Interrogation of Gender Identity: Aesthetic Consumption of Korean Television Dramas by Young Women in China

Given the popularity of Korean television dramas among various age groups in other countries, one would expect to see a similar pattern of consumption across different ages in China. Instead, we see high levels of consumption of Korean dramas by a very specific demographic. Why do young Chinese females consume Korean dramas at such high levels? I argue that young Chinese women’s heavy consumption of Korean dramas that portray a particular aesthetic of self and familial resolution may be explained by a need to redress contemporary psychological issues related to gendered self-identity. I posit that the identity formation processes of this particular demographic has been shaped by changes in family dynamics that stem from social and political restructuring in the 1980s, particularly the one-child policy. Thus, this thesis explores how the consumption of Korean dramas by young females in China may be understood as an implicit interrogation of gendered identity.

Preschoolers’ Executive Control and Diurnal Cortisol as Mediators of the Relations of Prenatal Stress to Child Adjustment

Thesis (Ph.D.)--University of Washington, 2016-08

Development of Effortful Control as a Moderator of the Longitudinal Relations of Negative Reactivity and Symptoms in Preschool

Thesis (Ph.D.)--University of Washington, 2016-08

Words and Emotional Work: Classification Theory’s Constructs Useful for the Analysis of Social Media Data in Terms of Gender, Race, and Sexuality

Presents constructs from classification theory and relates them to the study of hashtags and other forms of tags in social media data. Argues these constructs are useful to the study of the intersectionality of race, gender, and sexuality. Closes with an introduction to an historical case study from Amazon.com.

The Gaze and the Circumvention of Power in Richard Strauss’ Salome

Richard Strauss’ opera “Salome” is a musical discourse of the uneven power dynamics between male and female with the idea of the gaze as its central narrative. Under the patriarchal premise of the male gaze, the men emerge as the gazers, while the women are relegated to the role of submissive objectification. This paper examines the way Salome manipulates this patriarchal notion of the gaze for her own gain, voluntarily offering herself as the object of the male gaze. I further postulated that Salome strategically oscillates between the stereotypical image of femme fatale and femme fragile, intentionally succumbing to the masculine-constructed demonization and idealization of female power. Consequently, this paper traces how Strauss’ music realizes those gender portrayals and Salome’s resistance against the male order, reflecting the use of musical analyses as a tool in understanding gender roles and power in operas.

Preformations of the Amazonian: Strong Women in German Literature of the Early Enlightenment

Thesis (Ph.D.)--University of Washington, 2016-06