Browsing by Subject "Women's studies"

Israel's establishment in 1948 in former British-Mandate Palestine as a Jewish country and as a liberal democracy is commonly understood as a form of response to the Holocaust of WWII. Zionist narratives frame Israel's establishment not only as a response to the Holocaust, but also as a return to the Jewish people's original homeland after centuries of wandering in exile. Debates over Israel's policies, particularly with regard to Palestinians and to the country's non-Jewish population, often center on whether Israel's claims to Jewish singularity are at the expense of principles of liberal democracy, international law and universal human rights. In this dissertation, I argue that Israel's emphasis on Jewish singularity can be understood not as a violation of humanism's universalist frameworks, but as a symptom of the violence inherent to these frameworks and to the modern liberal rights-bearing subject on which they are based. Through an analysis of my fieldwork in Israel (2005-2008), I trace the relation between the figures of "Jew" and "Israeli" in terms of their historical genealogies and in contemporary Israeli contexts. Doing so makes legible how European modernity and its concepts of sovereignty, liberalism, the human, and subjectivity are based on a metaphysics of presence that defines the human through a displacement of difference. This displaced difference is manifest in affective expression. This dissertation shows how the figure of the Jew in relation to Israel reveals sexual difference as under erasure by the suppression of alterity in humanism's configuration of man, woman, and animal, and suggests a political subject unable to be sovereign or fully represented in language.

At the heart of "American Realities, Diasporic Dreams" lies the following question: How and why do people generate longings for diasporic experience, and what might this have to do with nationally-specific affective and political economies of race, gender, and age? This dissertation focuses on the women of Girlfriend Tours International (GFT), a regionally and socio-economically diverse group of Americans, who are also members of the virtual community at www.Jamaicans.com. By completing online research in their web-community, and multi-sited ethnographic research in multiple cities throughout the U.S. and Jamaica, I investigate how this group of African-American women makes sense of the paradoxical nature of their hyphenated-identities, as they explore the contentious relationship between "Blackness" and "Americanness."

This dissertation examines how these African-American women use travel and the Internet to cope with their experiences of racism and sexism in the United States, while pursuing "happiness" and social belonging within (virtual and territorial) diasporic relationships. Ironically, the "success" of their diasporic dreams and travels is predicated on how well they leverage their national privilege as (African) American citizens in Jamaica. Therefore, I argue that these African-American women establish a complex concept of happiness, one that can only be fulfilled by moving--both virtually and actually--across national borders. In other words, these women require American economic, national, and social capital in order to travel to Jamaica, but simultaneously need the spiritual connection to Jamaica and its people in order to remain hopeful and happy within the national borders of the U.S. Their pursuit of happiness, therefore, raises critical questions that encourage scholars to rethink how we ethnographically document diasporic longings, and how we imagine their relationships to early 21st century notions of the "American Dream."

This project focuses on the question: how might we understand the politics of contemporary art? Grounding my research in feminist political theory, I argue that art’s most critical function—in the US-based context of neoliberalism—may be found in art’s ability to perform the work of social reproduction. I draw the concept of social reproduction from feminist and critical theory to mean two things. First, regarding social reproduction as a paradigm for social change, I ask how works of art participate in building subjects and structures that prefigure alternative, life sustaining worlds. Second, regarding social reproduction as the labor of care, I develop a theory of art as a source of critical hope and sensible rejuvenation. My work thus complicates the common belief—held for example in critical theory—that sensible stimulation obscures critical awareness and encourages apolitical escape. To the contrary, I find art to offer needed resources for critical world-building precisely through the aesthetic dispositions that artworks prompt. I build this argument through close attention to the work of three US-based women artists: Simone Leigh, Roni Horn, and Mika Rottenberg. By foregrounding the work of these artists in conversation with recent feminist thinking on affect and political economy, my research reorients the discourse on aesthetics and politics away from an emphasis on knowledge and subject representation, toward the undervalued work of somatic care and subject formation.

