Matching Items (15)
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- All Subjects: Gender Studies
- All Subjects: Domestic Violence
- Creators: School of Social Transformation
Description
As feminist understandings of the role that gender plays in the field of international development have evolved over time, there have been countless criticisms of organizations in the field due to their slowness in accounting for and responding to these academic contributions. Largely, these criticisms are lobbied against oversimplifications of the use of the term gender, often as interchangeable with the term girls/women, effectively excluding boys/men. In attempt to determine the extent to which boys and men have been excluded from the discourse of gender equality focused international development programs, this thesis conducts a rhetorical analysis of Plan International’s ‘Because I am a Girl’ Campaign. As an international nongovernmental organization that has made some attempt to include boys and men in its work, it serves as an important site for investigating why development organizations have not fully embraced the work done in masculinities studies and in feminist/gender studies on development. The analysis concludes that the intended audience is critical in shaping the way that an organization represents its gender-related programming.
ContributorsMcHugh, Megan Leigh (Author) / Gillis, Georganne (Thesis director) / Switzer, Heather (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / School of Sustainability (Contributor) / School of Politics and Global Studies (Contributor)
Created2014-05
Description
Mothers have a unique experience of domestic violence and help-seeking because of their dual identity as mothers and survivors. Based on a qualitative analysis of 7 interviews I conducted with mothers in shelter, I explore how survivors understand themselves as mothers, their partners as fathers, and the role of substance abuse in their relationships. My research suggests improved policies for service providers, including allowing mothers to maintain custody of their kids while in rehab.
ContributorsJenkins, Shannon Erica (Author) / Durfee, Alesha (Thesis director) / Vega, Sujey (Committee member) / Messing, Jill Theresa (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / School of Sustainability (Contributor) / College of Public Programs (Contributor) / School of Politics and Global Studies (Contributor) / Department of English (Contributor)
Created2014-05
Description
Protection orders are a common remedy for victims of domestic violence in Arizona, but problems of access and unnecessary complexity can prevent these orders from achieving their full potential impact. Through interviews with court officials and advocates, data collected from survivors of domestic violence and observation of court proceedings, this study takes a comprehensive look at how to make protection orders as effective and accessible as possible. This analysis concludes with a series of recommendations to improve the protection order process and guidelines for the information to be included in a comprehensive resource to help plaintiffs through the process.
ContributorsDavis, Lauren Elise (Author) / Durfee, Alesha (Thesis director) / Messing, Jill (Committee member) / Buel, Sarah (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / Sandra Day O'Connor College of Law (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2013-05
Description
Birthing is an intimate experience and all mothers—regardless of their race or class—deserve to have a variety of birthworker options. Birthwork covers an array of professions related to meeting the physical and emotional needs of expectant mothers and mothers in post-partum. For the purposes of my research, however, I define birthworkers as those working as a doula, midwife, or OBGYN. Without the knowledge of the multiplicity of options available to them, pregnant women of color’s autonomy suffers.<br/><br/>This project explores how birthworkers in Arizona are differentially perceived and hierarchized by expectant mothers. While doulas are assumed to be mystical, OBGYNs professional and midwives a blend of both levels of professionality, this project explores the hierarchy of validity and importance of acknowledging each birthworking discipline as beneficial to expectant and post-partum mothers.<br/><br/>Through the presentation of this work, I aim to educate readers on the benefits of each birthworking discipline, thereby raising awareness about the need for equal respect and access to all types of care providers during the pregnancy journey, as well as a need to place intimacy at the center of birthworking praxis. Throughout this ‘zine you will learn about the importance of integrating terms such as “reproductive justice” and “equity” into general discourse, the racial disparity evident in the quality of care pregnant people receive during delivery of their child, as well as anecdotal information about each birthworking sector—doulaship, midwifery, and obstetrics—from professionals in each field.
