Search

Search Results

• 1. [Article] Exploring Embodied Gender Identities in Steven Universe

  Steven Universe, a relatively new show from Cartoon Network, explores an unexpectedly complex understanding of gender through their main protagonists. Utilizing Judith Butler’s work on gender performativity ...

  Citation × Citation Citation Abstract Copy Title: Exploring Embodied Gender Identities in Steven Universe Author: Painter, Stephanie (Stephanie Lauryn) Steven Universe, a relatively new show from Cartoon Network, explores an unexpectedly complex understanding of gender through their main protagonists. Utilizing Judith Butler’s work on gender performativity and doing gender, as well as Daniel Dennett’s conception of the self as a theorist’s fiction, and Alexander Weheliye’s understanding of power and oppression existing in the articulated assemblages of people’s embodiment, I analyze the construction of several of the characters in Steven Universe and how they deviate from normative modes of being. In this paper, I argue that Steven Universe is expanding the normative construction of what it means to have an identity and a gender identity in children’s animation. Title: Exploring Embodied Gender Identities in Steven Universe Author: Painter, Stephanie (Stephanie Lauryn) Steven Universe, a relatively new show from Cartoon Network, explores an unexpectedly complex understanding of gender through their main protagonists. Utilizing Judith Butler’s work on gender performativity and doing gender, as well as Daniel Dennett’s conception of the self as a theorist’s fiction, and Alexander Weheliye’s understanding of power and oppression existing in the articulated assemblages of people’s embodiment, I analyze the construction of several of the characters in Steven Universe and how they deviate from normative modes of being. In this paper, I argue that Steven Universe is expanding the normative construction of what it means to have an identity and a gender identity in children’s animation. Close

• 2. [Article] From the encoded to the explicit in the 20th Century Irish romance : a study of Elizabeth Bowen's The last September and Edna O'Brien's The country girl's trilogy

  This thesis uses both feminist and new historic theories to argue that the women's romance novels The Last September (1929) by Elizabeth Bowen and The Country Girl's Trilogy (1960, 1962, 1964) by Edna ...

  Citation × Citation Citation Abstract Copy Title: From the encoded to the explicit in the 20th Century Irish romance : a study of Elizabeth Bowen's The last September and Edna O'Brien's The country girl's trilogy Author: Breeden, Shobana L. This thesis uses both feminist and new historic theories to argue that the women's romance novels The Last September (1929) by Elizabeth Bowen and The Country Girl's Trilogy (1960, 1962, 1964) by Edna O'Brien are tragic bildungsroman that subvert and challenge the Irish patriarchal marriage expectations of their respective time periods. Both Bowen and O'Brien in their very different class and cultural idioms render such expectations as unrealistic, gender-biased, and detrimental to their heroine's sense of independent identity. Additionally, the difference between the pre-independence time period of The Last September and the post colonial, nation-building time period of The Country Girl's Trilogy provides a contrast between an Irish woman's social position before and after Ireland's Home Rule. Both novels make lasting contributions to the history and politics regarding the private sphere of domesticity during a time when Irish women were constrained socially and poltically from creating for themselves a fulfilling life in whatever sphere they may have chosen. Title: From the encoded to the explicit in the 20th Century Irish romance : a study of Elizabeth Bowen's The last September and Edna O'Brien's The country girl's trilogy Author: Breeden, Shobana L. This thesis uses both feminist and new historic theories to argue that the women's romance novels The Last September (1929) by Elizabeth Bowen and The Country Girl's Trilogy (1960, 1962, 1964) by Edna O'Brien are tragic bildungsroman that subvert and challenge the Irish patriarchal marriage expectations of their respective time periods. Both Bowen and O'Brien in their very different class and cultural idioms render such expectations as unrealistic, gender-biased, and detrimental to their heroine's sense of independent identity. Additionally, the difference between the pre-independence time period of The Last September and the post colonial, nation-building time period of The Country Girl's Trilogy provides a contrast between an Irish woman's social position before and after Ireland's Home Rule. Both novels make lasting contributions to the history and politics regarding the private sphere of domesticity during a time when Irish women were constrained socially and poltically from creating for themselves a fulfilling life in whatever sphere they may have chosen. Close

• 3. [Article] Gender, genre, and the canon : teaching Aemilia Lanyer

  Traditionally, Renaissance studies have neglected or overlooked the contributions of early modern female poets, many of whom produced lively, engaging, and highly creative work despite the limitations ...

  Citation × Citation Citation Abstract Copy Title: Gender, genre, and the canon : teaching Aemilia Lanyer Author: Jurgens, Jeremy Traditionally, Renaissance studies have neglected or overlooked the contributions of early modern female poets, many of whom produced lively, engaging, and highly creative work despite the limitations imposed on them by a rigidly patriarchal society. In my thesis, I examine the life and work of Aemilia Lanyer, a 17th century poet whose work has recently gained substantial critical attention and limited inclusion into syllabi and anthologies. I argue that, in order to effectively bring the work of Lanyer, and women like her, to students, one must first understand the relationship between early modern women and the literary canon. In the first half of my thesis, I discuss Lanyer‟s life, work, and her canonical history, pinpointing exactly what her work offers to early modern studies. In the latter half, I propose a methodology for actually presenting Lanyer‟s work to students, which consists of pairing her work with that of a more canonical author, Edmund Spenser. By looking at under-represented texts in conjunction with canonical works, teachers provide opportunities for productive classroom discussions about gender, the canon, and the complexities of early modern authorship. Title: Gender, genre, and the canon : teaching Aemilia Lanyer Author: Jurgens, Jeremy Traditionally, Renaissance studies have neglected or overlooked the contributions of early modern female poets, many of whom produced lively, engaging, and highly creative work despite the limitations imposed on them by a rigidly patriarchal society. In my thesis, I examine the life and work of Aemilia Lanyer, a 17th century poet whose work has recently gained substantial critical attention and limited inclusion into syllabi and anthologies. I argue that, in order to effectively bring the work of Lanyer, and women like her, to students, one must first understand the relationship between early modern women and the literary canon. In the first half of my thesis, I discuss Lanyer‟s life, work, and her canonical history, pinpointing exactly what her work offers to early modern studies. In the latter half, I propose a methodology for actually presenting Lanyer‟s work to students, which consists of pairing her work with that of a more canonical author, Edmund Spenser. By looking at under-represented texts in conjunction with canonical works, teachers provide opportunities for productive classroom discussions about gender, the canon, and the complexities of early modern authorship. Close