This dissertation explores the particular significance of South Asia to international literary and political spheres, beginning with the formative moments of modernist internationalism. At the height of the Harlem Renaissance, W. E. B. Du Bois interrupted his work with the NAACP and the pan-African congresses to write Dark Princess: a Romance. Du Bois's turn to the romance and to India forms the point of departure for my dissertation, for India, both real and imagined, offered modernist intellectuals a space of creative possibility and representative impossibility. The fiction of Cornelia Sorabji, for instance, obfuscates and allegorizes practices of women's seclusion, both to refute imperial feminist solutions and to support her legal activism. From the imperial romance to the anti-racist one, the misrepresentation endemic to the romance genre enables the figuration of a discrepant globe. This modernist practice of transfiguring India, usually in the service of a global political vision, is undertaken both within India as well as outside of it. Rabindranath Tagore, for example, interrupted his leading role in the anti-colonial movement to write Gora, a novel of mistaken identity and inappropriate love, and to mistranslate his own poetry, particularly his Nobel-Prize-winning collection Gitanjali. If realism aims to translate cultural difference, to faithfully carry meaning across boundaries, the romances I consider in my dissertation work instead to mistranslate those differences, to produce a longed-for object beyond cultural specificity. In conversation with postcolonial theorists of Anglophone literary practice, as well as debates around translation in comparative literature, I suggest that we should think about intercultural texts in terms of transfiguration: not the carrying across of meaning from one sign system to another, but the reshaping of culturally specific materials, however instrumentally and inaccurately, in the service of internationalist goals.

This dissertation examines the social and financial activities of Buddhist nuns to demonstrate how and why they deployed Buddhist doctrines, rituals, legends, and material culture to interact with society outside the convent. By examining the activities of the nuns of the Daihongan convent (one of the two administrative heads of the popular pilgrimage temple, Zenkōji) in Japan’s early modern period (roughly 1550 to 1868) as documented in the convent’s rich archival sources, I shed further light on the oft-overlooked political and financial activities of nuns, illustrate how Buddhist institutions interacted with the laity, provide further nuance to the discussion of how Buddhist women navigated patriarchal sectarian and secular hierarchies, and, within the field of Japanese history, give voice to women who were active outside of the household unit around which early modern Japanese society was organized.

Zenkōji temple, surrounded by the mountains of Nagano, has been one of Japan’s most popular pilgrimage sites since the medieval period. The abbesses of Daihongan, one Zenkōji’s main sub-temples, traveled widely to maintain connections with elite and common laypeople, participated in frequent country-wide displays of Zenkōji’s icon, and oversaw the creation of branch temples in Edo (now Tokyo), Osaka, Echigo (now Niigata), and Shinano (now Nagano). The abbesses of Daihongan were one of only a few women to hold the imperially sanctioned title of eminent person (shōnin 上人) and to wear purple robes. While this means that this Pure Land convent was in some ways not representative of all convents in early modern Japan, Daihongan’s position is particularly instructive because the existence of nuns and monks in a single temple complex allows us to see in detail how monastics of both genders interacted in close quarters.

This work draws heavily from the convent’s archival materials, which I used as a guide in framing my dissertation chapters. In the Introduction I discuss previous works on women in Buddhism. In Chapter 1, I briefly discuss the convent’s history and its place within the Zenkōji temple complex. In Chapter 2, I examine the convent’s regular economic bases and its expenditures. In Chapter 3, I highlight Daihongan’s branch temples and discuss the ways that they acted as nodes in a network connecting people in various areas to Daihongan and Zenkōji, thus demonstrating how a rural religious center extended its sphere of influence in urban settings. In Chapter 4, I discuss the nuns’ travels throughout the country to generate new and maintain old connections with the imperial court in Kyoto, confraternities in Osaka, influential women in the shogun’s castle, and commoners in Edo. In Chapter 5, I examine the convent’s reliance upon irregular means of income such as patronage, temple lotteries, loans, and displays of treasures, and how these were needed to balance irregular expenditures such as travel and the maintenance or reconstruction of temple buildings. Throughout the dissertation I describe Daihongan’s inner social structure comprised of abbesses, nuns, and administrators, and its local emplacement within Zenkōji and Zenkōji’s temple lands.

Exploring these themes sheds light on the lives of Japanese Buddhist nuns in this period. While the tensions between freedom and agency on the one hand and obligations to patrons, subordination to monks, or gender- and status-based restrictions on the other are important, and I discuss them in my work, my primary focus is on the nuns’ activities and lives. Doing so demonstrates that nuns were central figures in ever-changing economic and social networks as they made and maintained connections with the outside world through Buddhist practices and through precedents set centuries before. This research contributes to our understanding of nuns in Japan’s early modern period and will participate in and shape debates on the roles of women in patriarchal religious hierarchies.

