An entire decade of films that emerged from the Hollywood system during the blockbuster era of the 1980s is often summed up as one marked by a “curious and disturbing phenomenon of children’s films conceived and marketed largely for adults — films that construct the adult spectator as a child, or, more precisely, as a childish adult, an adult who would like to be a child.” If it is possible, as film theorist Siegfried Kracauer proposed, that “in recording the visible world — whether current reality or an imaginary universe — films … provide clues to hidden mental processes,” what are we to deduce about the mental processes of the American public who would pay to sit in a movie theater and watch Raiders of the Lost Ark (1981) or Rambo: First Blood (1982) for multiple viewings? In addressing this questions it may be helpful to turn again to Krakauer, who reminds us that a box office “hit may cater only to one of many co-existing [mass] demands, and not even a very specific one,” and that even if one could draw conclusions about the “peculiar mentality of a nation” by analyzing the “pictorial and narrative motifs” of box office hits, this “by no means implies a fixed national character.” This is a key insight because it implies a diverse national character composed of mass demands that remain unmet by the “children’s films” produced for adults which remain emblematic of Hollywood during the 1980s. In this thesis, I argue that the mainstream Hollywood film Beverly Hills Cop contradicts this notion because it employs sophisticated strategies to work as resistance against the dominant American cultural ideologies of the mid-1980s. I briefly contextualize the film in its historical and cultural setting. Then, I analyze three narrative aspects of the film. First, I begin with the various interactions Eddie Murphy’s character Axel Foley has with several “gatekeepers” throughout the film. Next, I analyze a scene in which Foley is assaulted by Sgt. Taggart of the Beverly Hills Police Department. Finally, I analyze Foley’s relationships with the supporting characters Mikey and Jenny. Beverly Hills Cop is one of the most popular and successful American films of the 1980s. Its subversiveness suggests the possibility that a host of other popular films from the decade are similarly sophisticated. This points to the need for a reexamination of a decade of American cinema that has been cast as “children’s films conceived and marketed largely for adults.”

In my thesis, I examine the character of Henry VI in Shakespeare's Henry VI cycle (1, 2, and 3 Henry VI) - who has been critically thought of as a feminine figure - in light of the Herculean Hero model and against other male characters in the Henry VI plays. By comparing Henry to the Herculean model, there are points of similarity regarding character inaction - a feminine attribute - allowing Henry to become a more masculine figure than he has otherwise been criticized as.

Lexico Dictionaries defines sexual harassment as “behavior characterized by the making of unwelcome and inappropriate sexual remarks or physical advances in a workplace or other professional or social situation.” In this paper, we will explore the role sexual harassment plays in the workplace, its connection to general harassment, and the types of ways in which it exists. We take a look at the legality differences of quid pro quo and hostile work environment harassment and how victims can be treated differently based on the circumstances. We discover how the media covers certain cases on sexual harassment and the way #Metoo created a platform for women to speak on this topic. Sexual harassment has shown many problems in its research and the failure to implement any real change. We learn that in order to produce any change, organizations and policy makers need to understand victim’s needs and the best way to handle claims of sexual harassment. The main takeaway is sexual harassment in the workplace is not a black and white issue, as each victim has their own experience and each workplace has their own unique environment.

This is a collection of short stories surrounding the life of a person whose heart is broken. It documents the experiences of a range of people: a therapist in a psychiatric ward, a desperate housewife, a haggard professor, a famous composer, in various locations from New York City, to the deserts of the Southwest, to the calm of coastal California. It is an attempt to show the impact of grief and loss on the human heart and mind, and how the psychological impact of such a tragedy can seep into the lives of countless others, so interconnected is our presence on this planet. This is a book about pain, life, and love. Most of all, it is a book about memory, that illusory thing which taunts and tempts us all. I hope only that this work makes the reader feel in communion with the characters, so that they may sense what they - and ostensibly, the author - feel in their hearts and minds.