Beyond the princess, the priestess and the galactic kitchen sink: Reformulation of feminine roles in certain work of Lois McMaster Bujold
- Authors: Herington, Caitlin
- Date: 2018
- Type: Text , Thesis , PhD
- Full Text:
- Description: In this thesis I examine the Science Fiction and Fantasy works of Lois McMaster Bujold in the Vorkosigan Series and Chalion Series, in particular the way she reformulates women’s roles and identities in society through the characters presented in these novels. I use the term Speculative Fiction as an umbrella term that encompasses both Science Fiction and Fantasy as modes of speculation, in that they both rely on extrapolation and estrangement as narrative features. My main proposition is that Bujold is an important transitional figure in speculative fiction between second and third wave feminist thinking. Although her work mimics some distinctive features of speculative fiction that utilise patriarchal structures and traditional gender norms, it is not limited by them. As a result, Bujold conveys a more complex and insightful understanding of gender. The research method of this thesis is the close reading of a range of sample texts from Bujold’s Vorkosigan Series and Chalion Series which feature female protagonists. I seek to explore the discussion of gender relations and reformulation that occurs within them in the context of both speculative and feminist criticism. Bujold’s exploration of the identities and social roles of women in these fictional worlds is complex and challenging, using a range of approaches from simple reversal, to hybridity of gender, to more complex partial positions. This thesis argues that she takes an implicitly feminist approach, focussing on female experiences and examining the modes of social control and exercise of power within patriarchal social structures as they impact on women. Science Fiction and Fantasy often seem to reiterate traditional patriarchal hierarchies. Validating gender norms that conform to social expectations rather than challenging them. Bujold is presented in this thesis as utilising established norms and tropes such that her texts are easily identified as examples of Science Fiction and Fantasy, but in other ways her reformulations present radical challenges to cultural expectations of gender. This thesis reveals that social critique and reformulation of gender roles is possible and powerful in both Science Fiction and Fantasy by examining the work of a significant author whose work has lacked critical attention until recently. Although numerous studies have examined the way gender has been treated in Science Fiction and Fantasy, the unique contribution of this thesis is to examine an author previously under-studied and to consider the patterns of these reformulations as expressed in Bujold’s works.
- Description: Doctor of Philosophy
- Authors: Herington, Caitlin
- Date: 2018
- Type: Text , Thesis , PhD
- Full Text:
- Description: In this thesis I examine the Science Fiction and Fantasy works of Lois McMaster Bujold in the Vorkosigan Series and Chalion Series, in particular the way she reformulates women’s roles and identities in society through the characters presented in these novels. I use the term Speculative Fiction as an umbrella term that encompasses both Science Fiction and Fantasy as modes of speculation, in that they both rely on extrapolation and estrangement as narrative features. My main proposition is that Bujold is an important transitional figure in speculative fiction between second and third wave feminist thinking. Although her work mimics some distinctive features of speculative fiction that utilise patriarchal structures and traditional gender norms, it is not limited by them. As a result, Bujold conveys a more complex and insightful understanding of gender. The research method of this thesis is the close reading of a range of sample texts from Bujold’s Vorkosigan Series and Chalion Series which feature female protagonists. I seek to explore the discussion of gender relations and reformulation that occurs within them in the context of both speculative and feminist criticism. Bujold’s exploration of the identities and social roles of women in these fictional worlds is complex and challenging, using a range of approaches from simple reversal, to hybridity of gender, to more complex partial positions. This thesis argues that she takes an implicitly feminist approach, focussing on female experiences and examining the modes of social control and exercise of power within patriarchal social structures as they impact on women. Science Fiction and Fantasy often seem to reiterate traditional patriarchal hierarchies. Validating gender norms that conform to social expectations rather than challenging them. Bujold is presented in this thesis as utilising established norms and tropes such that her texts are easily identified as examples of Science Fiction and Fantasy, but in other ways her reformulations present radical challenges to cultural expectations of gender. This thesis reveals that social critique and reformulation of gender roles is possible and powerful in both Science Fiction and Fantasy by examining the work of a significant author whose work has lacked critical attention until recently. Although numerous studies have examined the way gender has been treated in Science Fiction and Fantasy, the unique contribution of this thesis is to examine an author previously under-studied and to consider the patterns of these reformulations as expressed in Bujold’s works.