This dissertation investigates the ‘woman philosopher’ in the works of fourteenth-century Italian author, Giovanni Boccaccio. Across his literature, Latin and Italian alike, Boccaccio demonstrated an ongoing interest in both philosophy and women, concepts that were at the center of various intellectual debates in fourteenth-century Europe. I use variations and commentaries found in the manuscript tradition to historically ground my literary analysis, showing how scribes, translators, and early readers drew attention to the relationship between gender and knowledge in Boccaccio’s works. While women have not been absent from critical studies of Boccaccio, existing interpretations often limit their discussion to the feminism or misogyny of his works. Drawing on thinkers who problematize the relationship between women and knowledge, I shift the scholarly discourse away from feminism/misogyny. Each chapter situates one or more Boccaccian figures within textual and material networks and shows how they employ “philosophy,” exploring distinct but related definitions of the term as outlined by Boccaccio. I contend that Boccaccio, in his vernacular masterpiece the Decameron and other works, presents not just one model of a woman philosopher but several, a plurality that challenges our inherited notion of what constitutes philosophy, to whom it belongs, and how we encounter it in our lives.

Objectification theory, as delineated by Barbara L. Fredrickson and Tomi-Ann Roberts, posits that women are trained to view themselves as visual objects for consumption. The related term, self-objectification, describes the altered psychological state where an individual begins to view themselves as a body or sum of body parts. Ballet dancers exhibit higher levels of self-objectification and eating disorders than the general public and high levels of self-objectification are correlated to eating and body image disturbances. This thesis gathers, applies, and expands pedagogical tools for discouraging self-objectification in the ballet classroom in university, private studio, and open online settings. It also proposes the facilitation of flow states as the “next frontier” of addressing one of ballet’s infamous problems and details a choreographic process dedicated to understanding and cultivating amenable conditions for flow and yu. Flow is an embodied experience where an individual is performing at optimum level while fully engaged in an activity. The related concept, yu, is associated with the spiritual release and ease that comes after an individual has disciplined their habits toward living an ethical life. The final choreographic work investigates various aspects of flow and yu including intention, curiosity, bliss, distraction, collective engagement, joy, space, and suspension of time. The resulting performance reflects the individual and collective experience of flow and yu of the dancers who performed the piece. The thesis concludes with a reflection on insights that can be gleaned from intersecting paths of pedagogical research and choreographic inquiry.

In 1925, Sigmund Freud wrote a short preface for August Aichhorn’s forthcoming book, Wayward Youth. There, Freud hailed ‘the child’ as the future of psychoanalysis, declaring that “[o]f all the fields in which psychoanalysis has been applied none has aroused so much interest… as the theory and practice of child training. …The child has become the main object of psychoanalysis research” (Freud, p. v). Freud’s observation was prophetic as the figure of the child did indeed become the central focus of psychoanalysis’s theories of psychic life in the decades that followed. Throughout the interwar and postwar periods in Western Europe, child analysis became the most innovative and influential strain of psychoanalysis as child analysts turned their gaze, clinically and socially, to the formative impact of the mother-child relation. As I show, psychoanalysts used the figure of the child to expand the political reach of their work by mobilizing the clinic as a site through which to theorize politics.

In my dissertation, I analyze the ascension of the child as a way into a broader consideration of the political life of psychoanalytic practice in the twentieth century. In the wake of World Wars, mass casualties, and the dramatic reorganization of Europe, child analysts like Anna Freud, Melanie Klein, D.W. Winnicott, and John Bowlby reinvented clinical practice for the child patient according to explicitly political idioms. The analytic exercise of paternal "authority," the cultivation of maternal “reparations,” and the maternal facilitation of an inherent “democratic tendency,” and the provision of maternal “security” were just some of the ways that these child analysts defined their clinical work. Tracing these techniques through the rise and fall of democracy in interwar, wartime, and postwar Europe, I argue that the clinic became a proto-political laboratory where psychoanalysts experimented with different formats of political action and relation. For these analysts, the clinic was anything but apolitical. But, in contrast to analyses that address the abstract connotation of these terms, in my analysis I focus specifically on their gendered dimensions, revealing how political concepts like authority, reparation, democracy, and security were reconfigured in the clinic according to the perimeters of maternity and paternity. As I contend throughout, the child analytic clinic provided a site for explicitly gendered forms of political theorizing.

In Chapter One, “On Good Authority: Anna Freud, Child Analysis, and the Politics of Authority,” I chart how Anna Freud postulated the clinical necessity of paternal authority, situating her work within interwar political debates about the relationship between democracy and authority. In Chapter Two, “Beyond Repair: War, Reparation, and Melanie Klein’s Clinical Play Technique,” I interrogate the ethical status of Klein’s clinical idealization of maternal reparations by contextualizing them within wartime Britain and the effects of German reparations. Chapter Three, “Mothering a Nation: D.W. Winnicott, Gender, and the Postcolonial British Welfare State,” reads Winnicott’s “Piggle” case study in order to elaborate how Winnicott’s theories of good enough mothering and an inherent democratic tendency were grappling with the effects of British decolonization. In chapter four, “States of Security: John Bowlby, Cold War Politics, and Infantile Attachment Theory,” I reveal how the language of maternal security that Bowlby promoted in his clinical work buttressed a growing Cold War emphasis on national security.

