Matching Items (9)
Filtering by
- All Subjects: Gender Studies
- Creators: Quan, H.L.T.
- Creators: Foster, David W
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
The nature of the link between a literary text and its film adaptation has been a point of contention within academic thought since the inception of cinema due to the fact that film adaptation forms part of film history since the early 20th century. For most of the past century, the main concern of critics has been the level of fidelity that adaptations exhibit in terms of their relationship with the text, which was viewed as "the original" that directors needed to use as a model. In the last 25 years, however, the discourse of fidelity has been challenged by a number of intellectuals as a result of poststructuralist thought, which rejects the notion of an "original" text and proclaims the existence of infinite meanings within each text that are constructed by the reader, not the writer. The present investigation will take into account this type of epistemology as its starting point in order to review and defy a number of theoretical approximations from the last several decades that deal with the relationship between literature and cinema towards its main goal of overcoming the limitations of fidelity discourse. This will be carried out through an in-depth analysis of Latin American texts that have been adapted to film. Thematically both the literary texts and the films contain elements that portray the reality of marginalized groups that build their existence in opposition to the model of patriarchal heteronormativity. In current epistemological thought such a modus vivendi falls within the realm of queer theory. Another common thread that unites all the cultural productions is the presence of violence that showcases the high level of intolerance towards any subject who somehow seems to be different, hence threatening the dominant configuration of patriarchy. Furthermore, the different texts and films expose a general fragmentation within Latin American society, a result of the constant struggles among its diverse social groups, between the ones who occupy the position of socioeconomic power and those who are left outside of it; such a fragmentation also stems from the multiple clashes that occur within the marginalized groups themselves.
ContributorsKokalov, Assen (Author) / Foster, David W (Thesis advisor) / Mcelroy, Isis (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation coheres together over a hundred insurgent testimonies published from within Arizona State Prison Complex – Perryville, the state’s only prison for women. These testimonies tell a people’s history of Arizona’s largest and most public legal intervention for prisoners’ rights: Parsons v. Ryan. In 2009, after Perryville correctional officers left Marcia Powell to bake to death in the Arizona summer sun, prisoners lit their mattresses on fire to proclaim that their lives were in danger, sparking a wave of resistance, including outside from family members and advocates, which prompted a class action lawsuit against the Arizona Department of Corrections, Rehabilitation, and Re-Entry (ADCRR). After years of prisoners’ calls for a systemic reckoning of the death-producing state punishment system, legal intervention distilled their suffering and demands into a set of discrete allegations. Meanwhile, settlement stipulations continue to implore ADCRR to meet minimum constitutional standards. While the accountability Parsons v. Ryan seeks is limited to the administration of medical care and extreme isolation, testimonies in this people’s history reveal a breadth of systemic violences that encompass and surpass the legal claims. These testimonies, which evidence strategies of care work, protest, and covert documentation, delineate the prison’s function to degrade human dignity and inflict physical and psychological harm in virtually every area of basic survival, including access to food, shelter, hygiene, and personal safety. Through use of the “rebel archive,” the resulting narrative, made possible by virtue of prisoners’ organizing for dignity, invokes a critical analysis of the sublimation of their resistance and demands for a project of liberal carceral care as prison reform.
ContributorsCooper, Ashley Ann (Author) / Quan, H.L.T. (Thesis advisor) / Swadener, Elizabeth B (Committee member) / Talebi, Shahla (Committee member) / Arizona State University (Publisher)
Created2024
Description
As a result of social media platforms such as Facebook, Twitter and blogs, works can be distributed and viewed at a global scale with the simple click of the mouse. One can even visit entire museums and virtually walk through their collections without having to leave one’s own seat. Furthermore, new software, programs, and digital tools facilitate and make possible the ability to experiment and create one’s art in ways that were previously unimaginable or even unheard of. This is also true with the dissemination of one’s art and the visibility of contemporary artists who create works pertaining to the digital realm. However, the availability, usage, and training associated with such technologies do not come without its own implications and drawbacks. Unfortunately, there exists a great disparity not only with access and availability of the Internet at a global level, but also a digital divide, which indicates that the technologies and sciences are “gendered”—for instance, the male majority in STEM professions and fields of study. When considering the Humanities, specifically the genre of contemporary art and literature, women’s marginalization is witnessed there too, as distinguished canonical works belong to predominantly Caucasian, Anglo-Saxon men. In the digital age then, Iberian and Latin American women writers and artists face the challenge of visibility and recognition in two territories—technology and contemporary artistic creation—dominated by men. This study gathers contemporary female artists of digital works originating from North America, the Caribbean, South America, and Spain who utilize a wide variety of tools to conduct and create their artwork. The artists and authors analyzed in this project include: Teresa Serrano (México, D.F. 1936-), Adriana Calatayud (México, D.F. 1967-), Ana Mendieta (Havana, 1948-1985), Maritza Molina (Havana), Yasmín S. Portales Machado (Havana, 1980-), María María Acha-Kutscher (Lima, 1968-), Praba Pilar (Colombia), María Cañas (Seville, 1972-), and Pilar Albarracín (Arcena, Huelva 1968-), with the objective of investigating the manner in which digital tools are being used by these women artists and writers for the purpose visibility, identity (de)construction, as spaces of resistance, and to explore how those messages are transmitted and transformed through digital mediums.
