DOCSLIB.ORG

A Feminist Rhetorical Analysis of Legally Blonde and How to Get Away with Murder Jazmine M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Feminist Rhetorical Analysis of Legally Blonde and How to Get Away with Murder Jazmine M Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Graduate School Spring 5-2-2017 From Blonde to Brutal: A Feminist Rhetorical Analysis of Legally Blonde and How to Get Away With Murder Jazmine M. Moreno [email protected] Follow this and additional works at: http://digitalcommons.acu.edu/etd Recommended Citation Moreno, Jazmine M., "From Blonde to Brutal: A Feminist Rhetorical Analysis of Legally Blonde and How to Get Away With Murder" (2017). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 50. This Thesis is brought to you for free and open access by the Graduate School at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. For more information, please contact [email protected]. ABSTRACT Feminism is a word that strikes up many connotations, but has no set definition. Though it might take on different definitions, its overall goal is equality. Feminism has appeared throughout history in various waves, the third-wave is currently in progress. Two artifacts from this wave of feminism include Legally Blonde and How to Get Away With Murder. This thesis utilizes feminist rhetorical criticism to analyze how third-wave feminism appears in each artifact, and what implications that has for the progression of feminism. The research identified two types of feminism, girlie feminism in Legally Blonde, and intersectional in How to Get Away With Murder, respectively. The different types of feminism in each artifact lead to the finding that each is indicative of what third wave feminism was concerned with at the time. Legally Blonde and girlie feminism were geared towards making femininity acceptable in the workplace and compatible with feminism. How to Get Away With Murder and intersectionality are focused on inclusivity in feminism. Despite these differences, both artifacts work for the benefit of feminism, and advancing its ultimate goal of equality. From Blonde to Brutal: A Feminist Rhetorical Analysis of Legally Blonde and How to Get Away With Murder A Thesis Presented to The Faculty of the Graduate School Abilene Christian University In Partial Fulfillment Of the Requirements for the Degree Master of Arts In Communication By Jazmine Marta Moreno December 2016 5-2-2017 ACKNOWLEDGEMENTS The first thank you has to go to God for allowing all this to be possible. Thank you to my parents who have always encouraged me and never once doubted me. Thank you to my committee for taking the time to be my committee: Dr. Davis, Dr. Lemley, and Dr. Macaluso. And last, but definitely not least, thank you to my cohort: Faith, Kholo, Audrey, Philip, and Kaylen. Y’all have been incredible to work with and have helped keep me sane the past two years. TABLE OF CONTENTS ! I. INTRODUCTION .................................................................................................. 1! Media ...................................................................................................................... 6 Feminist Criticism in Media ....................................................................... 9 Feminism ............................................................................................................... 12 Girlie Feminism ........................................................................................ 17 Intersectionality ......................................................................................... 19 Men and Feminism ................................................................................... 21 Double Binds ........................................................................................................ 21 Legally Blonde ...................................................................................................... 23 How to Get Away With Murder ............................................................................ 26 Methodology ......................................................................................................... 28 Feminist Media Criticisms ........................................................................ 30 Conclusion ............................................................................................................ 31 II. LEGALLY BLONDE ............................................................................................. 33 Synopsis of Legally Blonde .................................................................................. 34 The Rhetorical Situation ........................................................................... 36 Double Binds ........................................................................................................ 37 Generational Feminist Differences ....................................................................... 40 Reclamation of Femininity ................................................................................... 44 Sisterhood and Empowerment .............................................................................. 49 Social Ostracizing ................................................................................................. 55 The Men of Legally Blonde .................................................................................. 57 Conclusion ............................................................................................................ 64 III. THE IN-BETWEEN SHOWS .............................................................................. 68 The In-Between Shows ......................................................................................... 69 Womb Versus Brain .................................................................................. 72 Silence Versus Shame ............................................................................... 76 Sameness Versus Difference ..................................................................... 80 Femininity Versus Competence ................................................................ 83 Aging Versus Invisibility .......................................................................... 86 Conclusion ............................................................................................................ 