Child’s Play contributes to a growing body of scholarship by feminist theorists, historians, and political theorists like Suzanne Stewart-Steinberg (2011), Sally Alexander (2012), Michal Shapira (2013), Eli Zartesky (2015), Daniel Pick and Matt ffytche (2016), and Dagmar Herzog (2017) that showcases how psychoanalysis was influenced by—and, in turn, had a decisive influence on—the political climates it inhabited. My project adds to this work an explicit focus on the psychoanalytic clinic and the gendered scientific techniques developed therein. Although the psychoanalytic clinic has often dismissed for being either politically isolated or irredeemably normalizing, one of the overarching arguments that I make throughout this project is that a keen attention to clinical technique—to the unique scientific methods analysts developed to relate to and treat the psyche of the modern child—is an invaluable resource for understanding the political reach of psychoanalysis. Critically, these child psychoanalytic vocabularies and techniques developed together with the spread of liberal democracies following World War I and, to the extent that they narrate modern political affiliations through psychological narratives of childhood, they are still at the forefront of fervent political contestations today.

Background: The landscape of childbirth has transformed over time, shifting from home births guided by midwives to a medicalized procedure predominantly in hospitals, with Cesarean sections (CS) as a significant innovation. Globally, CS rates have risen, including elective CS without medical necessity. Research conducted by the World Health Organization suggests optimal CS rates are between 10-15%, but many countries exceed this value. Initially, in 2014 Cambodia’s rate was at 6.9%, but the latest data released from the Cambodian Demographic and Health Survey has reported a significant increase of almost 18%. Factors like demographic transitions and improved health care are likely to have contributed to this rise. Understanding the decision-making process for childbirth modes is crucial, with medical opinions sometimes differing from patient preferences. This study focuses on Cambodian women, exploring the factors influencing their birth mode decisions, aiming to highlight the significance of women's perspectives in shaping childbirth practices. Methods: Fourteen in-depth, semi-structured interviews were conducted with either nulliparous, primipara, or multipara pregnant women in Phnom Penh, Cambodia. Participants met eligibility criteria such as having single pregnancies over 28 weeks of gestational age, lacking a medical indication from a physician for cesarean section, and being free from known pre-existing medical illnesses or diseases diagnosed during pregnancy. Lastly, participants were not employed as health professionals. Thematic analysis was used on twelve interview transcriptions to analyze the data. Results: Thematic analysis revealed several influential factors, including utilizing external information sources like physicians and family and/or friends, participants’ knowledge of delivery method and procedure recovery, a mode of birth preference largely based on the patient’s individual circumstances, the discussion of patient autonomy and authority to decide, and the recognition that childbirth expectations might change during labor. Conclusion: These research findings highlight that Cambodian pregnant woman processed their mode of birth based on a variety of influences and factors. This data suggests that an individual’s decision is impacted by their environment and the context of their lives. These results can help medical professionals, other maternal health providers, and policymakers better understand how Cambodian pregnant women process their mode of birth decisions.

During the late nineteenth and early twentieth centuries, a cadre of black women merged the ideals of the "New Woman" and the "New Negro" to configure New Negro Womanhood. For these women, the combining of these two figurations encapsulated the complexity and strivings of black women attempting to achieve racial and gender equality and authorial control of their bodies and aspirations. New Negro women challenged racial and gender inequality and exclusion from participating in contemporaneous political and cultural currents. New Negro women are meaningful in understanding how ideas about black women's political, economic, social and cultural agency challenged New Negro's ideological focus on black men and New Woman's ideological focus on white women. At the core of the New Negro woman ethos was a transformation in how black women thought about the possibility of moving into the public sphere. Black women etched out the parameters of individual and collective aspirations and desires within a modern world in which they were treated as second-class citizens.

