• “Beautiful Little Feminist: Daisy’s perspective in The Great Gatsby”

      Lauria, Joan (2019-12)
      “Beautiful Little Feminist: Daisy’s Perspective in The Great Gatsby ” examines the backstory of Daisy Buchanan, F. Scott Fitzgerald’s famous character. The project has two parts: a creative short story and a supplemental research portion in which I researched the lives of F. Scott Fitzgerald, Zelda Fitzgerald, and Ginevra King. The short story acts as a prologue to the famous novel, taking place during the month of October 1917 when Daisy and Gatsby first met. I carefully picked specific details that paralleled with the lives of both Zelda and Ginevra in order to authentically represent their voices, while also crafting a distinct aura that would align with the fictionalized characteristics of Daisy Buchanan. This creative thesis project is a “herstory” of Daisy Buchanan’s adolescence, debunking her villainous name and suggesting a feminist background in a time of emerging activism.
    • Feminism or homophobia: an analysis of discourse on female yaoi readers

      Snyder, Rebecca (2019-05)
      While research on the anime and manga community as a whole has been published, it is of note the sheer scale of interest shown towards women who read the yaoi genre. For every one paper written on men reading yuri, or lesbian anime/manga pornography, there is a dozen written on women who read yaoi. This extent to which these women draw attention means that the academic research on them is both widespread and intense, and the discourse on them equally so. What is of interest with the discourse on these women, known as “fujoshi”, is the dichotomy found within. This paper categorizes the discourses found within academic works published on the topic of “fujoshi” into two categories: “Fujoshi-as-Feminist” and “Fujoshi-as-Homophobic”. In describing the various arguments made by these two discourses, the paper will show the various ways each side tries to support their claims. Finally, the paper analyzes how the idea of “otherness” may have led to the creation and support of these two discourses and their opposition to one another. Each discourse is based around a group with a distinct social identity and their common beliefs. This strong self-identification has led to each group and thus discourse having strict considerations of who is a member, and who is considered and outsider or “other”. It is upon this that the dichotomy between the two discourses is built.
    • Feminist Woolf, her literary mothers, sisters and daughters

      O’Toole, Elizabeth (2021-05)
      A look at the works of Virginia Woolf and her treatment of the marriage plot. She advocates for autonomy and education in a “Room of One’s Own” but many times does not give that option to her protagonists. I looked at other female authors such as Bronte, Austen, Shelley, L.M. Montgomery, Chopin, Morrison, and the autonomy they give their female protagonists. I explain the historical and personal context of Woolf’s work and what may have influenced her.
    • A Marxist-Feminist analysis of gender reveal parties in the United States

      Seiden, Molly (2019-05)
      The modern celebration surrounding the gender reveal party has become commonplace in our society, with family and friends bearing gifts and rejoicing at their newfound knowledge of the gender identity of a soon-to-be baby. Although social media websites like Pinterest and Instagram have served as an outlet for the widespread recognition of this phenomenon, the indoctrination of this trend as a mere product of technological advancement or social media necessitates a feminist intervention that pays astute attention to the productive necessities of our state and the socialization it in turn produces. Since mainstream liberal feminist theory naturalizes the inequalities that are perpetuated by our society while working to find equality within our current societal framework, the mechanism that dictates gender and its aligning qualities cannot be effectively challenged, or even recognized at all. Through the implementation of a revolutionary, materialist analysis of our state and the socialization and identities that it necessitates, the gender reveal party is displayed as a consequence of our society, and with this recognition, feminists organize with the long-term goal of building a fundamentally different world develop a critique of the gender-reveal tradition as a celebration that strengthens the gender binary while reinforcing fixed, neoliberal economic incentives.
    • Shakespearean process guided by feminist ideals: the drive of presence with an engine of collaboration

      Amiran, Maayan (2018-12)
      This thesis seeks to explore how Feminist ideals simultaneously guide and emerge from Shakespearean theatrical process through my observations of the actors’ experiences in our production of William Shakespeare’s, The Tempest . I produced this play adhering to traditions of 17th century English theatre. Within those constraints and that of the text, I found that the presence and collaboration necessary to produce Shakespeare was strengthened and sustained through the Feminist ideals of listening, vulnerability, love, play, pleasure, and curiosity.
    • "A Whole New World": redefining gender in Disney films from the 20th to 21st century

      Alshabasy, Shrien (2019-05)
      Disney Princess films in the 20th century, notably ones made in the Golden and Silver Age of the studio’s production, uphold the patriarchal gaze by portraying Disney princesses in the identity of the true woman, forcing them to participate in the domestic household and wait for their prince to initiate their agency and freedom. The Princesses inability to stray away from their portrayal as an item of consumption and sexual/social control and desire make them unable to claim a desire other than marriage to complete their process of Lacanian development. In comparison, the patriarchal gaze is manifested through these earlier Disney films by placing men as the strong, capable heroes who gain a romantic partner at the end of the film. The dichotomization of evil and good women in these 20th century Disney films only serve to emphasize the idea of the true woman. Women who are aware of their social place and attempt to manipulate or resist it are oftentimes villainized through their appearance (they are often old, fat or not traditionally “beautiful”) all weaknesses that are tied to their sexualized role in society. In this paper, I will examine the way that 21st Century Disney films in the Revival Era resist and participate in social structures relating to the male gaze, the myth of womanly masks and notions of true womanhood. I will examine Disney’s shift toward more progressive gender politics through three lenses: Lauren Mulvey’s analysis of the male gaze and Lacanian notions of the Other, and Gilbert and Gubar’s theorization of womanly masks and Barber Welter’s tenants of True Womanhood. I will also examine the ways that these advancements may be limited to a capitalistic, neo-liberal framework, considering that Disney’s changes are financially motivated.