90 IV. HOW TO GET AWAY WITH MURDER ............................................................... 93 Synopsis of Murder ............................................................................................... 94 The Rhetorical Situation ........................................................................... 96 Double Binds ........................................................................................................ 96 Diversity and Intersectionality .............................................................................. 99 Women in Male-Dominated Professions ............................................................ 101 Sexism ................................................................................................................. 106 Slut-Shaming ....................................................................................................... 109 The Men of Murder ............................................................................................ 114 Conclusion .......................................................................................................... 119 V. CONCLUSION ................................................................................................... 123 Illustration of Third Wave Feminism ................................................................. 123 Characterizations ..................................................................................... 124 Settings .................................................................................................... 125 Comparison and Contrasts of Feminism ............................................................. 127 Appearance of Double Binds .............................................................................. 128 Limitations and Future Research ........................................................................ 129 Conclusion .......................................................................................................... 130 BIBLIOGRAPHY ............................................................................................... 132! CHAPTER I INTRODUCTION Television and films are prevalent forms of media. It is evident that both have left an indelible effect on audiences. When statistics show that “there are 2.3 televisions in each home” in the United States, escaping their wide influence poses a difficult challenge.1 Television and films are influential because they are “communicating something – ideas, attitudes, values – content with implications and consequences for human action.”2 This statement from communication scholar Gage Chapel also presents an interesting insinuation concerning media; particularly how influential television and films can be for their audiences. Both media forms remain ubiquitous aspects of American culture with the ability to communicate a variety of ideologies and beliefs to a broad range of audiences. Scholars and critics in the field of rhetoric have focused on what particular ideas both forms of media express. This thesis aims to examine how the media portrays female professionals, specifically, the portrayal of female attorneys in the film Legally Blonde and the television series How to Get Away With Murder. In order
Load more

Recommended publications
  • DISTINGUISHED ALUMNI As of 3/1/2017
    University of Northern Colorado School of Theatre Arts and Dance DISTINGUISHED ALUMNI as of 3/1/2017 Broadway – 25 Performers (55 Productions) Josh Buscher – West Side Story 2009 (OC), Pricilla Queen of the Desert (OC), Big Fish (OC) Ryan Dinning – Machinal (OC) Jenny Fellner – Wicked, Mamma Mia, The Boyfriend, Pal Joey (OC) Scott Foster – Forbidden Broadway (Alive and Kicking) 2013, Brooklyn (OC), Forbidden Broadway (Alive and Kicking) 2014 Greg German – Assassins (OC), Biloxi Blues (OC), Boeing/Boeing Patty Goble – Bye Bye Birdie 2009 (OC), Curtains (OC), The Woman in White (OC), La Cage Aux Follies 2004 (OC), Kiss Me Kate 1999 (OC), Ragtime (OC), Phantom of the Opera Derek Hanson – Anything Goes (Sutton Foster), Side Show (2014 Revival), An American in Paris (2016), Tamara Hayden – Les Miz, Cabaret Autumn Hulbert – Legally Blonde Aisha Jackson – Beautiful: The Carol King Musical, Waitress (OC) Ryan Jesse – Jersey Boys Patricia Jones – Buried Child (OC), Indiscretions (w/Kathleen Turner) Andy Kelso – Mamma Mia, Kinky Boots (OC) Beth Malone – Ring of Fire (OC), Fun Home (OC)+ Victoria Matlock – Million Dollar Quartet (OC) Jason Olazabal – Julius Caesar (OC) (w/Denzel Washington) Laura Ryan – Country Roads The John Denver Musical (OC) Lisa Simms – A Chorus Line Andrea Dora Smith – Tarzan, Motown (OC) Erica Sweany – Honeymoon in Vegas – The Musical (OC) Jason Veasey – The Lion King Jason Watson – Mamma Mia Aléna Watters – Sister Act (OC), Adams Family Musical (OC), West Side Story 2009, Wysandria Woolsey – Chess, Parade, Beauty and the
    [Show full text]
  • Female Friendship Films: a Post-Feminist Examination Of
    FEMALE FRIENDSHIP FILMS: A POST-FEMINIST EXAMINATION OF REPRESENTATIONS OF WOMEN IN THE FASHION INDUSTRY Gülin Geloğulları UNIVERSITY OF NORTH TEXAS Thesis Prepared for the Degree of MASTER OF ARTS Approved by the Thesis Committee: Dr. George S. Larke-Walsh Dr. Jacqueline Vickery Dr. Sandra L. Spencer Geloğulları, Gülin. Female Friendship Films: A Post-Feminist Examination of Representations of Women in the Fashion Industry. Master of Arts (Radio, Television, and Film), December 2015, 101 pp., references, 56 titles. This thesis focuses on three fashion industry themed female friendship films: Pret-a- Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films. Copyright 2015 by Gülin Geloğulları ii This thesis is dedicated to my first playmate, best friend, bodyguard, guardian angel, dreamcatcher, teacher, academic adviser, mentor, bank, real hero and brother: Dr. Cumhur Alper Geloğulları. I will be eternally grateful to you for making my life wonderful. I love you my dear brother; without your support I wouldn’t be the person I am today. Thank you, Abicim. Many Thanks to: My parents, thesis committee members, UNT Toulouse Graduate School mentors and staff members, UNT Thesis Boot Camp Committee, UNT-International Family, UNT and Denton Community, Rotary International, Rotary District 5790 and 2490.