My dissertation explores New Negro womanhood in Washington, D.C. The nation's capital functioned as a preeminent site for the realization of African American possibility. The District of Columbia also offered unique opportunities for African American political, civic, social and cultural involvement. More specifically, the city was a fruitful site for the development of African American women's leadership, entrepreneurship and creativity. I use black beauty culture, performance activism, women's suffrage activism, higher education, and black leisure spaces in Washington to examine how black women grappled with and configured ideas about black modernity. Each of these areas provided a distinct context in which African American women in Washington transgressed boundaries of both racial and gender hierarchies and aspired to greater visibility, mobility, and legibility within the modern world. African American women in Washington embraced New Negro Womanhood as a conduit to black modernity.

This dissertation explores the quotidian experience of economic development by studying both the material realities and discursive worlds of 1960s Argentina. I reveal the gendered relationship between economic development and an expanding consumer culture by analyzing the use, circulation, and meanings attributed to household appliances by journalists and public intellectuals. In the late 1950s, many economists, politicians, and intellectuals fervently believed they had found an economic model -- developmentalism -- that would finally provide the means of raising Argentines' standard of living and make the Argentine economy as robust as those of the United States and Northern European countries. Household appliances played a key role because they achieved both those goals, (supposedly) improving women's lives in the process by in part facilitating their increased participation in the workforce. Developmentalists believed their economic model to exist independently of ideology and cultural influences, but their model encountered cultural realities that limited its success. Consumerism--the way through which Argentines interacted with development--and its effects on family and gender relationships complicated the process. Both supporters and critics of developmentalism attacked women's roles as consumers to articulate many of their protestations against changes in women's status and to express anxieties about seemingly unrelated social and cultural changes. I argue that through the course of the 1960s the discussion about consumerism increasingly became a way through which different groups offered distinct visions of how "Argentine society" ought to be transformed.

This study draws on a broad array of written and oral sources. To trace the connection between economic development and consumer society, I interweave an analysis of economic and infrastructural data - such as production statistics or the availability of gas, water - with a study of socio-cultural discourses found in a wide variety of magazines, essays, films, and interviews. I juxtapose these sources in unusual ways to demonstrate two things. First, the cross-referencing of disparate sources to reveals a fuller, more complete picture of economic development and its effects--transcending macro-structural phenomenon to offer a view of quotidian change. And, two, this more complete pictures details how a narrative of hope and idealism evolved into one of anxiety and vitriol as the decade progressed.

This dissertation examines how perceptions of beauty in Brazil reflect both the existing social inequalities and the struggles to produce a more egalitarian society. While hegemonic discourses about beauty in Brazil foster an upper-middle class, white standard, the working-class make claims to citizenship by redefining beauty according to their own affective, sensory experiences. As I see it, the affective relationship that plastic surgery patients have towards their own bodies is central to understanding why beauty is a source of social recognition in Brazil. In this dissertation, I argue that even though discourse attempts to discipline the body to perceive only the "truths" it produces, subjects reinhabit discourses through their immediate sensory experiences, opening up the political space to generate social change.

In order to access this form of "cosmetic citizenship," however, working-class patients undergo low-cost aesthetic surgeries in public hospitals, which are subsidized by the State and help build the national reputation of plastic surgeons. I argue that this national investment in beauty establishes personal appearance as a precondition for citizenship and inclusion in the nation. While media narratives construct beauty as a vehicle for upward mobility in Brazil, the medical discourse about beauty imagines the Brazilian population as becoming progressively homogeneous through "miscegenation" and surgery. These discourses depend on the raciology established by Neo-Lamarckian eugenics at the beginning of the twentieth century, and later popularized by the work of Gilberto Freyre.

At the community of Little Gidding from the late 1620s through the 1640s, in a special room known as the Concordance Chamber, Mary Ferrar, Anna Collett, and their sisters sliced apart printed Bibles and engravings, then pasted them back together into elaborate collages of text and image that harmonize the four gospels into a single narrative. They then bound these books between elaborate covers using a method taught to them by a bookbinder's daughter from Cambridge. The resulting volumes were so meticulously designed that one family member described the process as "a new kind of printing." Collectively, these books are known as the Little Gidding Harmonies, and they are the subject of Cut/Copy/Paste.

