Theses and Dissertations from UMD
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New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a give thesis/dissertation in DRUM
More information is available at Theses and Dissertations at University of Maryland Libraries.
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Item Gynocolonial Legacies: Lasting Influences of the French Founding Mothers in North America(2023) Robinson, Elizabeth W; Baillargeon, Mercédès; French Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Within the annals of history, women have begun to emerge as silent architects and resilient figures who have navigated the labyrinthine constructs of patriarchal systems. Their stories are finding their way to the light of day and taking up more space than they have previously. Such is the case with the historical figures of les filles du roi in New France, and the Casket Girls in Louisiana. In this dissertation, I embark on a comprehensive analysis of literary works from Quebec and Louisiana and the representation of these historical figures within them. Through the stories about the women transported to the French colonies in the late 17th century and early 18th century to serve the patriarchy as wives and mothers, this study extends beyond mere literary and historical analysis and explores the influence of these women in shaping cultural identity reinforced by patriarchal norms.Item NAME, IMAGE AND LIKENESS: A CONTENT ANALYSIS OF HOW WOMEN STUDENT ATHLETES SHARE THEIR STORIES AND LIVED EXPERIENCES ON SOCIAL MEDIA IN THE AGE OF NIL(2023) Scovel, Shannon Marie; Oates, Sarah A; Journalism; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation assesses the self-representation and representation of ten elite collegiate women athletes during the first year of the NCAA’s new ‘name, image and likeness’ policies. Building on theories of representation, gender performance, self-presentation and intersectionality, this study explores how women athletes reproduce notions of feminism, femininity and athleticism on their public TikTok, Instagram and Twitter accounts. Each of the women in this study have at least 50,000 followers across their social media accounts, and the content they produced on these platforms over the 12-month period from July 1, 2021, to July 1, 2022, serves to both reflect and reject hegemonic norms surrounding women in sport. Previous research has demonstrated that women athletes remain marginalized and underrepresented in sports. Scholars have also noted that women athletes typically represent themselves on social media in ways that highlight their personal lives, as opposed to their athletic experiences. This study explores these questions of self-representation through a content analysis of social media posts produced by ten collegiate women and addresses how these women navigated digital storytelling within the neoliberal, capitalist, patriarchal U.S. college sports media ecosystem. The ways in which athlete content was reproduced by journalists during this same period was also assessed. Findings show that journalists rarely engaged with women athletes’ posts during the first year of the NCAA’s new NIL policies and presented women’s success in the NIL era as surprising, unexpected and unrelated to athletic achievements. This dissertation adds to the larger body of research on women’s representation and self-representation in sports but adds a new dimension to this subject by exploring such representations in the collegiate environment, an arena in which athletes were previously denied the opportunity to earn money from their digital storytelling and online brands. The ways in which women challenge and reproduce hegemonic norms in their social media content during this period also contributes to the broader understanding of gender tensions in sports.Item Féminisme sur Instagram : un bilan mitigé(2022) Danos, Clara Clémentine Alice; Orlando, Valérie K; French Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Online feminism was birthed alongside the Internet in its infant stages. With the years, it evolved into a virtual fight on social media and especially on Instagram. The goal of this thesis is to analyze content created by French feminists on Instagram and decide if it could be identified as a fourth wave of feminism in which women would rule the virtual world emancipating themselves from patriarchy in virtual life, in hopes of a more equitable society offline. Presently, alterations in combat against this ubiquitous foe are becoming more accessible, pedagogical, and aesthetic. However, these adaptations corrupt the core of feminism itself; lost consistence in the process with a lack of references, novelty, and anti-capitalist spirit. These inhibitors actively preventing the progression of a fourth wave. Consequently, feminists currently navigate the parameters of male engineered social media and experiencing an Instagram that is complicit in masculinist abuse through internal politics and outside actors.Item RESPONSIVE WILD: REDISCOVERING, REDEFINING, AND REALIGNING(2021) harris, kristina aurelia; Davis, Crystal U.; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The central question of, what is womanhood? anchors this work. Within that wondering and examination