ContributorsByron, Jennifer Elaine (Author) / Urioste-Azcorra, Carmen (Thesis advisor) / Tompkins, Cynthia (Committee member) / Foster, David W (Committee member) / Gilfillan, Daniel (Committee member) / Arizona State University (Publisher)
Created2019
Description
The utopian impulse represents hope for another world; a reflection of the injustices inherent to the hegemonic order that are understood as natural, necessary, desirable, and unchangeable. Those who challenge this orthodoxy are heretical utopians; pioneers of the counterintuitive who explore the types of relations that rather than reproduce the dominant order, shatter it, and manifest new ones based upon principles of justice. This project explores how ideological mechanisms of control embedded within the hegemonic fascist imaginary landscape of the United States render the visions of emancipatory social movements, that challenge dominant ways of knowing and being, as the "merely utopian" so as to instrumentalize the behavior of civil-society towards the maintenance of the established social order and the suppression of alternatives (Gordon 2004). In a rapidly changing world reeling under the pressures of late-stage capitalism, it is essential for those who value social and political justice to incessantly cultivate the cultural imaginary so as to shift the boundaries of what types of social relations are possible, feasible, and desirable through the process of struggle in heretical spaces.
ContributorsBrown, Andrew (Author) / Quan, H.L.T. (Thesis advisor) / Lauderdale, Pat (Committee member) / Romero, Mary (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT Mexican Golden Age Cinema materialized the narratives of identity, unity and morality that became the obligated point of reference to understand social stability and mexicaness during the post-revolutionary period. Hence, film stars evolved into cultural icons that embodied the representation of patriarchal order as a synonym for nationalism. However, dissident depictions that challenged carefully tailored heteronormative roles were as much a part of the post-revolutionary reality as was the attempt to manufacture a utopic heterosexual family on screen, that functioned as a metaphor for national reunification under the law of the father/president of the Mexican Republic. Nonetheless, even when an distinguished member of the Mexican star system, Sara García´s queer performativity of her quintessential sainted mother and even more revered grandmother characters highlights fissures in the effort to naturalize sexual passivity and heterosexual motherhood as the core of Mexican women identity. Furthermore, García took advantage of her romanticized butch characters in order to revert lesbian invisibility in movies where she portrait roles that exemplified sapphic households. In most of García's films masculine presence became redundant, hence challenging male privilege. Not very far from her own reality, García's queer women of a certain age, involved in female marriages, contested the post-revolutionary discourse of stability and mexicaness even in the heteronormative realm of Golden Age Filmmaking. Regardless of her queerness, unlike any other transgressive figure, Sara García became a national icon in her time and her image continues to hold relevance in current Mexican popular culture. More than five decades after her death young generations are still familiar with her legacy and her image has evolved into the representation of the nostalgia for tradition and alleged "more simple" times.