By close-reading the Little Gidding Harmonies, Cut/Copy/Paste illuminates a unique Caroline devotional aesthetic in which poets, designers, and printmakers collaboratively explored the capacity of the codex to harmonize sectarianism. Proceeding chronologically, I begin in the Elizabethan and early Stuart periods, when women writers like Isabella Whitney, Mary Sidney Herbert, and a range of anonymous needleworkers laid the groundwork for the Harmonies' cut-up aesthetic by marrying the language of text-making to textile labor (Chapter 1). Situating women's authorship in the context of needlework restores an appreciation for the significance and centrality of ideologically gendered skills to the process of authoring the Harmonies. Building on this chapter's argument, I turn next to the earliest Harmony to show how the Ferrar and Collett women of Little Gidding, in conversation with their friend George Herbert, used cutting and pasting as a way of bypassing the stigma of print without giving up the validation that publication, as in making public, brings. This early volume attracted the attention of the court, and Little Gidding soon found itself patronized by King Charles, Archbishop Laud, and an elite coterie who saw in the women's cut-and-paste "handiwork" a mechanism for organizing religious dissention (Chapter 2). In response, Little Gidding developed ever more elaborate collages of text and image, transforming their writing practice into a full-fledged devotional aesthetic. This aesthetic came to define the poetry of an under-appreciated network of affiliated writers, from Frances Quarles and Edward Benlowes to Royalist expatriate John Quarles, Mary Ferrar at Little Gidding, and her close friend Richard Crashaw (Chapter 3). It fell out of favor in the eighteenth century, derided by Alexander Pope and others as derivative and populist; yet annotations and objects left in one Little Gidding Harmony during the nineteenth century witness how women, still denied full access to publishing in print, continued to engage with scissors and paste as tools of a proto-feminist editorial practice (Chapter 4). The second half of the last chapter and a digital supplement turn to the Harmonies today to argue for a reorientation of digital humanities, electronic editing, and "new media" studies around deeper histories of materialist or technical tropes of innovation, histories that do not always begin and end with the perpetual avant-gardism of modernity.

This project participates in what has been called the "material turn" in the humanities. As libraries digitize their collections, the material specificity of textual objects - the inlays, paste-downs, typesetting, and typography occluded by print editions - becomes newly visible through high-resolution facsimiles. Cut/Copy/Paste seizes this moment of mass remediation as an opportunity to rethink the categories, concepts, and relationships that define and delimit Renaissance literature. By reading early modern cultural production materially, I reveal the richness of the long-neglected Caroline period as a time of literary experimentation, when communities like Little Gidding and their affiliates developed a multimedia, multimodal aesthetic of devotion. Yet, even as this project mines electronic collections to situate canonical texts within a wider field of media objects and material writing practices, it also acknowledges that digital media obscure as much as they elucidate, flattening three-dimensional book objects to fit the space of the screen. In my close readings and digital supplement, I always return to the polyphonic dance of folds and openings in the Harmonies - to the page as a palimpsest, thickly layered with paper, ink, glue, annotations, and evidence of later readers' interactions with it. By attending to the emergent materiality of the Harmonies over the longue durée, Cut/Copy/Paste both deepens our knowledge of seventeenth-century devotional literature and widens the narrow lens of periodization to consider the role of Little Gidding's cut-up method in past, present, and future media ecologies.

“Guangchangwu,” or what is literally translated as “square-dancing,” is a form of public dance that has been exceedingly popular, albeit controversial, in China over recent years. Most of the participants are elderly women in their late-50s or above, who roughly fall in the category called “dama” (“big-mother”). Usually, a dancing group assembles in the evening and dances on a daily basis to the music played through a portable loudspeaker. Yet, because many dancing sites are in or close to residential compounds, the music played, or, the alleged “noise pollution,” have caused numerous conflicts nationwide. During the summer 2014, I conducted a three-months fieldwork on the dance in China. In this thesis, I first demonstrated how a specific guangchangwu dancing group organized in relation to the space it occupied, then I traced the media discourse of guangchangwu and showed how it became linked with elderly women, dama. I argue that this seemingly new and overwhelmingly women-dominated public dance emerges from a series of long existing activities, the embedded gender politics of which articulates China’s recent and ongoing revision of policies and laws regarding birth control and the retirement age. Moreover, it is precisely against the backdrop of such social discourse that the practice and persistence of individual dancing groups becomes meaningful: through an effective organizational structure, these elderly women made their existence visible, audible, and their stories irreducible.

In this dissertation, I analyze the critical, creative, and personal work of Toni Morrison, Hortense Spillers, and Alice Walker in order to suggest that spirituality can be a useful component of Black feminist self-repair. Within the scope of Black women’s literary history, I argue that Morrison, Spillers, and Walker each functioned as three figures from Afrodiasporic spiritual traditions: the griot, the conjurer, and the medium, respectively. This project contends that there is significant overlap between spirituality and magic, the latter of which is defined as the use of ritual activities or observances which are intended to influence the course of events or to manipulate the natural world. In the context of this project, I interpret “magic” as a collection of stylistic choices, inherited traditions, and behaviors that enable Black Americans to repair the psychic, physical, and emotional damage that has been internalized in the wake of the transatlantic slave trade and Jim Crow segregation. This practice of self-repair through magic draws on ritual activities and observances that exist within both Afrodiasporic spiritual traditions as well as a body of Black feminist literary knowledge that has been passed down through generations of Black women writers. I contend that Black Americans’ ability to perform self-repair through spirituality is a practice of world-making that is rooted in Black feminist thought.

