Feminist, Gender, and Sexuality Studies Commons^™

The Social Contract And Feminism, Grace A. Albertson

Helm's School of Government Conference - American Revival: Citizenship & Virtue

This paper seeks to prove the value placed on women in society, and disprove the claim that the social contract is inherently patriarchal. Radical feminists claim that society as a whole is irreparably flawed and operates patriarchally. Therefore, they call for a systematic shift and condemn the current fabric of our society and nation. The social contract, an idea centered around the philosophical works of John Locke and Thomas Hobbes served as the primary way that the founders of the United States justified the formation of American democracy and had immense influence on American political thought. However, feminists seek to …

Mrs. Dalloway (1925) Vs. The Hours (2002): How Does The Patriarchy Infringe On The Autonomy Of Marginalized Characters?, Mary E. Belton

2023 Symposium

Fans of Virginia Woolf know that her literature, such as A Room of One’s Own and Mrs. Dalloway, cover feminist themes. In adaptations of Virginia Woolf’s work, the same feminist themes are present. For example, Michael Cunningham’s The Hours, based on three women whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway, carries similar feminist themes. In the 2002 adaptation of The Hours, directed by Stephen Daldry, the relationships between men and women in the film illustrate how the patriarchy operates socially.

To those who don’t know Virginia Woolf’s work well or are unaware of how …

Luce Irigaray, Radical Feminism, & The Me Too Movement, Allie Nye

Capstone Showcase

Luce Irigaray, a French feminist theorist, used her writing as a tool to further the postmodern feminist movement and her theory of sexual difference. Her work highlights the divergence from traditional, modernist thought and the dream of a well rounded western society that is grounded in the recognition of sexual difference. The #MeToo Movement, the defining feminist movement of present day, proves Irigaray’s point of a need for the recognition of sexual difference. The importance of women being able to speak their mind is one the foundations of Irigaray’s work and a pillar of the #MeToo Movement. Moving beyond the …

The Evolution Of Revenge: Genre, Feminist Theory And Jennifer’S Body, Sophia Birks

Capstone Showcase

The representation and proliferation of violence against women in media, when applying genre theory, reflects the social climate of rape culture and the social response to sexual violence. Looking at the Rape-Revenge genre through the scope of Feminist Theory, the only way to reintroduce female agency into a trauma led narrative is to reclaim the tropes used to perpetuation female exploitation and a popular culture ambivalent to male on female violence. Within this subversion and deconstruction, a genre benefiting from female trauma finally includes an honest artistic retelling of that female experience. With the intention of the creator in line …

A Feminist Analysis Of Human And Animal Oppression: Intersectionality Among Species, Kelsey Brown

Scholars Week

In this paper I focus on animal exploitation as a feminist issue. I discuss reproductive exploitation in humans and domesticated animals, language as a tool of oppression, the power dynamics involved in hunting and consuming animals, and the barriers that are faced when people try to access health food such as environmental racism and food deserts. Using an anti-capitalist intersectional feminist framework, I expose how the current capitalist patriarchy aids in the oppression of all marginalized groups, including animals.

Masks And Performance As Representations Of Gender Oppression And Repression In Edith Wharton’S The House Of Mirth And Nella Larsen’S Passing, Carrie A. Wilson

SEWSA 2016 Intersectionality in the New Millennium: An Assessment of Culture, Power, and Society

Edith Wharton and Nella Larsen’s literature focus on metaphorically representing gender oppression and repression as masked social performances that result in death being the ultimate release from the drama. Edith Wharton’s The House of Mirth depicts the heroine Lily Bart who, in the public social realm, attempts to mask herself as a disturbingly superficial character. Wharton’s masquerade imagery demonstrates the extent to which Lily socially capitalizes her beauty. Lily fixates on "clearness" and "lucidity" in events leading up to her death, which shows how dying releases her from the dishonest social masquerade (260). Nella Larsen’s heroine Irene Redfield similarly uses …

From #Blacklivesmatter To #Sayhername, Aitza B. Burgess

SEWSA 2016 Intersectionality in the New Millennium: An Assessment of Culture, Power, and Society

Sanford, Ferguson, Long Island, and Baltimore are all cities that have become known nationally and internationally in households. This attention has not been about their nature of offering reasonably priced hotel lodging for tourists visiting the neighbouring major cities, but due to the killings of black men in America. Since the election of President Barack Obama in 2009, the notion of a post-racial America has circulated. With Congress members referring to the president as a tar baby to the numerous killings of black people by law enforcement and civilians these actions contradict this notion.

Between the years of 2012-2015, America …

Jane Austen's Heroines--And Some Others, Neda H. Jeny

South East Coastal Conference on Languages & Literatures (SECCLL)

Jane Austen’s Heroines--and Some Others

Jane Austen is the earliest English novelist whose novels are still widely read today; in fact, they are becoming more popular all the time.

Of course, there are good reasons for this popularity. Apart from Austen’s creation of unforgettable characters, and her exquisite irony and sense of humor, there is one other thing I’d like to discuss today: her heroines could be called, in a sense, brilliant (and often unorthodox) adaptations of universally recognized types. For example, Elizabeth Bennet is so remarkable a character because she is, at the same time, a sort of Cinderella …

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 …