    [Show full text]
  • Withering Heights
    Withering Heights When one mentions the Presbyterian Church, the name that first comes to mind is that of the Scottish Calvinist clergyman John Knox. This dynamic religious leader of the Protestant Reformation founded the Presbyterian denomination and was at the beginning of his ministry in Edinburgh when he lost his beloved wife Marjorie Bowes. In 1564 he married again, but the marriage received a great deal of attention. This was because she was remotely connected with the royal family, and Knox was almost three times the age of this young lady of only seventeen years. She was Margaret Stewart, daughter of Andrew Stewart, 2nd Lord of Ochiltree. She bore Knox three daughters, of whom Elizabeth became the wife of John Welsh, the famous minister of Ayr. Their daughter Lucy married another clergyman, the Reverend James Alexander Witherspoon. Their descendant, John Knox Witherspoon (son of another Reverend James Alexander Witherspoon), signed the Declaration of Independence on behalf of New Jersey and (in keeping with family tradition) was also a minister, in fact the only minister to sign the historic document. John Knox Witherspoon (1723 – 1794), clergyman, Princeton’s sixth president and signer of the Declaration of Independence. Just like Declaration of Independence signatory John Witherspoon, actress Reese Witherspoon is also descended from Reverend James Alexander Witherspoon and his wife Lucy (and therefore John Knox). The future Academy Award winner, born Laura Jeanne Reese Witherspoon, was born in New Orleans, having made her début appearance at Southern Baptist Hospital on March 22, 1976. New Orleans born Academy Award winning actress, Reese Witherspoon Reese did not get to play Emily Brontë’s Cathy in “Wuthering Heights” but she did portray Becky Sharp in Thackeray’s “Vanity Fair”.
    [Show full text]
  • JERSEY BOYS and KINKY BOOTS Highlight the 2017-18 Broadway at the Orpheum Theatre Series
    FOR IMMEDIATE RELEASE Press Contact: Reida York Director of Advertising and Public Relations 816.559.3847 office | 816.668.9321 cell [email protected] JERSEY BOYS and KINKY BOOTS Highlight the 2017-18 Broadway at The Orpheum Theatre Series PHOENIX, AZ – The Tony Award®-winning Best Musicals JERSEY BOYS and KINKY BOOTS highlight the 2017-18 Broadway at The Orpheum Theatre Series, presented by Theater League in Phoenix, Arizona, at the beautiful Orpheum Theatre. Season renewals and priority orders are available at BroadwayOrpheum.com or by calling 800.776.7469. “We are thrilled to bring such powerful productions to the Orpheum Theatre,” Theater League President Mark Edelman said. “We are honored to be a part of this community and we look forward to contributing to the arts and culture of Phoenix with this strong season.” The Broadway in Thousand Oaks line-up features the best of Broadway, including the international sensation, JERSEY BOYS, the high-heeled hit, KINKY BOOTS, the nostalgic standard, MUSIC MAN: IN CONCERT, and the legendary classic, A CHORUS LINE. The 2017-18 Broadway at The Orpheum Theatre Series includes the following hit musicals: MUSIC MAN: IN CONCERT December 1-3, 2017 A Broadway classic in concert featuring the nostalgic score of rousing marches, barbershop quartets and sentimental ballads, which have become popular standards. Meredith Willson’s musical comedy has been delighting audiences since 1957 and is sure to entertain every generation. Harold Hill is a traveling con man, set to pull a fast one on the people of River City, Iowa, by promising to put together a boys band and selling instruments — despite the fact he knows nothing about music.
