Gender studies

This dissertation traces the emergence of the "transgender predator" discourse on social media. Taking its cue from the 2019 British Columbia Human Rights Tribunal case Yaniv v. Various Waxing Salons, in which a white Canadian trans woman named Jessica Yaniv unsuccessfully filed a series of complaints against a number of racialized cisgender aestheticians claiming that they denied her body and Brazilian waxing services, I examine Canadian socio-legal discussions regarding trans women's access to spaces and services designed for cisgender women. Second, I focus on the realm of YouTube in which Yaniv v. Various Waxing Salons was marketed as the case of a transgender predator by another trans female YouTuber named Blaire White. I locate Yaniv-related content within a larger genre of "predator-hunting" in which self-proclaimed vigilantes lure and "hunt" putative child predators through sting operations and publish their expeditions as online shaming content on YouTube. By analyzing the visual and verbal discursive elements of the genre of predator catching/exposé, I suggest that "transgender predator" functions within the axis of surveillance regimes and monetized humiliation-entertainment, rather than merely being motivated by the goal of protecting cisgender women and children. Lastly, I turn my attention from "transgender predator" to another type of pejorative construction about trans people represented in the stand-up comedy of Dave Chappelle and Ricky Gervais. I argue that, as opposed to comedy's previous engagement with trans subjectivity in which the comedic element was revealed through the tropes of deception and bodily incongruity, in the works of Chappelle and Gervais, transgender subjectivity is used to make social commentary about the supposed decline of, what are deemed to be, Western values of reason, rationality, and freedom of speech.

Author Keywords: predator, stand-up comedy, surveillance, transgender, vigilantism, YouTube

This thesis examines Beyoncé's art within the context of Black feminist thought, specifically focusing on how her work reflects and contributes to the themes of sisterhood, female empowerment, and intersectionality. A comprehensive analysis of her songs and performances will demonstrate how Beyoncé's art advocates for unity, female empowerment, particularly for Black women, and encourages sisterhood and support. The results reveal that Beyoncé's art serves as a powerful tool to challenge societal norms, address racial and gender inequalities, and advocate for justice, especially in the lives of Black women. Through her music and performances, Beyoncé has become a powerful example of using popular music as a medium for social change and cultural empowerment. This research highlights the significance of her contributions to the ongoing conversations surrounding race, gender, and socioeconomic factors, underlining the powerful influence of her art in encouraging a more inclusive society.

Author Keywords: Beyoncé, Black Feminist Thought, Female Empowerment, Gender inequalities, Intersectionality, Sisterhood

Games immerse players. Through immersion, players can see themselves embodied in their avatars. There is space for meaningful experimentation of gender through these avatars as embodied players can blur the lines between their real-life and virtual selves. The player's avatar becomes that person — in terms of personality, feelings, and gender identity/expression. In virtual reality, the player becomes a virtual actor in the world of the game, allowing the player to explore their avatar directly. Through various games, books, and anime, I demonstrate how players can find embodiment and how games can achieve a rigid sense of embodiment. Using an intersectional lens of cultural and gender studies, this paper aims to provide a framework for embodied gender exploration that future games can build upon. This framework is enacted through a look at embodiment and how the player is able to find an authentic self in the virtual world.

Author Keywords: Avatars, Embodiment, Embodiment studies, Gender euphoria, Video games, Virtual Reality

This thesis creates an adaptation of William Shakespeare's The Tempest that reshapes the play through a focus on queer identities. Specifically, through setting the play at a Drag club and changing the characters accordingly a nuanced view of how gender roles shape the interactions we have with ourselves, our society, and our environment. The chapters that proceed the adaptation provide evidence and supporting clarification for the ideas brought up in the adaptation.

Author Keywords: Adaptation, Drag, Gender, Queer, Shakespeare

An interesting question arises upon viewing the 1939 film, The Wizard of Oz (MGM). The main character Dorothy Gale faces a long arduous journey on foot. Why did she not have a car? Women had formed strong associations with the automobile in its early years, yet they appeared to have weaker associations with the automobile a few decades later. A look back to three other "Dorothies" from the World War I era demonstrates the evolution of women's associations with the early automobile, and how war impacted them. In the pre-World War I years, women drivers appeared in film, while Dorothy Levitt wrote columns for other women on how to drive and repair a car and many other women invented safety technologies for automobiles. During World War I, the pinnacle of recognition for women's driving emerged with the woman ambulance drivers on the front lines. Dorothie Feilding was one of the first women to arrive in Belgium to drive ambulances, often while under fire. Feilding and many women like her were given war medals for their service, and their bravery was touted in newspapers. However, once the war ended, their accomplishments would be erased and ignored. In the post-World War I years, Dorothée Pullinger's experience as CEO of the Galloway factory illustrate how ideas of masculinity and femininity. promoted by governments after the war, impacted women. The Galloway factory in Tongland Scotland, was staffed by women engineers and workers. After World War I ended, these women were pushed out of their jobs. War-induced disability and its economic costs to governments were at the heart of gender inequities and served to displace women from automobile technology. Policies such as Britain's "Restoration of Pre-War Practices Act" set the stage for a script that constructed women's jobs as expendable and marketed ideas of the disabled soldier needing to "re-gain his manliness" by re-entering the labour force at women's expense. As a result, the state imbued a new relational, gendered analytic onto automobile use and production that remains with western society today. Keywords: woman's labour, woman driver, automobile, factory labour, gendered technology, World War I, ambulance, silent film, Restoration of Pre-War Practices Act, Galloway, Tongland, First Aid Nursing Yeomanry, Munro Flying Ambulance Corps, Dorothy Levitt, Dorothie Feiling, Dorothée Pullinger.

