RESILIENT WOMEN, METISTIC SCIENTISTS: A MULTIPLE CASE STUDY OF HOW WOMEN NEGOTIATE THEIR SITUATEDNESS IN SCIENCE FIELDS

The concept of feminist metistic resilience postulates that the voiceless, the marginalized and the minority in societies employ strategies in order to turn tables in their favor. This study presents a qualitative analysis of how women, considered to be the minority, negotiate their situatedness in science fields in order to effect change in their lives or that of the society and why they become successful. By “situatedness,” I refer to the everyday life of women as they live and encounter people, society and culture, especially, the life of women who have transcended the culturally stipulated role of women and are excelling in a male dominated field. The study, in different dimensions, conceptualizes the reason for the fewer number of women in science; looks at how scientific methods and practices inhibit the development of women in science; and, finally, interrogates the question of objectivity in science. It becomes apparent, through feminist metistic resilience, that women become successful when they accept conventional practices in scientific arrangements and structures. They accept the practices by embracing and not questioning structures and arrangements that have shaped the field of science and by shifting shapes and assuming different forms in order to adapt to conditions they encounter. Apart from adapting and shape shifting, the women also become successful through environmental and social influences. My analysis suggests that more women can be encouraged to pursue science when women practicing science begin to question structures and arrangements that have shaped the practice of science over the centuries. The overall findings of the research provide implications for policy makers, educators and feminist researchers.

Interrogating the spaces of personal photography : women, identity, and the cultural formation of photographic practice

Personal photographs permeate our lives from the moment we are born as they define who we are within our familial group and local communities. Archived in family albums or framed on living room walls, they continue on after our death as mnemonic artifacts referencing our gendered, raced, and ethnic identities. This dissertation examines salient instances of what women “do” with personal photographs, not only as authors and subjects but also as collectors, archivists, and family and cultural historians. This project seeks to contribute to more productive, complex discourse about how women form relationships and engage with the conventions and practices of personal photography. In the first part of this dissertation I revisit developments in the history of personal photography, including the advertising campaigns of the Kodak and Agfa Girls and the development of albums such as the Stammbuch and its predecessor, the carte-de-visite, that demonstrate how personal photography has functioned as a gendered activity that references family unity, sentimentalism for the past, and self-representation within normative familial and dominant cultural groups, thus suggesting its importance as a cultural practice of identity formation. The second and primary section of the dissertation expands on the critical analyses of Gillian Rose, Patricia Holland, and Nancy Martha West, who propose that personal photography, marketed to and taken on by women, double-exposes their gendered identities. Drawing on work by critics such as Deborah Willis, bell hooks, and Abigail Solomon-Godeau, I examine how the reconfiguration, recontextualization, and relocation of personal photographs in the respective work of Christine Saari, Fern Logan, and Katie Knight interrogates and complicates gendered, raced, and ethnic identities and cultural attitudes about them. In the final section of the dissertation I briefly examine select examples of how emerging digital spaces on the Internet function as a site for personal photography, one that both reinscribes traditional cultural formations while offering new opportunities for women for the display and audiencing of identities outside the family.