DOCSLIB.ORG

Reading Rape and Answering with Empathy: a New Approach to Sexual Assault Education for College Students

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reading Rape and Answering with Empathy: a New Approach to Sexual Assault Education for College Students University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School November 2019 Reading Rape and Answering with Empathy: A New Approach to Sexual Assault Education for College Students Brianna Jerman University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Arts and Humanities Commons Scholar Commons Citation Jerman, Brianna, "Reading Rape and Answering with Empathy: A New Approach to Sexual Assault Education for College Students" (2019). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/8036 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Reading Rape and Answering with Empathy: A New Approach to Sexual Assault Education for College Students by Brianna Jerman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a concentration in Literature Department of English College of Arts & Sciences University of South Florida Major Professor: Diane Price Herndl, Ph.D John Lennon, Ph.D Susan Mooney, Ph.D Michelle Hughes Miller, Ph.D Date of Approval: 28 October 2019 Keywords: Sexual Assault, Teaching, Pedagogy, Empathy, Rape Narratives, Post-Modern Literature Copyright © 2019, Brianna Jerman DEDICATION This dissertation is dedicated to my greatest friend and life partner, Mike Jerman, who was a responsible and empathetic witness to my story long before I knew what that meant and years before this dissertation took root, and who has continued to be an advocate, confidant, and inspiration over the past fourteen years. And to Adeline and Molly, may you learn to channel pain and heartbreak into hope and healing for others. And to our First Tiny Love, who forever impressed on me the importance of empathy, love, and self-care. ACKNOWLEDGEMENTS I cannot take credit for the entirety of this dissertation, as it would not have been possible without a number of people. First, I would like to acknowledge the contributions of my committee. My director, Dr. Price-Herndl, has generously spent many laborious hours talking, reading, and advising. Her knowledge and support through all stages of the research and writing process have been of immeasurable value. I additionally appreciate her guidance on matters outside of this dissertation, especially related to health, motherhood, and balancing the demands of academia. To Dr. John Lennon, who challenged me and thus guided this project to a better place, I am grateful for his diverse perspective and questions. I have learned much from my time as his student and from our conversations about academia and work ethic. Dr. Susan Mooney, too, played a large role in this dissertation from its conception. Her course on masculinity prompted my interest in narrative portrayals of rape and their value, both realized and potential, to a larger discussion of sexual assault. She introduced me to Timothy Findley, whose novel, The Wars, not only appears in this dissertation but has become a personally loved work, and she recommended countless useful resources throughout my time writing. I also want to express my thanks to Dr. Michelle Hughes Miller for stepping in as a committee member later on in the process. I am grateful for her perspective on the future of this project as her course on research methods and methodology has informed multiple aspects of this dissertation and hopes for its implementation. I owe a debt of gratitude to many other professors and faculty members in the English department. The classes I took as a student helped prepare me for this endeavor, and I must make special mention of Dr. Laura Runge, whose course on teaching literature provided a foundation for the pedagogical approaches in this dissertation; and of Dr. Elizabeth Hirsh, whose course on trauma theory helped me both personally and professionally to understand the impacts and manifestations of trauma. I want to thank the English Department for allowing me the privilege of teaching while completing this degree, and Dr. Phillip Sipiora and Dr. David Pringle for trusting me to assist in their classroom and with their research projects. I have learned much about teaching through trial and error and the gracious responses of them both. Further, this document would not exist without the support and encouragement of my family. From my grandparents and parents who founded my love of reading, to my children who help reinscribe this love each time we read together, each of them has played a role in fostering this passion. They have also provided motivation, comfort, and joy in the form of words, food, and affection. I must also single out my parents, Nancy and Michael Dougherty who selflessly worked so my siblings and I could achieve a level of education they did not. Their persistence that we study, work hard, and make school our job growing up maybe worked too well, as I’ve now been in school twenty-eight years of my life. Joking aside, I am thankful to have had such patient, generous, and understanding parents. I am especially thankful to my only family member by choice, my husband Michael Jerman, for his encouragement, support, and immense patience. We have known each other for fourteen years and have been married for ten, and there has not been a day during this time that I haven’t been a student. The weight of earning a PhD while raising a family was shared by Mike. He ceaselessly provided for our family while I focused