This dissertation explores how the contemporary Anglophone novel asks its readers to imagine and respond to disposable life as it emerges in our present-day biopolitical landscape. As the project frames it, disposable life is not just life that is disposed of; it is life whose disposal is routine and unremarkable, even socially and legally sanctioned for such purposes as human consumption, scientific knowledge-production, and economic and political gain. In the novels considered, disposability is tied to excess--to the "too many" who cannot be counted, much less individuated on a case-by-case basis.

This project argues that the contemporary novel forces a global readership to confront the mechanisms of devaluing life that are part of everyday existence. And while the factory-farmed animal serves as the example of disposable life par excellence, this project frames disposability as a form of normalized violence that has the power to operate across species lines to affect the human as well. Accordingly, each chapter examines the contemporary condition of disposability via a different figure of disposable life: the nonhuman (the animal in J. M. Coetzee's The Lives of Animals and Disgrace), the replicated human (the clone in David Mitchell's Cloud Atlas and Kazuo Ishiguro's Never Let Me Go), the woman (in Margaret Atwood's MaddAddam trilogy), and the postcolonial subject (the victim of industrial disaster in Indra Sinha's Animal's People and political violence in Michael Ondaatje's Anil's Ghost). Chapter by chapter, the dissertation demonstrates how the contemporary novel both exposes the logic and operations of disposability, and, by mobilizing literary techniques like intertextual play and uncanny narration, offers up a set of distinctively literary solutions to it.

The dissertation argues that the contemporary novel disrupts the workings of disposability by teaching its audience to read differently--whether, for instance, by destabilizing the reader's sense of mastery over the text or by effecting paradigm shifts in the ethical frameworks the reader brings to bear on the encounter with the literary work. Taken together, the novels discussed in this dissertation move their readership away from a sympathetic imagination based on the potential substitutability of the self for the other and toward a form of readerly engagement that insists on preserving the other's irreducible difference. Ultimately, this project argues, these modes of reading bring those so-called disposable lives, which are abjected by dominant social, economic, and political frameworks, squarely back into the realm of ethical consideration.

Dreaming Woman decenters Europeanist histories of psychoanalysis by examining the ways in which forced migration has shaped psychoanalytic theories of sexual difference and evolving modes of feminist practice in Latin America. Home to more psychoanalysts per capita than any other country, Argentina emerged as a site of political asylum during WWII and of exilic dissemination during periods of military dictatorship. Taking Argentina as an exemplary case of psychoanalytic entrenchment that disrupts neat oppositions between Europe and its others, Dreaming Woman reframes the psychoanalytic archive on sexual difference as a discourse on migration. Tracing the coincident rise of psychoanalysis and authoritarianism in Argentina, I examine the role of migrant women, and of discourses on Woman, in establishing new relationships between psychoanalysis and politics.

Through a multimedia archive that includes literature, autobiography, pop culture artifacts, transnational correspondences, clinical case studies, theoretical essays, and artwork, Dreaming Woman approaches psychoanalysis as a heterogeneous set of clinical and cultural practices through which Argentines have articulated distinctive feminist and anti-imperialist projects throughout the twentieth century. These archival materials share a concern for female sexuality as a national problem—that is, a problem tied to national identity and a problem for the nation-state to solve. They also show the transformative impact of clinical encounters with female sexuality, maternal grief, and torture on modern theories of the subject. In view of contemporary anxieties surrounding global migration, the case of Argentina shows that psychoanalysis has always been a political practice forged through exile, one that offers an indispensable conceptual framework for addressing the persistent psychic traces of displacement.

