualize intersectionality as a multi-dimensional-and-directional network to regulate and manage power for social organization and regulation, which grounds the biopolitical basics for the neoliberal economy. Thus I argue that we need to engage with the dynamics between the intersectional biopolitical structure and people's emerging experiences to construct a grounded utopia alternative to the neoliberal dominance for substantive social changes.
ContributorsZhang, Charlie Yi (Author) / Quan, H. L. T. (Thesis advisor) / Fonow, Mary Margaret (Thesis advisor) / Martinez, Jacqueline M. (Committee member) / Lee, Charles T. (Committee member) / Arizona State University (Publisher)
Created2013
Description
Mixed-income housing policy has been an approach to address the problem of concentrated poverty since the 1990s. The idea of income mix in housing is founded on the proposition that economic opportunities of the poor can be expanded through the increasing of their social capital. The current in-depth case study of Vineyard Estates, a mixed-income housing development in Phoenix, AZ tests a hypothesis that low-income people improve their chances of upward social mobility by building ties with more affluent residents within the development. This study combines qualitative and quantitative methods to collect and analyze information including analysis of demographic data, resident survey and in-depth semi-structured interviews with residents, as well as direct observations. It focuses on examining the role of social networks established within the housing development in generating positive economic outcomes of the poor. It also analyzes the role of factors influencing interactions across income groups and barriers to upward social mobility. Study findings do not support that living in mixed-income housing facilitates residents' upward social mobility. The study concludes that chances of upward social mobility are restrained by structural factors and indicates a need to rethink the effectiveness of mixed-income housing as an approach for alleviating poverty.
ContributorsDurova, Aleksandra (Author) / Kamel, Nabil (Committee member) / Pfeiffer, Deirdre (Committee member) / Lucio, Joanna (Committee member) / Arizona State University (Publisher)
Created2013
Description
Performance is a public speech act that can present the experience of difference and generate relations across lines of difference. In personal narrative performance, performers do not just tell stories, the stories they tell are strategic hailings that call attention to discourses that produce the conditions of their exclusion and form intimate relations in public. Personal narrative performance renders the private public. Performers take to the stage, the space of the public, to offer their stories, their bodies, and their relations to audiences for collective consideration. In turn, the act of performance generates further relations: among performers and audiences, and between performance and discourse. This study analyzes these two layers of relation in performance through looking at the ways neoliberalism and performance interanimate one another. Through looking at three sites of neoliberal relationality--same-sex marriage, family, and immigration and multiculturalism, it asks questions of how performers narrate and represent non-normative experiences within neoliberalism, the historical and cultural context through which they are living and narrating. In order to understand the cultural work, the resistive and relational potential, of the relations that occur in and through personal narrative performance, we also need to understand the political, cultural, and historical conditions under which narratives in performance are produced. My argument is that in and through performance intimacy is queered: it takes the private--the stuff of the personal presented as aesthetic communication--and renders that private very public. In public and through relations, performance can raise awareness and shift consciousness, reify orders of relation or generate alternate imaginaries. This is to say that a lot of different types of work are done in performance, and although performance is often seen as resistance, under the weight of neoliberalism, it is important to tend to what arguments performances are making and how in turn that shapes the relations that occur in the site of performance. Queer intimacy offers a way of engaging performance, an analytic that considers the text of performance as well as the relational context among performers and audiences, and turns back on larger cultural questions of belonging. The potential of performance, of the concept of queer intimacy, provides a lens to read performance, to tend to the conditions that give rise to and inform performance in the current historical moment. It brings together the critical impulse of intercultural communication and cultural studies with performance studies. From a critical cultural perspective, it tends to the structural in performance, and through performance emphasizes the lived experience as narrated and embodied as and through communication. Coupled with the impulses of queer theory, queer intimacy offers both resisting normativity and imagining beyond it. To consider queer intimacy in performance is not only to recognize that relations are made possible, but to tend closely to the belongings we are making.
ContributorsPérez, Kimberlee (Author) / Corey, Frederick C. (Thesis advisor) / Brouwer, Daniel C (Committee member) / Honegger, Gitta (Committee member) / Langellier, Kristin M (Committee member) / Arizona State University (Publisher)
Created2014
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
In this dissertation I use Henri Lefebvre's concept of the production of social space to study how political theatre companies and artists in the city of San Juan, Puerto Rico, appropriate and resignify, through performance, their current social space as a strategy to contest Puerto Rico's neoliberal state policies. As Lefebvre suggests, modern industrial cities like San Juan maintain hegemonic power relations through spatial practices, processes through which users and inhabitants of the city conceive, perceive and live space. Lefebvre further suggests that for social justice to be possible, space must be resignified in ways that expose otherwise invisibilized struggles for social belonging and differentiation. I argue that theatrical performance, by staging various social conflicts and contradictions between the dominating space and the appropriating space, can produce new "performance cartographies" through which its audiences – in large part disenfranchised from the neoliberal processes so celebrated elsewhere on the island – may find ways to resignify space or envision new spaces for social justice on their own behalf. Specifically, I examine five theatre groups and artists from oppressed sectors in San Juan, whose work is to various degrees in opposition to neoliberalism, to reveal how both their artistic and quotidian performances might be resignifying space toward these ends. How does the work of Agua, Sol y Sereno, Y no había luz, Teatro Breve, Deborah Hunt and Tito Kayak strategically claim or appropriate space? What kind of knowledges emerge from these spatial tactics, and how are they helping envision new forms of living and social justice in the city?