    [Show full text]
  • The Analysis of Secondary Emotion Toward Clothilde Destange’S Character in the Blonde Lady Novel by Maurice Leblanc
    Jurnal Ilmu Budaya Vol. 3, No. 1, Januari 2019 e-ISSN 2549-7715 Hal: 62-75 THE ANALYSIS OF SECONDARY EMOTION TOWARD CLOTHILDE DESTANGE’S CHARACTER IN THE BLONDE LADY NOVEL BY MAURICE LEBLANC Monica Lusi, Singgih Daru Kuncara, Ririn Setyowati English Literature Department, Faculty of Cultural Sciences Mulawarman University Email: [email protected] ABSTRACT The study of emotion is interesting and unique to be understood and discussed. Moreover, analysis about emotion in the novel is challenging because it cannot be analyzed by facial expression of the character but based on the narration and the dialogue of the character. The purposes of this study are to analyze the secondary emotions and the factors that cause it toward Clotilde Destange’s Character in The Blonde Lady novel by Maurice LeBlanc. Ten Houten’s present theory from Plutchik about secondary emotion was suitable to be used as the theory to identify the secondary emotions that are appears in the Clotilde’s Character and the theory from Plutchik about emotion as a chain of event to examine the factors that cause secondary emotion of Clotilde’s character. The qualitative method was used to analyze the novel. This research uses sentences, pages, narration, dialogues, and paragraph that related to the secondary emotion in The Blonde Lady novels. The results of the study show that the secondary emotion appeared in the main female character. The study also was identified that the factors that cause the secondary emotion of Clotilde’s character is come from the stimulus event which followed by cognition, feeling states, overt behavior.
    [Show full text]
  • Legally Blonde: Introduction
    Being true to yourself never goes out of style! WINNER BEST NEW MUSICAL 2011 OLIVIER AWARD EDUCATION KIT AUSTRALIAN PREMIERE SEASON • SYDNEY LYRIC LegallyBlonde.com.au facebook.com/ legallyblondemusical @legallyblondeoz Legally Blonde: INTRODUCTION INTRODUCTION This teacher’s guide has been developed as a teaching tool to assist teachers who are bringing their students to see the show. This guide is based on Camp Broadway’s StageNOTES, conceived for the original Broadway musical adaptation of Amanda Brown’s 2001 novel and the film released that same year, and has been adapted for use within the UK and Australia. The Australian Education Pack is intended to offer some pathways into the production, and focuses on some of the topics covered in Legally Blonde which may interest students and teachers. It is not an exhaustive analysis of the musical or the production, but instead aims to offer a variety of stimuli for debate, discussion and practical exploration. It is anticipated that the Education Pack will be best utilised after a group of students have seen the production with their teacher, and can engage in an informed discussion based on a sound awareness of the musical. We hope that the information provided here will both enhance the live theatre experience and provide readers with information they may not otherwise have been able to access. Legally Blonde is an uplifting, energising, feel-good show and with that in mind we hope this pack will be enjoyed through equally energising and enjoyable practical work in the classroom and drama studio. 1 Legally Blonde: INTRODUCTION LEgally Blonde Education Pack CONTENTS PAGE INTODUCTION 1.
    [Show full text]
  • Full Page Photo
    International Journal of Applied Linguistics & English Literature ISSN 2200-3592 (Print), ISSN 2200-3452 (Online) Vol. 6 No. 5; September 2017 Flourishing Creativity & Literacy Australian International Academic Centre, Australia Violence in Selected Fiction of Oates : A Zizekian Reading Yalda Mansouri Department of Foreign Languages, Isalmic Azad University, Central Tehran Branch, Tehran, Iran Farid Parvaneh (Corresponding author) Department of Humanities, Islamic Azad University, Qom Branch, Iran E-mail: [email protected] Received: 08-02-2017 Accepted: 28-04-2017 Advance Access Published: July 2017 Published: 01-09-2017 doi:10.7575/aiac.ijalel.v.6n.5p.113 URL: http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.113 Abstract Oates works have been analyzed in the light of violent literature all around the world; however, they are not scruntizied on account of Žižek’s outstanding ideas. Carrying out extensive research, the researcher highlights the positive outcome of Žižek’s “subjective violence”, “objective violence”, and “systemic violence” (Violence 2) in Oates’ Blonde, Black Water and Rape: A love story.This article argues that the common meaning of violence which according to Cambridge Advanced Learner’s Dictionary is “actions or words are intended to hurt people” is not holistically true about the violence portrayed by Oates in her fiction. She depicts that the violence can save one’s life. The reserach presents the idea that outcome of violence can be a means of success in Oates’ stories. Oates’ optimistic view toward violence and positive effects of violence in the life oppressed characters are presented in this article. The writer of this article has made an attempt to attest positive aftermath of violence and to highlight different sorts of violence in Oates’ fiction by referring to aforementioned Žižek’s ideas on violence.