Genocide studies typically emphasizes economics, law, history, political science, and sociology as the disciplines most relevant to understanding the phenomenon of premeditated mass slaughter, and the scholarship has been dominated by men, both as subjects and authors. Engendering Genocide intervenes in a field traditionally dominated by the social sciences, illustrating how U.S. literary and cultural texts provide a space for their creators and their audiences to imagine the transnational, gendered, and often quotidian nature of genocide. Weaving together literary criticism, feminist theory, and a transnational American Studies methodology, this project analyzes representations of the crime in the twentieth-century United States. Unbound to the empirical protocol of social sciences, my objects of study—which include novels, memoirs, manifestos, photographs, and film—allow for the imagination of political possibilities unafforded to other disciplines. I demonstrate that by giving this crime a name and telling its story, the figures in my project relied on both word and image in order to make visible a specific kind of violence they saw repeating in different iterations throughout human history, and in turn, to instigate nations to interfere in the domestic affairs of other sovereign powers. By chronicling their efforts, Engendering Genocide considers the ethical and aesthetic challenges and consequences involved in these acts of representation. Based on this analysis, I ultimately conclude that the horror of genocide cannot be fully represented—and that’s precisely one of the factors that makes the crime so dangerous: it can hide, so to speak, in plain sight.

Background: Prior studies have produced conflicting results regarding the associations between partner-level characteristics and antiretroviral treatment (ART) adherence, with some findings suggesting that romantic or sexual partners negatively impact ART adherence in women. This study aimed to examine ART adherence in association with individual- and partner-level factors among South African women with sexual trauma histories, a particularly vulnerable group with low levels of ART adherence. Methods: Data were collected as part of a larger trial of HIV-infected women with trauma histories in Cape Town. A structured survey assessed partner characteristics, including the frequency of partner drinking and serostatus-disclosure, as well as individual-level factors. The level of ART nonadherence was measured in the parent trial through medical record abstraction. Univariate and multivariate linear regression analyses were used to explore possible individual- and partner-level predictors of ART nonadherence. Log likelihood ratio tests were used to examine the possible moderation of disclosure on the association between hazardous drinking and ART nonadherence. Results: The combination of hazardous drinking and partner drinking accounted for a significant percentage of the variance in ART nonadherence (F(2, 41) = 3.632, p < .05). HIV-serostatus disclosure was found to significantly modify the relationship between hazardous drinking and nonadherence (LR chi2(1) = 5.67, p < .05). Conclusions: This study found that the frequency of partner drinking and hazardous drinking were significantly associated with ART nonadherence in HIV-seropositive South African women. These analyses additionally found that HIV-serostatus disclosure to a partner exacerbated the effects of hazardous drinking on nonadherence. These findings point to the importance of addressing problem drinking in women and men, and of considering the impact of partners on ART adherence.

Over the past few decades, Sri Lanka has experienced a feminization of migrant labor whereby increasing numbers of women have gone abroad to seek employment as foreign domestic workers. Despite the dominance of this profession among the female migrant labor force, little is known about their occupational health and, thus, little care has been devoted to meeting the health needs of this population. This study aimed to contribute to the current gap in knowledge and bring greater attention to the issue primarily through qualitative inquiry. More specifically, the objectives pursued were to obtain information regarding the health problems that Sri Lankan female foreign domestic workers face, understand how foreign domestic work may have caused those problems, and identify what these women consider to be the more common and more concerning health problems and their causes.

Twenty-five Sri Lankan female foreign domestic workers from Galle District, who were formerly employed in the Middle East, participated in focus group discussions, comprised of six to seven women in each session. During each focus group discussion, the women also engaged in free listing and pile sorting tasks, so as to obtain quantifiable data regarding common and concerning health conditions among female foreign domestic workers. Subsequently, eight participants were invited for in-depth interviews, so as to gain more personal information regarding their individual health.

Through qualitative and quantitative analysis, the study found that not all former female foreign domestic workers suffered from health problems. Of those that did, problems with their physical and mental health were most prevalent. While some experienced only a single concern, others had multiple issues. A number of health conditions perceived to be more common among foreign domestic workers were not thought to be of great concern and vice versa. Furthermore, in reporting what they perceived to be causes of their ill health, the women revealed certain health beliefs. In terms of overall employment, the majority of participants had negative experiences, suffering from overwork and poor treatment as employees. Not all women, however, had the same unpleasant experiences.

Taken together, these findings prompt the need for the Sri Lankan government and the Sri Lanka Bureau of Foreign Employment to do more in terms of prevention and improving the working conditions of Sri Lankan women working as foreign domestic workers. Moreover, the findings can inform the reformation of pre-departure training, legal frameworks, and post-migration assistance to meet the needs of foreign domestic workers, particularly in terms of protecting their rights and health. Future studies may be qualitative so as to further explore foreign domestic workers' health beliefs or cross-cultural and utilizing mixed-methods. Finally, the results of this study will be used to develop a health questionnaire to be administered to this population in a future quantitative study, so as to obtain more generalizeable data in regard to prevalence of certain health problems.