Author Keywords: ambulance, automobile, Galloway, gendering, women, world war I

This thesis examines how co-creators Kelly Sue DeConnick and Valentine De Landro's 2014 graphic work, Bitch Planet, is in all conceivable ways a seminal and prescient example of — to use their term — "non-compliance" in the comics form and industry. From its inception as a feminist dystopia, written by a white woman and illustrated by a Black man, in an industry that is over-represented by white men, Bitch Planet is a prime example of activist comics that is situated perfectly within the "Blue Age" of comics, to use the term coined by comic scholar Adrienne Resha. This is evident in the main narrative of Bitch Planet in which, in an industry still over-represented by white characters, the main cast of characters are four Black women and one Japanese-American woman, each of whom we see come up against a theologically patriarchal white supremacist system that imprisons them for crimes that are gendered, racialized, classist and ableist. DeConnick and De Landro's collaboration with other artists extends from Laurenn McCubbin's satirical paratextual in-universe advertisements on the back page of each comic which complement Bitch Planet's main narrative to an invitation to world- building to the greater comic community, allowing creators with marginalized identities to craft short comic stories that satirically and deeply explore the socio-political issues developed in the main narrative of Bitch Planet. The final act of "non-compliance" comes out of the expansion of authorship of Bitch Planet to the readership via the letters pages, and beyond: highlighting readers' Twitter messages, connecting with them through Tumblr, and posting pictures of fan "non-compliant" tattoos within the pages of Bitch Planet.

Author Keywords: Bitch Planet, comics, critical race studies, dystopia , gender studies, intersectional feminism

The purpose of this research is to highlight the limitations and opportunities for playful expression of gender identity in character creation systems of virtual worlds, and how these might work to reinforce, or disrupt, the heteronormative imperative. The primary sites considered in this analysis are the video game World of Warcraft and the live action role-playing game Amtgard. I provide evidence that while the World of Warcraft's character creation system is sexist and works to reinforce heteronormative ideology, Amtgard's relatively ambiguous design provides opportunity for disruption of these norms. Participant research with Amtgard players demonstrates actual instances of Amtgard's more flexible character creation system being utilized in expression and exploration of gender identity which resists the heteronormative imperative. Based on this, I call on game developers to reject designs which necessitate selection of gender from within the traditional binary and embrace more ambiguous design in development of character creation systems.

Author Keywords: Avatars, Game Design, Games, Gender, Identity, Virtual Worlds

ABSTRACT

Women as Gifts and the Triple Hecate Myth in Shakespeare's

Troilus and Cressida, Antony and Cleopatra, and Cymbeline

Women are placed into sexual roles by the patriarchal system in which we live. Gayle Rubin terms this a "sex/gender system" and explains that within this system women are exchanged as "gifts" between men to form kinship ties. The sexual roles this system creates are embodied in the "Triple Hecate myth." Hecate was the goddess of witchcraft in Ancient Greece and was known to have three faces: Maiden, Nymph and Crone. The Maiden is in girlhood and the label is applied to any woman before she becomes sexually active. The Nymph is a sexually active woman who lives within the norms of society. A sexually active woman who lives outside those norms is a Whore. A Crone is a woman who has passed menopause. She is seen as either a wise elder or a wicked stepmother figure.

In Shakespeare's plays Troilus and Cressida, Antony and Cleopatra, and Cymbeline, the female protagonists Cleopatra, Imogen and Cressida are all trying to control their own destinies and rise above or manipulate this patriarchal system of control. These three women are travelling through the "Triple Hecate Myth." Cleopatra begins a Whore and ends a Nymph, Imogen begins a Maiden and ends a Nymph, and Cressida begins a Maiden and ends a Whore. They each also problematize the "gift" exchange system either by attempting to self-exchange (Cleopatra and Imogen) or by being exchanged multiple times (Cressida).

Keywords: William Shakespeare, Triple Hecate Myth, Gift Exchange, Gayle Rubin, Cymbeline, Troilus and Cressida, Antony and Cleopatra, Feminist Criticism, Classical Studies

Author Keywords: Antony and Cleopatra, Cymbeline, Gayle Rubin, Shakespeare, Triple Hecate, Troilus and Cressida

The objective of this dissertation is to measure the influence of the contemporary influx of women's involvement in the horror genre in three dimensional capacities: female representation in horror films, female representation as active, participatory spectators and female representation in the industrial production of horror. Through the combined approach of theoretical and empirical analysis, this dissertation examines the social conditions that facilitated women's infiltration of the horror genre. Beginning with psychoanalytic theories of spectatorship, it is demonstrated that female filmmakers have challenged horror's traditional images of victimized women through the development new forms of feminine representation in contemporary horror films. Using data collected from a sample of 52 self-identified female horror fans, it is revealed that the purported invisibility of female horror spectators is a consequence of their alternative modes of consumption. Through interviews conducted with four female producers and an examination of their cultural productions, I illustrate that women have reconstituted the horror genre as a space for inclusivity, political activism and feminist empowerment. Cohesively, these findings reveal the contemporary feminist reclamation of horror to be a form of resistance intended to challenge the patriarchal structures that facilitated women's historical exclusion from the horror genre.

Author Keywords: Abjection, Feminism, Film, Gender, Horror, Psychoanalysis