is research into feminism, in conversation with rock and roll and 1980s MTV, gender studies, queer studies, and dance studies. The interrogation of MTV as a superstructure for notions of White femininity operates as a site of exploration for the White heterosexual male gaze. This extends into a rediscovery of rock and roll history, and the Black and Queer women (also considered by this work as ‘original’ feminists) who laid a foundation for rock and roll’s future. Through choreographic practice and Queer methodology, questions of womanhood and femininity, Queerness, and feminism, are explored through movement. Memory, lived bodily experiences, community, and the sensations and desires connected to them, are centered in this creative process. Queer and feminist writers accompany this journey; rock and roll functions as a canvas for the exploration of ferocious and mammoth movement; metaphors of physics facilitate the choreographic research into identity as it shifts and navigates fluidity and transformation. Each of these ideas swirl, collide, and manifest through choreographed movement and writing; leading to a new and realigned question: What is Queer Womanhood?Item Blue Beard's First Wife(2020) Howell, Megan Heather; Fuentes, Gabrielle L; Creative Writing; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)A man who changes age at random following a failed suicide attempt. An inpatient at an upscale nursing home whose dementia erases her cruelty but not her past. A teenaged boy whose racist brother upends his best friend’s false sense of security. What each of these characters share in common is the women who fall into their lives, seemingly cursory interlopers whose repressed traumas inform the stories in "Blue Beard's First Wife." To survive, each woman must look to the past, investigating their lives and the lives of those around them while steering clear of the dangers the come with being too curious in a racist, misogynistic world.Item Is Feminist Identity Beneficial for Women's Career Aspirations? Examining Feminist Identity Profiles(2020) Lee, Jaeeun; Wessel, Jennifer; Psychology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Sexism harms women’s career aspirations by emphasizing domestic responsibilities over career competence. Having a feminist identity, however, has been shown to buffer against certain negative effects linked to sexism. The present study uses a person-centered approach to identify profiles of feminist identity based on feminist attitudes, private feminist identification, and public feminist identification and examines how the identified profiles are differentially associated with career aspirations, anticipated family-interference-with-work, and willingness to compromise career for family among women. Three profiles of feminist identity (egalitarian, private feminist, public feminist) emerged from responses from 282 female undergraduate and graduate students (Mage = 20.47). Results showed that public feminists and private feminists were less willing to compromise career for family than women who reject the feminist label despite holding feminist attitudes (i.e., egalitarians). Moreover, public feminists reported higher career aspirations than both private feminists and egalitarians. Limitations and implications of these findings are discussed.Item Honeysuckle Full of Poison: Gender Politics and the 1990s Reception of Courtney Love(2019) Nave, Briana; Robin, William; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Courtney Love, frontwoman of grunge band Hole, is best known for her marriage to Kurt Cobain, the revered frontman of rock band Nirvana. In the 1990s Love was unable to escape persistent sexist stereotyping by the media and Cobain’s fans even after two critically acclaimed albums and other significant artistic accomplishments. Cobain’s status was valued so highly in patriarchal society and masculinist rock that the possibility of Love’s success, who as his wife should have been subordinate, was perceived as a threat to Cobain’s dominancy and legacy. The feminist themes of her music and her unabashed ambition provoked gender anxieties in 1990s American society that reflected in her press reception. Through an analysis of her media reception from 1991 to 1999, this thesis reveals that Love’s public vilification was a matter of sociocultural policing that sought to enforce gender boundaries delineated by prohibitive patriarchal formations in marriage and rock music.Item SUFIMINISM: THE SEXUAL, THE SPIRITUAL, THE SELF(2018) Haq, Sara; Tambe, Ashwini; Women's Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)My dissertation addresses the question: what does an exploration of sexual politics within Islam look like if the mandate of respectability is refused? It explores the possibilities of Sufi thought as an epistemological approach to thinking about sexuality studies and reframing the relationship between Islam and sex. Existing scholarship on Sufism, Islam, and feminism tends to overrely on legal framings of sexuality and heavily exegetical engagements with religion, and offers too many unstated concessions to respectability politics. I argue that by centering the poetic, the everyday, and the transgressive, Sufism can offer alternative understandings of