ContributorsMurillo, Sofia Elena (Author) / Linton, Mellissa (Thesis director) / Quan, H.L.T. (Committee member) / School of Politics and Global Studies (Contributor) / School of International Letters and Cultures (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
There is a noticeable trend within audiences, made exceptionally more prominent by the rise of social media, in how fan artists and fandoms depict their favorite characters from particular media. In the case of anime like My Hero Academia and JoJo’s Bizarre Adventure, hypermasculine characters often emulate intense energy and toxic traits that viewers should normally recognize as problematic. However, there has been a growing movement within fandom culture to depict these hyper violent male characters in increasingly peaceful ways, often softening the character or surrounding them with flowers in a “flower child” vibe. This begs the question of why fandom has been attracted to this archetype in such a different way than before, and what attributes of traditional hypermasculinity lead to this level of admiration. Trends of romanticizing masculine energy is not new to fandom but while many focused on the admirable friendship and bonds between characters, this new trend seems to either idolize toxic and damaging behavior, or ignore it entirely. This research paper studies on notable case of this transformation process in the character of Katsuki Bakugo from My Hero Academia, demonstrating how an aggressive and violent character can be depicted in soft and gentle settings through fan created artworks.
ContributorsDilullo, Bryce C (Author) / Ingram-Waters, Mary (Thesis director) / Wilson, Bradley (Committee member) / Economics Program in CLAS (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
Shifting gender roles and deviations from societal norms are exemplified in portraits created by queer women artists active during the early twentieth century. A transformative period for women, the beginning of the twentieth century brought the concept of the New Woman to the fore and provided opportunities for independence and self-expression for women. The New Woman is a term from the late nineteenth century, referring to women who were less interested in marriage and raising families and more interested in access to jobs and education. Through self-portraits and portraits of women in their circles, artists represented gender expression including androgyny and performative cross-dressing as declarations of queer women’s identity. This thesis focuses on works by the painters Romaine Brooks, Gluck, Florine Stettheimer, and photographers Berenice Abbott, Alice Austen, Marie Høeg and Bolette Berg. The artists socialized in queer circles and fostered new styles and forms of gender representation. In my study I explore how each artist approached her portraits, what each was trying to convey, and how their work aligns or diverges from the queer New Woman ideal. Their identities and shared experiences, both as queer women and artists, shaped their practice.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
ContributorsAnderson, Ruby (Author) / Fahlman, Betsy (Thesis director) / Codell, Julie (Committee member) / School of Art (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
End the Silence, End the Violence is a creative project to aid victims of domestic violence. There is a website, pamphlet, video and presentation attached that explains statistics, encourages awareness, and provides victims with access to shelters and legal resources. The website and the pamphlet are intended to put all resources in one place, making them easily accessible for victims of domestic violence. The legal terms were explained, helping any victims who may not have a legal background understand how the court process works. On the website, the adult court process is explained in simple language. Orders of protection are also explained, as well as how to access them, with the direct links to the forms provided. Domestic Violence Shelters in Maricopa county are also listed, along with contact information. All of these shelters were contacted, and were verified to be open for a minimum of one year from October, 2019, and are still accepting victims. No addresses were provided on either the website or the pamphlet, with the hopes that not providing locations will better protect the victims who are seeking help. The pamphlet includes these same shelter resources, along with contact information. The presentation includes domestic violence statistics, as well as important terms and definitions. Finally, there was a video to encourage awareness towards domestic violence. Purple and red paint was used to demonstrate common places these victims suffered abuse, with the purple representing sexual violence, and the red representing physical violence. Not all of the volunteers in the video are victims of domestic violence, but are all advocates for ending domestic violence and helping with prevention.