on completing this project; listened to my complaints and anxieties in equal proportion to my joys and ruminations; and endured the fallout of my scattered mind when the house was a mess, the kids weren’t bathed, and the car was out of gas. He also voluntarily read and provided feedback on each chapter of this project. He remains my greatest cheerleader. Finally, I am especially indebted to survivors of sexual assault who have bravely spoken about their experiences as victims. I had many reasons to abandon this project: it is emotionally difficult and exhausting to engage with stories of trauma, both real and fictional; there are fears I’m asking readers too much; my knowledge of trauma theory has made me aware of the possibility of triggering or retraumatizing the very people I’m hoping to help; people have said that my choice to write about rape makes them uncomfortable; and I wonder how it will be received by a more general audience. But each time I’ve nearly resolved to end this project, something—the publication of a story about a prominent director sexually assaulting actors or of a convicted rapist sentenced only to probation—proves the work set out in this dissertation is necessary. I want to thank the many friends and acquaintances who shared their experiences of sexual trauma with me personally. An unexpected and unintentional byproduct of writing about this topic is that it presents as an invitation for people to tell me their stories. For each of these people, I am so thankful and feel so honored that I could be a witness. This charge was almost always heavy but these stories provided constant motivation to look to a better future and try to be a part of its foundation. I thus owe this finished project to the men and women whose stories encouraged me to keep writing. TABLE OF CONTENTS List of Figures ............................................................................................................................... iii Abstract ...........................................................................................................................................v Introduction ......................................................................................................................................1 Chapter 1: Instilling Victim Empathy Through Rape Narratives .................................................16 Current Sexual Assault Prevention and Response Strategies ............................................19 A Case for Empathy ...........................................................................................................23 If and How Empathy Can Be Taught .................................................................................28 Using Literature to Teach Empathy ...................................................................................34 Using Literature in Sexual Assault Prevention and Response Education..........................43 Chapter 2: Historicizing Victim Blaming Tendencies and Challenging Implicit Bias: Rape Myths in John Fowles’ The French Lieutenant’s Woman .............................................50 The Trial of Emile de La Ronciere and the Initiation of Victim Blaming Culture ............55 Sarah as a Casualty of a Victim Blaming Culture ............................................................65 The Interpretive Impact of Fowles’ Three Endings ..........................................................72 The First Ending ....................................................................................................73 The Second Ending ................................................................................................75 The Third Ending ...................................................................................................82 Reading Sarah Through Fowles’ Selectively Omniscient Narrator ...................................83
Load more

Recommended publications
  • Ml~;~An" a 1998 Penn Bowl 007
    Ml~;~aN" A 1998 Penn Bowl 007 (SCIENCE - Biology) l. This group of marine organisms is usually characterized by a peduncle or stalk attached to the substrate and a calyx of feathery arms, but it also includes the free-swimming feather stars. For tenn points name this class of echinoderms commonly known as the sea lillies. (GEOGRAPHY - Physical) 2. Ascend the Khumbu Icefall, head east up the Western Cwm [KOOM] and climb the sheer but technically unchallenging Lhotse [LOT-SEE] Face. Now head up the SouthEast ridge to the South Col, the South Summit and the summit itself. After following these directions you will have climbed, for 10 points, what mountain, first conquered in 1953 by Tenzing and Hillary. ANSWER: Mount _EveresC OR _Cho-mo-Iung-ma_ (HISTORY - Ancient - Non-Western) 3. Believing that they should not mix with people they conquered, this nomadic group moved south from the Caucasus and gradually defeated the Harappa people. The Rig-Veda says that they expanded into the Punjab and the Ganges River basin. FTP, name this group whose traditions shaped Hinduism and the Indian caste system, and whose name comes from the Sanskrit for "noble." ANSWER: _Aryans_ (MYTHOLOGY - Norse) 4. According to legend, the gods killed the giant Aurgelmir, the first created being, and rolled his body into the central void of the universe thus creating this realm. His flesh became the land, his blood the oceans, his bones the mountains, and his hair the trees. This place is situated halfway between Niflheim on the north and Muspelheim to the south. FTP -- name this Middle Earth of Norse mythology.
