This thesis aims to examine Afghan literature and feminism through the works called On Half from the East by Nadia Hashimi and Roya by Shaina and Nadia Pakrawan. For a couple of years, the Taliban has controlled Afghanistan's literature on women and feminism to silence and squash Westernized notions of freedom and rights for women. However, feminist authors continue to publish and produce many works like On Half from the East and Roya in retaliation. This thesis argues that to them, the pen is mightier than the sword, and their literature will be able to tackle the situation much better than physical retaliation, which only aggravates the situation. Through writing, women in Afghanistan can create their own identities and no longer struggle while doing so. As more and more people become aware of their situation, they hope the world will be able to provide the proper assistance they need to save them while respecting their cultures and religions carefully.

With over a century of culturally established associations for different musical sounds, the narrative properties of film scoring powerfully influence how societies and cultures perceive themselves through film. Film scoring in mainstream culture functions as a form of social practice in which consumers dictate the market that producers create for, while the ideas and philosophies portrayed in film shape consumer audiences’ perceptions of what their societies look like. A surge of discourse in the 21st century surrounds issues of representation and inclusivity in mainstream media, including what constitutes appropriation versus appreciation in film scores using non-Western music traditions. Recent postcolonial ethnomusicological theory demonstrates that collaboration and co-authorship are inclusive ways that can both avoid the pitfalls of colonialist power structures and also create autonomy for participating marginalized groups. My research examines four contemporary films of the 21st century--Kung Fu Panda 3, Moana, Black Panther, and The Breadwinner--and the collaborations between film composers and source musicians that establish cultural and racial musical narratives. I analyze various musical techniques these composers learned through the collaboration process with contributing source musicians and the resulting musical space each film’s soundtrack created for the representative demographic. This discourse opens other avenues of exploration into how mainstream media and the “global imagination” informs cultural music identities. I conclude my research with examples of film scores appearing outside cinema in social musicality; these examples demonstrate the impact that inclusivity in film scoring has on many areas of mainstream culture, especially in racial representation discourse.