- Description: Doctor of Philosophy
The assumed divide : Examining gender, feminism and relationships through visual art
- Authors: Hollis, Sylvia
- Date: 2017
- Type: Text , Thesis , Masters
- Full Text: false
- Description: The Assumed Divide is a visual arts based, practice-led research project which explores expectations of gender within the context of interpersonal relationships, structured through feminist theory. I created a collection of small, figurative sculptures inspired by experiences of animosity and misunderstanding, to locate areas of gendered interpersonal ambivalence. This thesis proposes that feminism might enhance gender relations by deconstructing harmful stereotypes and by encouraging empathy and respect for diversity. Issues such as reproductive choice, intergenerational debate, and uncertainty in aims are discussed as apparent impediments to the unity of feminism, against a patriarchal tradition that grants men categorical universality. I argue that by dismantling the perception of male unification and by elucidating the multitudinous similarities and variances of human experience, feminism makes advances in eliminating sexism. I also examine how binary gender division, with an assumption of distinct difference between male and female, generates conflict and power dynamics advantageous to men, diminishing the quality of heterosexual and social relationships. The observation that overlapping gender traits blur boundaries of male and female, and that rigid categorisations are not indisputably representative of all people, may offer more points of connection to bridge the divide of gender. Each artwork in The Assumed Divide reflects on gendered experience, with sculpted depictions of disintegrated flesh acting as visual manifestations of the psyches and social conditions of the figures. Working realistically on a small scale, and integrating found silver trays as motifs of domesticity and relationships, my intent is to directly stimulate contemplation of the themes in context to viewers’ lives, recognising that the audience is free to find their own meaning in the works. Discussion of these pieces, alongside works by other artists who broach topics of feminism, gender, and relationships, exemplifies the capacity for art to infuse theory with personal insight, inspired and derived from the lives of both artist and viewer.
- Description: Masters by Research
Traces of the female self : exploring the documentation of women’s art through traces, impressions, residues and self-portraiture via contemporary art practice
- Authors: Janetzki, Georgia
- Type: Text , Thesis , Masters
- Full Text:
- Description: Women have always been present as artists, but not necessarily included within the canon of Western art history. Studying the canon is an accepted way of understanding the context of what has gone before, and in turn positioning ourselves within contemporary art practices and theories. However there is a disconnect when most of the individuals within the canon are nothing like us. Self-portraiture can be an embodied methodology, a starting point for an investigation that goes beyond oneself. Addressing the personal through my art practice also addresses a wider community of female artists. Through a studio-based investigation I have asked: What can visual art’s inherent capacity for generating and capturing traces, residues and impressions express in a material and conceptual way to explore self-identity and contribute to the current discourse about women artists’ history? How can these themes be visually expressed in new ways through contemporary selfportraiture, addressing absence and perspective in the documentation of women’s art? I explore these questions through experimental methods of making self-portraits. This research project considers the personal, examining representation of the self as an ontological enquiry into the roles of making and being. As a practice-led study, I pursue this line of enquiry as a means for exploring current structures of power, through a new body of work aimed at further informing Australian women’s art practice and its history.