    [Show full text]
  • Aliza Shvarts Cv
    A.I.R. ALIZA SHVARTS CV www.alizashvarts.com SOLO AND TWO PERSON EXHIBITIONS 2018 Off Scene, Artspace, New Haven, CT ​ 2016 Aliza Shvarts, Kevin Kavanagh Gallery, Dublin, Ireland ​ 2010 Knowing You Want It, UCLA Royce Hall, Los Angeles, CA ​ SELECTED GROUP EXHIBITIONS 2019 Study Session: Aliza Shvarts, Ayanna Dozier, and Narcissister, The Whitney Museum, NYC 2019 In Practice: Other Objects. SculptureCenter, Long Island City, NY th ​ 2018 ANTI, 6 ​ Athens Biennale. Athens, Greece ​ ​ 2018 A new job to unwork at, Participant Inc, NYC ​ 2018 Aliza Shvarts, Patty Chang & David Kelley. Marathon Screenings, Los Angeles, CA. ​ 2018 International Festival of Arts&Ideas, Public art commission. New Haven, CT ​ 2017 (No) Coma Cuento, Universidad de los Andes, Bogotá, Colombia ​ 2017 Aliza Shvarts and Devin Kenny, Video Artists Working Group, Artists Space, NYC ​ 2017 Goldman Club (with Emanuel Almborg), Dotory, Brooklyn, NY ​ 2016 Situational Diagram: Exhibition Walkthrough, Lévy Gorvy Gallery, NYC ​ 2016 SALT Magazine and Montez Press present, Mathew Gallery, NYC ​ 2016 eX-céntrico: dissidence, sovereignties, performance, The Hemispheric Institute, Santiago, Chile ​ 2016 Subject to capital, Abrons Arts Center, NYC ​ 2015 Soap Box Session: Directing Action, ]performance s p a c e[ London, England. ​ 2015 Learning to Speak in a Future Tense, Abrons Arts Center, NYC ​ 2015 The Magic Flute (with Vaginal Davis), 80WSE Gallery. NYC ​ 2015 On Sabotage (screening), South London Gallery, London ​ GRANTS AND AWARDS 2019 A.I.R Artist Fellowship, A.I.R Gallery
    [Show full text]
  • 4. Film As Basis for Poster Examination
    University of Lapland, Faculty of Art and Design Title of the pro gradu thesis: Translating K-Horror to the West: The Difference in Film Poster Design For South Koreans and an International Audience Author: Meri Aisala Degree program: Graphic Design Type of the work: Pro Gradu master’s thesis Number of pages: 65 Year of publication: 2018 Cover art & layout: Meri Aisala Summary For my pro gradu master’s degree, I conducted research on the topic of South Korean horror film posters. The central question of my research is: “How do the visual features of South Korean horror film posters change when they are reconstructed for an international audience?” I compare examples of original Korean horror movie posters to English language versions constructed for an international audience through a mostly American lens. My study method is semiotics and close reading. Korean horror posters have their own, unique style that emphasizes emotion and interpersonal relationships. International versions of the posters are geared toward an audience from a different visual culture and the poster designs get translated accordingly, but they still maintain aspects of Korean visual style. Keywords: K-Horror, melodrama, genre, subgenre, semiotics, poster I give a permission the pro gradu thesis to be read in the Library. 2 목차Contents Summary 2 1. Introduction 4 1.1 Research problem and goals 4 1.2 The movie poster 6 1.3 The special features of K-Horror 7 1.3.1 Defining the horror genre 7 1.3.2 The subgenres of K-Horror 8 1.3.3 Melodrama 9 2. Study methods and material 12 2.1 Semiotics 12 2.2 Close reading 18 2.3 Differences in visual culture - South Korea and the West 19 3.
