Intrauterine devices, or IUDs, are long-lasting forms of birth control that have effectiveness comparable to sterilization, while they can be removed at any time. However, the insertion process can be very painful, especially for individuals who have never given vaginal birth. The most common form of pain management for this procedure is having the patient take an ibuprofen an hour or so before the procedure, but this only helps with cramping afterwards, not the acute pain caused by insertion. Pain, and anxiety and fear regarding potential pain, serve as a barrier between users and this highly effective form of birth control. This report uses COMSOL to model lidocaine diffusion from 4% topical hydrogel into the cervix (the main site of acute pain during IUD insertion) over 180 minutes. The cervix was modeled axisymmetrically, using average experimental values for cervix size. Concentration at four specific probe points were measured over time and compared at different concentrations. A sensitivity analysis was performed by adjusting the diffusion coefficient of the epithelial layer. This model was developed to serve as a predictor for future drug applications across the cervix, to determine in advance whether a novel formulation of drug would be effective to significantly reduce pain. This model may be refined further with experimental values for the constants, and with further testing of different lidocaine concentrations.

The recent films of both Spike Lee and Adam McKay have been explicitly political in their respective thematic focuses. The former’s Chi-Raq (2015) adapted an ancient Greek comedy into a commentary on the state of violence in America’s inner-cities and more recent BlacKkKlansman (2018) adapted the memoir of a black police officer’s infiltration into a local chapter of the Ku Klux Klan. The latter’s The Big Short (2015) adapted Michael Lewis’ bestselling book on the 2008 Financial Crisis into a farcical satire of economic greed, while his next film, Vice (2018), took a similarly scathing approach in depicting the life of former vice president Dick Cheney. While both McKay and Lee have their own unique filmmaking styles, their approach in these four films reveals both filmmakers to be working in the ideological tradition of postmodernism. These directors’ revival of postmodern aesthetic strategies in the 21st century has resulted in sophisticated artistic statements that cut through the political apathy and nihilism of our day. Their fast-paced films, saturated with paradoxes, allusions, and meta-commentaries, manage to keep today’s media-savvy audiences on edge and in a state of unstable equilibrium. This project argues that while both directors are fascinated by the deconstructionist potential that postmodern aesthetic strategies present, a key difference emerges when analyzing their respective political projects: while Lee fully embodies the postmodern mindset in both his narrative structures and thematic insights, McKay’s desire to persuade the audience to take a passionate stand ultimately makes his art transcend the traditional postmodernist stance of neutral, non-judgmental, or ironic acceptance of multiple truths. By comparing Lee’s approach to one of the most popular filmmakers of the day in McKay, this project situates Lee’s canonical style in the modern, ultra-partisan moment.

Religion and gender are two contemporary, heavily influential social identity markers that the media engages with. In India, Bollywood simultaneously interacts with religious and gender identity by producing many movies on Hindu-Muslim inter-religious romantic relationships in the twenty-first century. Bollywood’s Hindu-Muslim romance movies are stories with a central focus on a romantic relationship in which one lover is Hindu and the second is Muslim. The masculinity and femininity of the Hindu and Muslim characters are not accidental; it is meticulously articulated in every movie. This thesis explores two sets of patterns in the movies: themes in love stories and gender identity across the protagonists. It is important to note that representation of religious identity in Bollywood is highly debated with a special emphasis on Muslim identity since they are a religious minority and the political "Other". This thesis acknowledges that the presence of Muslims in Bollywood is complicated and not black and white, but it focuses on the representation of Muslims that is connected romantically with Hindus.

Analyzed the primary resources such as the Qur'an along with several Muslim scholarly pieces of literature written by Muslim Feminists regarding Women in Islam. Interpretations of the Qur'an have been passed from generation to another, and therefore there is a strict reliance on such established interpretation that is mainly conducted by men. There is a lack of participation in women reading and interpreting the Qur'an. This is a disadvantage to the Muslim community, as it encourages interpretive cultural practices that constitute politics and power, rather than a true and authentic translation of the Qur'an as cohesive guidance for gender justice. Feminism in Islam does exist as it aligns with the Quranic principles of gender justice. Feminism was showcased in many historical movements in the following Middle Eastern countries such as Egypt, Morocco, Yemen, and Iran. These events are important to analyze and consider to further understand the framework of Muslim feminism and how it aligns with the Qur'an. My focus was analyzing Muslim Feminist scholars, who have blueprinted a path for Muslim women to understand their role in Islam and provide an accurate interpretation of the Qur'an versus socio-cultural practices which have impacted how women in Islam are perceived and treated.