The website can be found at http://endyoursilence.org/
The website can be found at http://endyoursilence.org/
ContributorsEvans, Lauren Shaye (Author) / Shabazz, Rashad (Thesis director) / Nakagawa, Kathryn (Committee member) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
Description
Zines have made space for queer, intersectional feminists to bring together academic and artistic knowledge in order to produce a message and inspire readers. In order to criticize the legal definition and practical execution of obscenity in the US, a visual component was a necessity. The use of a Zine allowed for a critical and humorous exploration of obscenity in US law and media. The Zine provides a visual analysis while the companion essay provides a critique of the zine and additional analysis. The Zine brings awareness to ways in which the legal historical objectification of black and native bodies contributed to the creation of modern obscenity laws. These laws are based on racist and sexist ideals of morality and create inherently flawed definitions of obscenity through personal bias. The flaws within the laws allow for exceptions in the legal definition of obscenity which normalizes the commodification of women's bodies. These laws and the exceptions present contribute to the dehumanization of and violence towards women as usefulness is deemed the most important factor when considering the use of women’s bodies in potentially obscene images and films.
ContributorsTidwell, Alana Juliet (Author) / Koker, Neveser (Thesis director) / Switzer, Heather (Committee member) / School of Social Transformation (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Civilian publics at large internalize death and killing in wartime as a given; after all, what is war if not fighting and dying? There exist popularized notions of “rules of war,” as put by a 2014 BBC ethics piece that accepted the notion “that soldiers must be prepared to put their own lives at risk in order to limit civilian casualties.” Here there is no denial that combatants kill and die in war. Yet in another sense, the public sanitizes the permanent reality of death and killing—it constructs careful euphemisms and erects psychological barriers that allow the perpetuation of violence without emotionally confronting the brutal reality of the battlefield. In spite of such concentrated cultural efforts at reconceptualization of death and killing, however, the soldiers and combatants who actually engage in this behavior irrevocably come face-to-face with the reality of death and killing in wartime. It is the “[i]ntimate acts of killing in war,” such as those “committed by historical subjects imbued with language, emotion, and desire” that necessarily challenge and threaten culturally-constructed sterilized preconceptions of deadly violence; still, as Joanna Bourke argues, “[k]illing in wartime is inseparable from wider social and cultural concerns.”
To this end, a war that involves not only the physical intimacy of killing but also mortal struggles between cultures and ideologies arguably complicates the extent to and manner by which individual combatants engage in such behavior. No war fulfills these criteria so cleanly as World War II—it was a conflict that cost more people their lives than any war before, and as a global conflict, it brought vastly differing perspectives of death and killing to the battlefield. World War II represented not simply a struggle for national-ideological survival (though that it clearly was), but more importantly a struggle for the retention of the self through identity.
To this end, a war that involves not only the physical intimacy of killing but also mortal struggles between cultures and ideologies arguably complicates the extent to and manner by which individual combatants engage in such behavior. No war fulfills these criteria so cleanly as World War II—it was a conflict that cost more people their lives than any war before, and as a global conflict, it brought vastly differing perspectives of death and killing to the battlefield. World War II represented not simply a struggle for national-ideological survival (though that it clearly was), but more importantly a struggle for the retention of the self through identity.
ContributorsLondono, Marlon William (Author) / Niebuhr, Robert (Thesis director) / Strand, Daniel (Committee member) / School of International Letters and Cultures (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
The major fulcrum of this research is to determine why the Zimbabwean law enforcement and judiciary system have struggled to overcome domestic violence (DV) in spite of numerous legal intervention structures and a fairly strong legal capacity compared to neighboring countries, as well as immense efforts from non-governmental organizations (NGOs) to eradicate this form of violence. The research employs a novel approach by including an examination of the extent, influence and role of customary law (also known as traditional law) in the continued prevalence of DV among women in Zimbabwe. The study utilized qualitative methodologies in the form of structured interviews and quantitative methodologies through questionnaires. Fifteen women victims of domestic violence were identified using the snowball sampling technique. The research concluded that customary law is not the sole contributor of the high prevalence of domestic violence in Zimbabwe. Instead, I established that individual and community ways of thinking as well as attitudes acquired from customary law are the ones that condition men to perpetrate DV, influence women to remain silent about the abuse they face as well as accustom society to condone this form of violence.
ContributorsMarekera, Shantel (Author) / Durfee, Alesha (Thesis director) / Kittilson, Miki (Committee member) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05