    [Show full text]
  • Witch Hunts and the Sexual Assault Enterprise on the Modern Campus
    Witch Hunts and the Sexual Assault Enterprise on the Modern Campus I. Introduction On December 13, 2013, Amherst College expelled a student for violating its disciplinary code, concerning Sexual Misconduct Policy: Sexual Assault .1 This decision may seem innocuous, but in reality it effectively proclaimed the student guilty of rape and demolished his professional and academic career. Furthermore, while punishing a rapist is commendable, the facts of the situation present an entirely different interpretation. On February 4-5, 2012, the accused student (known as John Doe) and the accuser (known as Sandra Jones) returned to Jones’ room, where Doe’s girlfriend also lived. Sometime during the night, Jones engaged in sexual activities with Doe. After one year and nine months, Jones filed an official complaint with Amherst, alleging Doe raped her. 2 In merely six weeks between the filing of the complaint and the disciplinary ruling, the college’s investigator conducted interviews that constituted all the evidence gathered for the case. The investigator found that: Jones changed her story concerning whether she ever consented to the act; one of Jones’ witnesses blatantly lied about the encounter; evidence showed that Jones lied about sending texts to another student concerning the encounter (though the investigator never interviewed that student). 3 Despite knowing of a witness who had evidence that called the accusations into question, the investigator never pursued contacting that witness.4 Interestingly, the investigator made no conclusions as to whether Doe sexually assaulted Jones, but did determine that Doe blacked out from alcohol intoxication and could not recall anything. 5 Despite having no clear findings, Amherst expelled Doe approximately one month after the 1 Complaint and Jury Demand at 15, Doe v.
    [Show full text]
  • False Allegations of Sexual Assault
    47VAW3877VAW161210.1177/1077801210387747Lisak et al.Violence Against Women Symposium on False Allegations of Rape Violence Against Women 16(12) 1318 –1334 False Allegations of Sexual © The Author(s) 2010 Reprints and permission: http://www. Assualt: An Analysis of Ten sagepub.com/journalsPermissions.nav DOI: 10.1177/1077801210387747 Years of Reported Cases http://vaw.sagepub.com David Lisak1, Lori Gardinier2, Sarah C. Nicksa2, and Ashley M. Cote2 Abstract One of the most controversial disputes affecting the discourse related to violence against women is the dispute about the frequency of false allegations of sexual assault. In an effort to add clarity to the discourse, published research on false allegations is critiqued, and the results of a new study described. All cases (N = 136) of sexual assault reported to a major Northeastern university over a 10-year period are analyzed to determine the percentage of false allegations. Of the 136 cases of sexual assault reported over the 10-year period, 8 (5.9%) are coded as false allegations. These results, taken in the context of an examination of previous research, indicate that the prevalence of false allegations is between 2% and 10%. Keywords false allegations, sexual assault Rape is unique. No other violent crime is so fraught with controversy, so enmeshed in dispute and in the politics of gender and sexuality. For example, despite decades of careful social science research, prevalence rates are still frequently challenged on political grounds, and bold assertions are made in the absence of any data (e.g., MacDonald, 2008; Roiphe, 1993). And within the domain of rape, the most highly charged area of debate concerns the issue of false allegations.
    [Show full text]
  • Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture
    Acts of Public Survival: The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Tess Elizabeth Cumpstone, MA Graduate Program in Women’s, Gender, and Sexuality Studies The Ohio State University 2018 Thesis Committee: Dr. Guisela Latorre, Advisor Dr. Margaret Price Copyright by Tess Elizabeth Cumpstone 2018 2 Abstract “Acts of Public Survival” analyzes how community-based, anti-rape art projects on college campuses challenge the sexist-ableist rhetorical maneuvers that pathologize survivors and position them as outliers requiring special treatment. This violent rhetoric is evident in messages that have been circulated by prominent public figures, as well as entrenched in the policies and administrative responses addressing sexual violence on college campuses. The impact of such rhetoric is the perpetuation and affirmation of the sub-humanization of survivors of sexual trauma. In this thesis, I put disability studies scholarship in conversation with feminist theories on sexual violence and public art in order to highlight the interconnected history of sexism-ableism in the U.S. and the function of anti-rape art projects as artivist practices on college campuses. Specifically, I will be considering Duke University’s Breaking Out Campaign, the University of Chicago’s Clothesline Project, and Emma Sulkowicz’s Mattress Performance (undertaken at Columbia University). I use grounded theory and discourse analysis to interpret digital articles written in reaction to the art projects and to track three common trends in sexist-ableist campus community responses: the narrative of special treatment, the narrative of pathology, and the narrative of willful ignorance.
