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Feminist, Gender, and Sexuality Studies Commons™
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Full-Text Articles in Feminist, Gender, and Sexuality Studies
Girls Can’T Like Star Wars: An Analysis Of Feminism Within Fandoms, Julia Neff
Girls Can’T Like Star Wars: An Analysis Of Feminism Within Fandoms, Julia Neff
Capstone Showcase
Finding the intersection between feminist theory and fandom theory, this paper analysis how women are regarded within a fandom community by their peers and how they are dismissed in a societal context. This paper specifically compares what is "accepted" by society about young women being a fan of a boy band versus an adult man as a fan of a sports team.
The Segregation Of Religion: How Othering Influences Society’S Narrative Understanding About The Symbiotic Relationship Among Racism, Sexism, And The Church, Ajanet Rountree
Biennial Conference: The Social Practice of Human Rights
The social dependence on the sociology of male spiritual leadership is substantial. This dependence accomplishes two ideas: neutralizes the feminine experience and obviates the anthropological implications of religion in the perpetuation of oppression and subjugation. When considering racism and sexism in religion, specifically as they relate to the Black Christian church, a dismissal of accusations and assertions occurs by yielding to the context of the social era. This paper seeks to further clarify the position of women, who pushed against the grain of the gendered and racialized spaces of their churches and communities, as they sought to establish human rights …
Long May She Reign: A Rhetorical Analysis Of Gender Expectations In Disney’S Tangled And Disney/Pixar’S Brave, Caitlin J. Saladino
Long May She Reign: A Rhetorical Analysis Of Gender Expectations In Disney’S Tangled And Disney/Pixar’S Brave, Caitlin J. Saladino
Graduate Research Symposium (GCUA) (2010 - 2017)
This project addresses messages about gender expectations in Disney princess narratives. The two films included in my project are Tangled (2010) and Brave (2012), which feature the most recently inducted princesses to the marketed Disney Princess line (Rapunzel and Merida, respectively). Using genre as an organizing principle, I argue that Rapunzel and Merida are different from the past Disney princesses (Snow White, Cinderella, Ariel, Jasmine, etc.) because their narratives reflect new ideas about gender expectations in modern society. The central tension appearing in both films is the opposition between the image of woman as traditional, domestic, and dependent and woman …