- Description: Masters by Research
- Authors: Janetzki, Georgia
- Type: Text , Thesis , Masters
- Full Text:
- Description: Women have always been present as artists, but not necessarily included within the canon of Western art history. Studying the canon is an accepted way of understanding the context of what has gone before, and in turn positioning ourselves within contemporary art practices and theories. However there is a disconnect when most of the individuals within the canon are nothing like us. Self-portraiture can be an embodied methodology, a starting point for an investigation that goes beyond oneself. Addressing the personal through my art practice also addresses a wider community of female artists. Through a studio-based investigation I have asked: What can visual art’s inherent capacity for generating and capturing traces, residues and impressions express in a material and conceptual way to explore self-identity and contribute to the current discourse about women artists’ history? How can these themes be visually expressed in new ways through contemporary selfportraiture, addressing absence and perspective in the documentation of women’s art? I explore these questions through experimental methods of making self-portraits. This research project considers the personal, examining representation of the self as an ontological enquiry into the roles of making and being. As a practice-led study, I pursue this line of enquiry as a means for exploring current structures of power, through a new body of work aimed at further informing Australian women’s art practice and its history.
- Description: Masters by Research
“I’ve got something to say and I need you to listen” : a photovoice study with women who have experienced family violence
- Authors: Hunt, Michelle
- Date: 2021
- Type: Text , Thesis , PhD
- Full Text:
- Description: Family violence is recognised as a significant social issue in Australia that is predominantly perpetrated by men against women in intimate partner relationships. Once only of concern to women and feminist activists, family violence is now part of mainstream public policy and community service provision. This research was conducted within an industry, community and university partnership to improve services for women and children who have experienced family violence in the Central Highlands region of Victoria. This research study used photovoice, a feminist participatory research method, to gather the insights and knowledge of some of these women from this region. The participants produced, selected and contextualised photographs to share their vision of “strong families, safe children” as well as providing their insights on what services needed to do to support this vision. Ten women participated in the study and collectively contributed 42 photographs and attended 15 individual interviews and four group workshops over a six-month period. Through their photographs and narratives, the participants detailed their experiences of services, including the systemic abuse of power and coercion that undermined their relationships with their children. The participants described feeling blamed and further victimised when their interactions with services replicated the coercive control that they had experienced in their intimate partner relationships. Systemic racial discrimination and violence further compounded service encounters described by the Aboriginal women who participated in the study. The participants advocated for the transformation of family violence policy and practice from one reliant on patriarchal and colonial knowledge to one grounded in feminist epistemologies and women’s experiential knowledge. Consistent with feminist epistemologies, this research study highlights the importance of relational understandings of family violence, a position that acknowledges the significance of women’s social context and family networks, as well as the interconnectedness of women’s and children’s safety and wellbeing. This research study has implications for the family violence service system grappling with the inclusion of lived experience as being more than voice but encompassing the positioning of women’s experiential knowledge (with all its emotion, complexity and subjectivity) at the heart of policy and practice.
- Description: Doctor of Philosophy
- Authors: Hunt, Michelle
- Date: 2021
- Type: Text , Thesis , PhD
- Full Text:
- Description: Family violence is recognised as a significant social issue in Australia that is predominantly perpetrated by men against women in intimate partner relationships. Once only of concern to women and feminist activists, family violence is now part of mainstream public policy and community service provision. This research was conducted within an industry, community and university partnership to improve services for women and children who have experienced family violence in the Central Highlands region of Victoria. This research study used photovoice, a feminist participatory research method, to gather the insights and knowledge of some of these women from this region. The participants produced, selected and contextualised photographs to share their vision of “strong families, safe children” as well as providing their insights on what services needed to do to support this vision. Ten women participated in the study and collectively contributed 42 photographs and attended 15 individual interviews and four group workshops over a six-month period. Through their photographs and narratives, the participants detailed their experiences of services, including the systemic abuse of power and coercion that undermined their relationships with their children. The participants described feeling blamed and further victimised when their interactions with services replicated the coercive control that they had experienced in their intimate partner relationships. Systemic racial discrimination and violence further compounded service encounters described by the Aboriginal women who participated in the study. The participants advocated for the transformation of family violence policy and practice from one reliant on patriarchal and colonial knowledge to one grounded in feminist epistemologies and women’s experiential knowledge. Consistent with feminist epistemologies, this research study highlights the importance of relational understandings of family violence, a position that acknowledges the significance of women’s social context and family networks, as well as the interconnectedness of women’s and children’s safety and wellbeing. This research study has implications for the family violence service system grappling with the inclusion of lived experience as being more than voice but encompassing the positioning of women’s experiential knowledge (with all its emotion, complexity and subjectivity) at the heart of policy and practice.