    [Show full text]
  • Director's Notes
    DIRECTOR’S NOTES Thoughts on LEGALLY BLONDE The musical Legally Blonde is based on a novel by Amanda Brown and the 2001 film of the same name directed by Robert Luketic. The film was nominated for a Golden Globe Award for Best Motion Picture: Musical or Comedy and ranks 29th on Bravo’s 2007 list of “100 Funniest Movies.” Premiering on January 23, 2007 in San Francisco, the Broadway musical version of Legally Blonde opened in NYC at the Palace Theatre on April 29, 2007. The show’s stars, Laura Bell Bundy, Christian Borle, and Orfeh were all nominated for Tony Awards. Later, the Broadway show was the focus of an MTV reality TV series called “Legally Blonde – The Musical: The Search for Elle Woods,” in which the winner would take over the role of Elle on Broadway. The Broadway show closed on October 19, 2008 after 595 performances. But even more successful than the Broadway run of Legally Blonde, was a highly lauded 3 year run at the Savoy Theatre in London’s West End, in which the show was nominated for five Laurence Olivier Awards. It won three, including Best New Musical. Since then, Legally Blonde has enjoyed international success in productions seen in South Korea, The Netherlands, France, The Philippines, Sweden, and Finland. Certainly, it is undeniable that both film and musical are pure escapist joy. But Legally Blonde does have a point beyond its camp wondrousness – and that is to challenge the way people make assumptions about appearance. For whether you are a beautiful bubbly blonde (like our heroine, Elle) or someone more “serious” in nature, we all have had to, at one time or another, battle prejudice against ourselves.
    [Show full text]
  • Embodied Issues of Gender and Power in Aidoo's Changes
    POLITICS OF THE (TEXTUAL) BODY: EMBODIED ISSUES OF GENDER AND POWER IN AIDOO’S CHANGES: A LOVE STORY , FAQIR’S PILLARS OF SALT , AND WINTERSON’S WRITTEN ON THE BODY by Jessica Lynn Jones November 2013 Director of Thesis: Dr. Marame Gueye Major Department: English This thesis explores the literary manifestation of patriarchal embodiment in several multicultural novels: Ama Ata Aidoo’s Changes: A Love Story , Fadia Faqir’s Pillars of Salt , and Jeanette Winterson’s Written on the Body . Using theories of embodiment, gender, and power, I analyze how the female body is cast as a surface onto which gendered power structures can be inscribed, as well as the ways in which the body subverts cultural gender norms. The novels exemplify the relationship among literature, culture, and consciousness and offer visions of feminism outside of a Western paradigm. [Trigger Warning: This thesis features instances of sexual violence that may be triggering to some readers.] POLITICS OF THE (TEXTUAL) BODY: EMBODIED ISSUES OF GENDER AND POWER IN AIDOO’S CHANGES: A LOVE STORY , FAQIR’S PILLARS OF SALT , AND WINTERSON’S WRITTEN ON THE BODY A Thesis Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Arts in English by Jessica Lynn Jones November 2013 © Jessica Lynn Jones, 2013 POLITICS OF THE (TEXTUAL) BODY: EMBODIED ISSUES OF GENDER AND POWER IN AIDOO’S CHANGES: A LOVE STORY , FAQIR’S PILLARS OF SALT , AND WINTERSON’S WRITTEN ON THE BODY by Jessica Lynn Jones APPROVED
    [Show full text]
  • Legally Blonde Cast List
    Legally Blonde Cast List Elle Woods………………………………………………………………………………….Kaylie Tuttle/Greer King Emmett Forrester……………………………………...……………………………………………….Jordan Pogue Paulette Bonafonte’………………………………………………………………………..….…..…….Skyler Ward Warner Huntington III…………………..………………………………………………….….……Brittin Sullivan Brooke Wyndham………………………………………………………………………………….………Avery Bruce Professor Callahan…………………………..……………………………………………………….……Sam Gibson Vivienne Kensington……………………………………………………….………………………..Elizabeth Ring Margot………………………………………………………………….……….………….……….Brooklyn Jennings Serena…………………………………………….……………………………………….………………….Natalie Way Pilar…………….………………………………….…..……………………….