    [Show full text]
  • UNITED STATES DISTRICT COURT SOUTHERN DISTRICT of NEW YORK PAUL NUNGESSER, Plaintiff, No. 15-Cv-3216 (GHW) Oral Argument Reques
    Case 1:15-cv-03216-GHW Document 29 Filed 08/28/15 Page 1 of 32 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK PAUL NUNGESSER, No. 15-cv-3216 (GHW) Plaintiff, Oral Argument Requested v. COLUMBIA UNIVERSITY, TRUSTEES OF COLUMBIA UNIVERSITY, LEE C. BOLLINGER, individually and as agent of Columbia University, and JON KESSLER, individually and as agent of Columbia University, Defendants. MEMORANDUM OF LAW IN SUPPORT OF DEFENDANTS’ MOTION TO DISMISS THE AMENDED & SUPPLEMENTED COMPLAINT PAUL, WEISS, RIFKIND, WHARTON & GARRISON LLP 1285 Avenue of the Americas New York, New York 10019-6064 (212) 373-3000 Attorneys for Columbia University, Trustees of Columbia University, Lee C. Bollinger, and Jon Kessler Case 1:15-cv-03216-GHW Document 29 Filed 08/28/15 Page 2 of 32 TABLE OF CONTENTS Page PRELIMINARY STATEMENT .....................................................................................................1 STATEMENT OF FACTS ..............................................................................................................3 ARGUMENT ...................................................................................................................................6 I. Plaintiff Fails to State a Title IX Claim ...............................................................................6 A. The Conduct Alleged Was Not Sexual Harassment ............................................... 8 B. Plaintiff Was Not Barred from Access to Educational Opportunities .................... 9 C. Title IX Does Not Require that Columbia
    [Show full text]
  • DOROTTYA JÁSZAY, ANDREA VELICH Eötvös Loránd University
    Film & Culture edited by: DOROTTYA JÁSZAY, ANDREA VELICH Eötvös Loránd University | Faculty of Humanities | School of English and American Studies 2016 Film & Culture Edited by: DOROTTYA JÁSZAY, ANDREA VELICH Layout design by: BENCE LEVENTE BODÓ Proofreader: ANDREA THURMER © AUTHORS 2016, © EDITORS 2016 ISBN 978-963-284-757-3 EÖTVÖS LORÁND TUDOMÁNYEGYETEM Supported by the Higher Education Restructuring Fund | Allocated to ELTE by the Hungarian Government 2016 FILM & CULTURE Marcell Gellért | Shakespeare on Film: Romeo and Table of Juliet Revisioned 75 Márta Hargitai | Hitchcock’s Macbeth 87 Contents Dorottya Holló | Culture(s) Through Films: Learning Opportunities 110 Géza Kállay | Introduction: Being Film 5 János Kenyeres | Multiculturalism, History and Identity in Canadian Film: Atom Egoyan’s Vera Benczik & Natália Pikli | James Bond in the Ararat 124 Classroom 19 Zsolt Komáromy | The Miraculous Life of Henry Zsolt Czigányik | Utopia and Dystopia Purcell: On the Cultural Historical Contexts of on the Screen 30 the Film England, my England 143 Ákos Farkas | Henry James in the Cinema: When Miklós Lojkó | The British Documentary Film the Adapters Turn the Screw 44 Movement from the mid-1920s to the mid-1940s: Its Social, Political, and Aesthetic Context 155 Cecilia Gall | Representation of Australian Aborigines in Australian film 62 Éva Péteri | John Huston’s Adaptation of James Joyce’s “The Dead”: A Literary Approach 186 FILM & CULTURE Eglantina Remport & Janina Vesztergom | Romantic Ireland and the Hollywood Film Industry: The Colleen
    [Show full text]
  • Towards a New Reading of Trauma
    TRACING THE SCARS: TOWARDS A NEW READING OF TRAUMA ______________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ______________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ______________________________________________________________________ by Susan Cherie Beam May 2020 Examining Committee Members: Dr. Suzanne Gauch, Advisory Chair, English Dr. Sue-Im Lee, English Dr. Carissa Harris, English Dr. Beverly E. Schneller, External Member, Belmont University i ABSTRACT In our contemporary cultural setting, the notion of “trauma” has been extended far beyond a clinical diagnosis and cultural trope into a signifier denoting a subjective reaction to experiences ranging from small grievances to large-scale tragedies. In a world where stories featuring traumatic subject matter have become part of our daily reading, is how we read, understand, and teach trauma still effective? This dissertation explores the ahistorical, subjective experience of trauma as represented in a selection of contemporary global literature, pushing back against canonical trauma literary theory posed by scholars such as Cathy Caruth and instead, suggests a new mode of reading traumatic representation. I argue that, by exploring both the wounded mind and the wounded body, with attention to the influence of the traumatic context and close-reading the nuance of the figurative language of representation, we have