- Description: Doctor of Philosophy
Never afters : female friendship and collaboration in contemporary re-visioned fairy tales by women
- Authors: McDermott, Kirstyn
- Date: 2020
- Type: Text , Thesis , PhD
- Full Text:
- Description: Antagonism among girls and women in fairy tales has been the subject of much critical and popular discussion over recent decades. Significantly less attention, however, has been paid to the frequent absence of collaborative female relationships in traditional fairy tales and their contemporary retellings. Holding re-visioned fairy tales to be a type of feminist creative praxis, this thesis investigates how mutually beneficial relationships between female characters may be constructed within such narratives. “Never Afters” is a collection of six re-visions, written as sequels to well-known fairy tales from the Western European corpus. Situated within a genre that commonly isolates female characters or foregrounds female antagonism, each re-vision employs one (or more) of five key strategies that are used by contemporary authors to imagine collaborative female relationships within retold fairy tales: inversion, insertion/deletion, expansion, fusion, and extrapolation. The exegesis contextualises my creative work and assesses the strengths and limitations of each strategy by critically examining how they are used in contemporary fairy tales by authors including Emma Donoghue, Theodora Goss, Angela Slatter, Aimee Bender, and Kelly Link. I demonstrate that expansion, fusion, and extrapolation best allow authors to introduce new female characters and fresh feminist perspectives that move away from female exceptionalism and instead foreground female collaboration and friendship as potent sources of narrative power. The exegesis further argues that the cognitive sciences, and schema theories in particular, may offer insights as to why collaborative female relationships have received such scant representation. Using case studies of my own creative praxis, I explore the ways in which female isolation and acrimony are re-inscribed in contemporary work and recommend the adoption of new frameworks through which creative writers may critically and reflexively interrogate their tacit storytelling knowledge.
- Description: Doctor of Philosophy
- Authors: McDermott, Kirstyn
- Date: 2020
- Type: Text , Thesis , PhD
- Full Text:
- Description: Antagonism among girls and women in fairy tales has been the subject of much critical and popular discussion over recent decades. Significantly less attention, however, has been paid to the frequent absence of collaborative female relationships in traditional fairy tales and their contemporary retellings. Holding re-visioned fairy tales to be a type of feminist creative praxis, this thesis investigates how mutually beneficial relationships between female characters may be constructed within such narratives. “Never Afters” is a collection of six re-visions, written as sequels to well-known fairy tales from the Western European corpus. Situated within a genre that commonly isolates female characters or foregrounds female antagonism, each re-vision employs one (or more) of five key strategies that are used by contemporary authors to imagine collaborative female relationships within retold fairy tales: inversion, insertion/deletion, expansion, fusion, and extrapolation. The exegesis contextualises my creative work and assesses the strengths and limitations of each strategy by critically examining how they are used in contemporary fairy tales by authors including Emma Donoghue, Theodora Goss, Angela Slatter, Aimee Bender, and Kelly Link. I demonstrate that expansion, fusion, and extrapolation best allow authors to introduce new female characters and fresh feminist perspectives that move away from female exceptionalism and instead foreground female collaboration and friendship as potent sources of narrative power. The exegesis further argues that the cognitive sciences, and schema theories in particular, may offer insights as to why collaborative female relationships have received such scant representation. Using case studies of my own creative praxis, I explore the ways in which female isolation and acrimony are re-inscribed in contemporary work and recommend the adoption of new frameworks through which creative writers may critically and reflexively interrogate their tacit storytelling knowledge.
- Description: Doctor of Philosophy
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