ContributorsGonzález, Jorge (Author) / Underiner, Tamara (Thesis advisor) / Foster, David W (Committee member) / Tompkins, Cynthia (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
The term “female sportscaster” elicits a broad range of feelings among the sports media consumer base. Many of the women who fall into the category of “female sportscaster” appear to be greatly admired while many others evoke considerable scorn, making the electronic sports media industry a seemingly dangerous and often vitriolic environment for women. The gendered mistreatment of women sportscasters is not unfamiliar to sports media scholars. Indeed, phenomena such as sex biases, double standards, and harassment have been documented, primarily through positivistic or quantitative research. What has not been investigated, however, is how these phenomena persist and evolve despite the extant research.
This dissertation employs Michel Foucault’s power/knowledge paradigm to take a discursive analytic approach to understand how the “female sportscaster” subjectivity, or imagined idea, is constructed through statements, images, and practices. That is, this dissertation investigates the way society “talks about” the “female sportscaster” and how those discussions affect the experiences of women sportscasters. Using one-on-one interviews with 10 women sportscasters, focus groups with sports media consumers, netnography, and textual analysis under the umbrella of a feminist methodological approach, this dissertation finds that the American female subjectivity is constructed through postfeminist and neoliberal discourses. These discourses “empower” women sportscasters to be responsible for their own success but, in doing so, normalize the obstacles women in sportscasting endure.
As a result of this normalization, the electronic sports media industry is seemingly justified in taking little to no meaningful action toward improving conditions for women sportscasters. Specific manifestations of these discourses are traced across phenomena such as double standards, bias in hiring and development, harassment, and the expectation of affective labor. Suggestions are made for improving conditions for women sportscasters.
This dissertation employs Michel Foucault’s power/knowledge paradigm to take a discursive analytic approach to understand how the “female sportscaster” subjectivity, or imagined idea, is constructed through statements, images, and practices. That is, this dissertation investigates the way society “talks about” the “female sportscaster” and how those discussions affect the experiences of women sportscasters. Using one-on-one interviews with 10 women sportscasters, focus groups with sports media consumers, netnography, and textual analysis under the umbrella of a feminist methodological approach, this dissertation finds that the American female subjectivity is constructed through postfeminist and neoliberal discourses. These discourses “empower” women sportscasters to be responsible for their own success but, in doing so, normalize the obstacles women in sportscasting endure.
As a result of this normalization, the electronic sports media industry is seemingly justified in taking little to no meaningful action toward improving conditions for women sportscasters. Specific manifestations of these discourses are traced across phenomena such as double standards, bias in hiring and development, harassment, and the expectation of affective labor. Suggestions are made for improving conditions for women sportscasters.
ContributorsHarrison, Guy (Author) / Russomanno, Joseph (Thesis advisor) / Switzer, Heather (Thesis advisor) / Reed, Sada (Committee member) / Anderson, Douglas (Committee member) / Arizona State University (Publisher)
Created2018
Description
Through critical discourse analysis, this thesis explores the construction of poverty and development within and across the United Nations Millennium Development Goals and the proposed post-2015 Sustainable Development Goals texts. The proposed post-2015 Sustainable Development Goals frame the international development landscape for the next 15 years, therefore it becomes imperative for civil society to understand their dominant economic schemes for poverty alleviation in order to adopt or oppose similar methods of poverty abatement. Deductively, this thesis investigates Keynesianism and neoliberalism, the dominant economic discourses whose deployments within the goals have shaped transnational frameworks for interpreting and mitigating poverty. It assesses the failures of the Millennium Development Goals, as articulated both by its creators and critics, and evaluates the responsiveness of the United Nations in the constitution of the proposed post-2015 Sustainable Development Goals in relation to these critiques through the lens of liberal feminist and World Social Forum discourses. These activist and oppositional social discourses embody competing values, representations, and problem-solution frames that challenge and resist the dominant economic discourses in both sets of goals. Additionally, this thesis uses an inductive approach to critically analyze both sets of goals in order to identify any emergent discursive frameworks grounded in each text that assist in understanding the problems of, and solutions to, poverty.
ContributorsBriant, Janie (Author) / Nadesan, Majia (Thesis advisor) / Kelley, Douglas L. (Committee member) / Keahey, Jennifer (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016