    [Show full text]
  • The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels
    Engels: Baadassss Gangstas: The Parallel Influences, Characteristics and JOURNAL OF HIP HOP STUDIES . Baadassss Gangstas: The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels Abstract Serving as two of the most visible African American cultural movements, blaxploitation cinema and gangsta rap played essential roles in giving African American artists an outlet to establish a new black identity for mainstream audiences. After exploring the similarities between the cultural and economic conditions that spawned both movements, this essay examines the parallel techniques by which the preeminent entries in both genres established themselves as culturally relevant for African American audiences. These techniques included a reliance on place and space to establish authenticity, as well as employing African American myths and folklore such as the Signifying Monkey and the badman. By establishing themselves as mainstream representations of black identity, the harshest critics and staunchest defenders of both movements came from within the African American community, a clear indication of the important role each would play in establishing a new era of black representation in popular culture. In October 2012, New Orleans rapper Curren$y released a mixtape online for his fans entitled Priest Andretti. Taking its name from the main character of the 1972 blaxploitation film Super Fly, this fourteen-track mixtape frequently pays homage to the blaxploitation movement that occurred in the early 1970s by incorporating clips from Super Fly throughout, as well as including songs entitled “Max Julien” (star of the 1973 film The Mack) and “Cleopatra Jones” (title character of the 1973 film Cleopatra Jones).
    [Show full text]
  • Museums, Feminism, and Social Impact Audrey M
    State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Museum Studies Theses History and Social Studies Education 5-2019 Museums, Feminism, and Social Impact Audrey M. Clark State University of New York College at Buffalo - Buffalo State College, [email protected] Advisor Nancy Weekly, Burchfield Penney Art Center Collections Head First Reader Cynthia A. Conides, Ph.D., Associate Professor and Coordinator of the Museum Studies Program Department Chair Andrew D. Nicholls, Ph.D., Chair and Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to https://history.buffalostate.edu/. Recommended Citation Clark, Audrey M., "Museums, Feminism, and Social Impact" (2019). Museum Studies Theses. 21. https://digitalcommons.buffalostate.edu/museumstudies_theses/21 Follow this and additional works at: https://digitalcommons.buffalostate.edu/museumstudies_theses Part of the Feminist, Gender, and Sexuality Studies Commons, Museum Studies Commons, and the Women's History Commons I Abstract This paper aims to explore the history of women within the context of the museum institution; a history that has often encouraged collaboration and empowerment of marginalized groups. It will interpret the history of women and museums and the impact on the institution by surveying existing literature on feminism and museums and the biographies of a few notable female curators. As this paper hopes to encourage global thinking, museums from outside the western sphere will be included and emphasized. Specifically, it will look at organizations in the Middle East and that exist in only a digital format. This will lead to an analysis of today’s feminist principles applied specifically to the museum and its link with online platforms.
    [Show full text]