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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

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

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

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

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
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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

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.
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
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

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
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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

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.
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
Bodies, Sex, & Identity: Discovering Your Sexual Self is a sex education book for children ages 10 and up. This creative project is a response to the significant issues with modern sex education and the lack of resources for parents of preteens who want their children to receive accurate, inclusive,

Bodies, Sex, & Identity: Discovering Your Sexual Self is a sex education book for children ages 10 and up. This creative project is a response to the significant issues with modern sex education and the lack of resources for parents of preteens who want their children to receive accurate, inclusive, and socially responsible information about gender and sexuality. Bodies, Sex, & Identity is a pleasure-focused, sex-positive book, meant to supplement the information children receive about puberty and sex in school, on the Internet, and from other books and educational materials. The book features frequent references to sexual identity and urges its audience to reflect on how they experience their own bodies, gender, and sexuality. It contains discussion of power imbalances, stereotypes, and stigma, and it includes populations that are typically underrepresented or altogether excluded from sex education materials (specifically, intersex people, people of color, fat people, queer people, gender non-conforming people, disabled people, and asexual people). My purpose in creating Bodies, Sex, & Identity was to celebrate diversity, "fill in the gaps," and paint a more comprehensive, inclusive, and accurate picture of human sexuality.
Created2018-05
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This study aims to critically analyze how the undergraduate computing world has become highly androcentric in the past decades. This thesis seeks to take a post-structuralist stance to improving the gender disparity that deconstructs many of the logics that emphasize gender differences in computational thinking. Ethnographic, qualitative data will be

This study aims to critically analyze how the undergraduate computing world has become highly androcentric in the past decades. This thesis seeks to take a post-structuralist stance to improving the gender disparity that deconstructs many of the logics that emphasize gender differences in computational thinking. Ethnographic, qualitative data will be used and coalesced with critical feminist theory to create a robust solution to closing the gender gap in the undergraduate computing world.
ContributorsRahman, Risa Fayeza (Author) / Navabi, Farideh (Thesis director) / Scott, Kimberly (Committee member) / School of Social Transformation (Contributor) / School of Politics and Global Studies (Contributor) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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Methodological Reparations is a 2-study multi-methods inquiry aimed at illuminating important nuances for engaging counter hegemonic empirical inquiries for Black, gender expansive and Black LGBTQI+ communities. If Black gender expansive youth are studied, they are often studied within the larger LGBTQI+ umbrella. Unfortunately, this makes them vulnerable to compulsory heterogenderism

Methodological Reparations is a 2-study multi-methods inquiry aimed at illuminating important nuances for engaging counter hegemonic empirical inquiries for Black, gender expansive and Black LGBTQI+ communities. If Black gender expansive youth are studied, they are often studied within the larger LGBTQI+ umbrella. Unfortunately, this makes them vulnerable to compulsory heterogenderism which often obscures their unique experiences transgressing racialized gender norms and with racialized gender oppression. This study makes methodological considerations called methodological reparations that begin to address the ways empirical research often negates, misunderstands, and obscures students’ identities as singular, stable over time and aligned with their sex assignment. It is important for researchers, data scientists and educators to challenge these hegemonic assumptions to ensure that Black gender expansive communities are visible and to ensure that education policies are data-driven, inclusive and effective. The United States Transgender Survey and the Gay and Lesbian Students Education Network have begun to conduct surveys that begin to address the complexity of gender within LGBTQI+ populations. Their surveys reveal horrific school climates that LGBTQI+ youth of color experience especially Black LGBTQI+ youth. The first study in this dissertation is a mixed methods study that focuses on Black gender expansive students’ experiences. The second study responds to the first study by providing an example of inclusive Black LGBTQI+ curriculum taught through a Black queer pedagogical approach. Since the presence of LGBTQI+ inclusive curriculum in schools has been linked to increased feelings of safety in schools in Black LGBTQI+ student populations, this study showcases James Baldwin’s final novel Just Above My Head, as a piece of blues literature that discusses racialized homophobia in a culturally relevant way. Baldwin’s work can be an important tool for Black LGBTQI+ students who do not have access to Black queer curriculum taught through a Black queer pedagogical approach.
ContributorsClement, Valencia (Author) / McGuire, Keon (Thesis advisor) / Bertrand, Melanie (Committee member) / Bailey, Marlon M (Committee member) / Kim, Jeongeun (Committee member) / Durand, E. Sybil (Committee member) / Arizona State University (Publisher)
Created2022
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Description
“(Dis)Locating the Sensual: Black Queer Placemaking in Brooklyn, New York” investigates the impact that gentrification has on Black queer subject formations and Black queer public culture. My research explores the interplay between social oppressions, the Black quotidian queer body, and lived sensations within two Black queer bars located in the

“(Dis)Locating the Sensual: Black Queer Placemaking in Brooklyn, New York” investigates the impact that gentrification has on Black queer subject formations and Black queer public culture. My research explores the interplay between social oppressions, the Black quotidian queer body, and lived sensations within two Black queer bars located in the epicenter of white middle class gentrification in Brooklyn, New York: Langston’s Brooklyn and Happiness Lounge. In doing so, my project expands Western conceptions of space while charging feminist and queer theories to explore interpersonal and personal dimensions of lived experiences that are conditioned by modes of normalization set by white supremacy. I use archival research and ethnographic methods to explore the way that Black queer people utilize space and the spatial dimensions that happen in and across the spaces they regularly occupy. I also collect and examine building information, such as the owners’ respective rental agreements, building permits, documented building violation(s), and incurred fees by the owners to understand who owns the land, who manages the properties, and the role of the state in regulating space. Additionally, “(Dis)Locating the Sensual” analyzes three analytic memos from my ethnographic fieldnotes including desire, spatial performance, and sensations to apprehend the implications of performance on a Black queer sense of place. Taken together, this data renders a complex picture of Black queer place-making that both resists and exceeds the structural constraints of racial capitalist expansion. My work both dialogues with and contributes to fields that are rarely drawn into conversation: Urban geography and Black queer studies. By analyzing sensations, nostalgia, and atmosphere within Langston’s and Happiness Lounge, I chart the ways in which gentrification continues to displace physical Black queer social spaces and impact the atmospheres and sensations that are unique to their vanishing social spaces. I introduce Black queer spatiality as a method that is informed by tracing Black LGBT spatial sensations and atmospheres; this analytic enables the linking of physical spatio-historical processes of extraction to the sensual geographic experiences that are emplaced in Black queer social spaces.
ContributorsMillhouse, Ricardo (Author) / Bailey, Marlon M (Thesis advisor) / Shabazz, Gregg R (Committee member) / Fonow, Mary M (Committee member) / McHugh, Kevin (Committee member) / Arizona State University (Publisher)
Created2021