………Sarah Mitchell/Kelsey Drees Kate…………………………………………………......…….………………………….…………………Nicole Vincent Gaelen…………………………………………..……………………………………………………….Bailey Weathers Tiffany………………………………………..…………………………………………………………………Rainey Ross Courtney…………………………………..……………………………………………………………..Mikee Olegario Sandi…………………………………………..………………………………………………………………..Payton King Angel…………………………………………….………………………….…………………….…………Lizzie Schaefer Enid……………………………………………...……………………………………………………………..Lauren Black Mr. Woods……………………………………..………………………………………………………….David Nichols Mrs. Woods………………………………….……………………..………………………………….Emily Freeman Chutney Wyndham…………………………...………………………………………………………Bethie Butera Kyle……………………………………....……………………………………………………………………Harris Sutton Winthrop………………………………………..………………………………………………………Lane Burchfield Judge……………………………………………………………………………………….……….Autumne Kendricks Grandmaster Chad…………………………………………………………………..……………………..DJ Boswell Dewey……………………………………………………..…….………………………..Easton
    [Show full text]
  • Mothering and Work/ Mothering As Work
    A YORK UNIVERSITY PUBLICATION MOTHERING AND WORK/ MOTHERING AS WORK Fallminter 2004 Volume6, Number 2 $15 Featuring articles by JaneMaree Maher, Debra Langan, Lorna Turnbull, Merlinda Weinberg, Alice Home, Naomi Bromberg Bar-Yam, Chris Bobel, Kate Connolly, Maryanne Dever and Lise Saugeres, Corinne Rusch-Drutz, Orit Avishai, Susan Schalge, Kelly C. Walter Carney and many more ... Mothering and Work/ Mothering as Work FalVWinter 2004 Volume 6, Number 2 Founding Editor and Editor-in-Chief Andrea O'Reilly Advisory Board Patricia Bell-Scott, Mary Kay Blakely, Paula Caplan, Patrice DiQuinzio, Miriam Edelson, Miriam Johnson, Carolyn Mitchell, Joanna Radbord, Sara Ruddick, Lori Saint-Martin Literary Editor Rishma Dunlop Book Review Editor Ruth Panofsb Managing Editor Cheryl Dobinson Guest Editorial Board Katherine Bischoping Deborah Davidson Debra Langan Andrea O'Reilly Production Editor Luciana Ricciutelli Proofreader Randy Chase Association for Research on Mothering Atkinson Faculty of Liberal and Professional Studies, 726 Atkinson, York University 4700 Keele Street, Toronto, ON M3J 1P3 Tel: (416) 736-2100 ext. 60366 Email: [email protected]; Website: www.yorku.ca~crm TheJournal of the Association for Research on Mothering (ISSN 1488-0989) is published by The Association for Research on Mothering (ARM) The Association for Research on Mothering (ARM)is the first feminist organization devoted specifically to the topics of mothering and motherhood. ARM is an association of scholars, writers, activists, policy makers, educators, parents, and artists. ARM is housed at Atkinson College, York University, Toronto, Ontario. Our mandate is to provide a forum for the discussion and dissemination of feminist, academic, and community grassroots research, theory, and praxis on mothering and motherhood.
    [Show full text]
  • The Grotesque in the Fiction of Joyce Carol Oates
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1979 The Grotesque in the Fiction of Joyce Carol Oates Kathleen Burke Bloom Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Bloom, Kathleen Burke, "The Grotesque in the Fiction of Joyce Carol Oates" (1979). Master's Theses. 3012. https://ecommons.luc.edu/luc_theses/3012 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Kathleen Burke Bloom THE GROTESQUE IN THE FICTION OF JOYCE CAROL OATES by Kathleen Burke Bloom A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy March 1979 ACKNOWLEDGEMENTS I would like to thank Professors Thomas R. Gorman, James E. Rocks, and the late Stanley Clayes for their encouragement and advice. Special thanks go to Professor Bernard P. McElroy for so generously sharing his views on the grotesque, yet remaining open to my own. Without the safe harbors provided by my family, Professor Jean Hitzeman, O.P., and Father John F. Fahey, M.A., S.T.D., this voyage into the contemporary American nightmare would not have been possible.
    [Show full text]