counter-hegemonic Islamic traditions. I use an expansive range of texts such as Sufi qawwali (spiritual songs), Sufi poetry, Qur'anic exegeses, hagiographical texts, and oral storytelling to explore pivotal concepts in sexuality studies: heteronormativity, consent, and the divide between licit and illicit sex. In addition to textual analysis, I present interludes of experiential narratives that are drawn from semi-structured interviews with sexually marginalized Muslims as well as from autoethnographic reflections; they illustrate the complex relationships between religio-spirituality and sexual expression. Each analysis chapter is focused on distinct Sufi tropes, such as wisal/firaq (union/separation), niyyat (intentionality), ‘ubudiyya (servanthood), pain-and-pleasure, kanjri (whore), zaat (being), and izzat (honor). Together, these chapters challenge imperatives of marriage and sex, make the case for affective consent, reflect on unconventional sexual practices such as kink/BDSM, and reframe a conversation about sex work beyond the binary of licit versus illicit sex. I conclude by discussing the possibilities of future research on the contemporary resurgence of feminism and Sufism in South Asian popular culture, as well as my vision for a queer and interdisciplinary approach I call Sufiminism.Item FEMINISTS TRANSFORMING THEIR WORLDS: A COLLECTIVE ORAL-HISTORY OF SALVADORAN PROTAGONISTS(2018) Patt, Yh; Stromquist, Nelly P.; Women's Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Working from the premise that we cannot understand how feminism can transform societies without examining it as a multi-leveled project, this dissertation explores how a group of Salvadoran feminists were introduced to feminist ideas, became feminists, and are transforming themselves, communities, and nation. The object of study is how feminists in organizations became protagonists transforming their worlds. Using a collective oral-history approach, the dissertation examines 40 oral-histories with a two-pronged theoretical framework. The first prong is a theory of empowering feminism—which draws from Stromquist’s theory of empowerment (2014, 2015), definition of feminism (2015), and description of Latin America feminist organizations (2007). The second prong is Bourdieu’s theory of capital (1977). With that framework, the study examines the factors, dynamics, and actions of Salvadoran feminists transforming their worlds. The study found the following in the feminists’ trajectories to becoming protagonists: (1) being introduced to feminist ideas by other feminists, who had experienced patriarchal oppression; (2) becoming a feminist often involved either learning gender theory or a collective gender consciousness-raising process; (3) transforming their homes and workplaces by participating in groups where they read their lives with a feminist lens; (4) developing their own capital—knowledge, skills, networks, and collective feminist experiences; (5) increasing their levels of formal education, from high-school to graduate; (6) learning and teaching feminist topics—such as, gender as a social construction, gender-based violence, sexual and reproductive rights, and symbolic violence against women; (7) intervening to change culture with tools—like murals, stencils, festivals, popular theatre, street demonstrations, cyber-feminism, and media; and (8) lobbying governments and pressuring corporations. A key finding is that these oral-histories suggest an association between the feminists who had leftist social movement capital and those who were most successful in their feminist work. Thus, this dissertation found that the Salvadoran feminists in this study transforming themselves into protagonists changing their worlds through feminist praxis exercised in feminist organizations that involves individual and collective empowerment, and entails producing knowledge. Finally, the study highlights the contention that there is exponential potential for feminist social change in communities with a culture of leftist social movement capital.Item THEIR OWN AGENDA: THE HISTORY, DEVELOPMENT, AND CULTURE OF WOMEN’S ORCHESTRAS OUTSIDE THE UNITED STATES(2018) Alger, Bonnie Eve; Ross, James E; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Women have been active as performers of instrumental music since the Medieval period, and yet their contributions are often overlooked. This dissertation examines the history of women’s orchestras outside the United States, and explores their development, as well as reasons for existing. Several factors regarding their development are taken into consideration, including time period, country, and culture in which the ensemble is present. The birth of the women’s orchestra is traced from the ospedali of the 18th century Venice to today. All-female ensembles from England, Canada, Cuba, and Afghanistan are profiled, as well as the Women’s Orchestra in Auschwitz. Two modern-day women’s orchestras – the Allegra Chamber Orchestra in Vancouver, British Columbia, and my recital orchestra at the University of Maryland – were surveyed in an attempt to learn more about the culture of women’s orchestras. This paper seeks to answer the questions “What is the culture of women's orchestras today, and should they continue to exist?”