Arts and Humanities Commons^™

A Feminist Epistemological Framework: Preventing Knowledge Distortions In Scientific Inquiry, Karina Bucciarelli

Scripps Senior Theses

This thesis explores how scientific knowledge claims can become distorted due to socially constructed conceptions of gender. Further, it delves into the key components of an epistemological framework that will minimize these distortions.

To set up the analysis, I first explore how ‘traditional’ scientific explanations of human fertilization map stereotypes of the passive female and the active male onto the scientific participation of the egg and the sperm in human reproduction, thus rendering this knowledge claim problematic. We then turn to arguments presented by prominent feminist epistemologists. I argue that in order to produce knowledge claims free of distortions due …

Sari Not Sorry: A Discussion On Whether Or Not Gulabi Gang's Feminist Vigilantism Is Necessary In A Welfare State, Namrata Mohan

Scripps Senior Theses

The Gulabi Gang is a feminist vigilante based in northern India. They are known as a group that uses physical violence to fight systems of oppressive power. The idea of a Gulabi Gang vigilante, interacting with the people and the state will be discussed, while incorporating John Locke’s social contract theory into the argument as a way to critique vigilantism, or as a basis of critique to then argue why the Gulabi Gang’s vigilantism is necessary. After both sides of argument are weighed, possible solutions of how the Gulabi Gang can better their organization will be discussed in the concluding …

Bringing Back Color, Bringing Back Emotion: Exploring Phenomenological Empathy In The Reclamation Of The Female Nude In Painting, Sophia R. Forman

Scripps Senior Theses

At the nexus of the seemingly disparate art-theoretical topics of color and the female nude is a critical consideration of phenomenology in both one of its most basic senses—as the first-person experience of perceived phenomena—and as a larger philosophical position which, through its abstraction of perception to subject-object relationships, implicates the painted figure. Specifically, this paper conflates the phenomenology of color with the transcendental phenomenology of Edmund Husserl and Maurice Merleau-Ponty in investigating empathy. Structured as a dialectic, it establishes the most prominent views of both color and the female nude—the nude as a symbolic figure, color as perceptual experience—before …