ContributorsBaeza Lope, Ileana (Author) / Foster, David W (Thesis advisor) / De Urioste, Carmen (Committee member) / Rosales, Jesus (Committee member) / Arizona State University (Publisher)
Created2014
Description
"Becoming Travesti: A Partial History of Ontoformation" explores the discursive production of the figure of travesti, defined broadly as male-assigned technologies of feminization, as it circulates within public discourse in Mexico. In other words, through ontoformation this project highlights the historical and sociopolitical associations that congeal, through repetition, to give an identitarian category -travesti- a sense of essence. In order to do so, this project analyzes articles within the mainstream Mexican press, ranging from the colonial period to the present. The first phase of this project involved the compilation and analysis of all twenty-first century articles mentioning travesti in the three newspapers with the widest circulation in Mexico in order to determine the primary constitutive elements of the contemporary figure of travesti. The second phase, in turn, involved a historical exploration of these constitutive elements by way of analyzing mainstream news sources dating back to the colonial period. As such, this project explores the work performed by ontoformative narratives that congeal to give the identitarian category of travesti a sense of essence. Among the narratives explored are the detravestification of homosexuality and continued homosexualization of travesti, the criminality of travesti, the spectacularization of travesti, the disposability of travesti, and the affective registers mobilized by and through travesti. Moreover, this project explores the consolidation of the contemporary figure of travesti in relationship to other identitarian categories of sexual and gendered non-normativity in Mexico, such as the homosexual, the transsexual and the transgénero (transgender), suggesting that travesti has been instrumental in the historical production and sanitization of these categories.
Contributorsde la Maza Pérez Tamayo, Andrea (Author) / Koblitz, Ann H. (Thesis advisor) / Quan, H.L.T. (Committee member) / Aizura, Aren Z. (Committee member) / Gomez, Alan E. (Committee member) / Arizona State University (Publisher)
Created2017
Description
La autobiografía, como medio de expresión y reivindicación del yo, ofrece a las autoras/artistas femeninas la oportunidad de definirse a sí mismas. El género autobiográfico tiene orígenes muy antiguos y resulta fundamental en el proceso de construcción de la identidad por parte de mujeres pertenecientes a grupos étnicos minoritarios. El discurso autobiográfico permite a la mujer ser al mismo tiempo escultura y escultor, creador y creación. El objetivo de este trabajo es ofrecer una nueva aproximación al universo femenino de la autorepresentación visual. La autonarración debería estar en el centro de la atención feminista, siendo uno de los métodos más efectivos que las mujeres pueden aplicar para hablar sobre sus experiencias y condiciones. Esta investigación intenta reunir voces multiétnicas y promueve un recurso interdisciplinario que interesa no solo a la literatura y la cultural, sino también a otros campos de las humanidades, como la historia, la sociología y los estudios de género y de la discapacidad. Una de las principales intenciones es desmantelar las formas tradicionales de identidad y destruir las fronteras sociales, adoptando la diferencia y la alteridad como un componente único de cada individuo.
Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales.
Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales.
ContributorsScerbo, Rosita (Author) / Foster, David W (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos Javier (Committee member) / Arizona State University (Publisher)
Created2020
Description
This dissertation is a collection of three essays that take seriously the knowledge generated through and by communities in struggle in Pakistan. This project reveals how communities in struggle are systematically excluded and power is monopolized in the hands of a few, engages the means through which communities find ways to survive and thrive under harsh conditions. The first essay, “Beyond Bondage: Hari Women’s Communities of Struggle” centers the testimonies of peasant Hari women, or bonded sharecroppers, in Sindh, Pakistan, describing the carceral conditions of labor to which they are subjected. The essay historicizes the ability of wealthy, politically empowered landlords to retain their monopoly over land resources and attempts to make explicit the tacit state support that allows this system of bonded labor to continue unregulated. These testimonies also document the Hari women’s tools for escape and their movement to free others. The second essay, “Khawaja Sira Life Struggles: Is Womanness Really a Loss?” traces the stories of Khawaja Sira Gurus from Lahore, Pakistan, who are engaged in organizing their community to advocate for rights and human dignity, and how they make inroads into the imposed gender regime. It argues that Khawaja Siras create a third space inside a heavily enforced gender binary. It also shows how the Khawaja Sira community provides its members home to exist in their womanness that eases their alienation from their family and society. The final essay, “The Movement for Transgender Rights in Pakistan” traces the history of criminalization of the Hijra/Khawaja Sira community and argues that colonial legal formations set in motion marginalization of trans* lives, which the post-colonial Pakistani state folded easily into its binary understanding of gender. Trans* activists have been engaging the state on its own terrain to make trans* life legible to the state, with the Transgender Persons (Protection of Rights) Act of 2018 being the most recent gain.
ContributorsSuhail, Sarah (Author) / Quan, H.L.T. (Thesis advisor) / Leong, Karen J (Committee member) / Toor, Saadia (Committee member) / Arizona State University (Publisher)
Created2021