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    (Re)mapping women’s cosmology : transformative potentia of women’s stories : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Clinical Psychology at Massey University, Whanganui-a-tara/Wellington, Aotearoa/New Zealand
    (Massey University, 2023-06-30) Wass, Thea
    Binary difference is deeply rooted within the heart of European philosophy and underpins contemporary understandings of sexual difference. Forces of power relations circulate to uphold binary categories of gender that conflates man with the universal, upholding a single model of male subjectivity and inscribing meaning onto the bodies of women. In this research, I have engaged with a narrative approach to map a cosmology of ten women’s stories, connecting women’s bodies and experiences to the flow of forces that shape their lives through a complex assemblage of cultural practices. Thinking with Rosie Braidotti I have endeavoured to sketch a cartography of the multiple embedded, embodied and affective social positions constituted by forces operational in, and immanent to the production and circulation of knowledge about sexual difference. Relational ethics in feminist standpoint inquiry enabled me to attend to relational processes which contributed to the co-articulation of these stories, and to open out towards the multiple possibilities available outside established hierarchical categories of gendered subjectivities. Through this process, light is cast on the material conditions in which forces come to inscribe and inhabit women’s bodies as flows of power capable of both “entrapment (potestas) and as empowerment (potentia)” (Braidotti, 2019). This research resists phallogocentric notions of the universal by re-orienting towards the affirmative potential of women’s bodies made available through interconnectedness and ethical transformation in processes of becoming. By paying attention to the situated and affirmatively encompassing differences within and between women, bodies can be understood as a site of resistance and transformation.
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    No laughing matter : what the experiences of women working in the Aotearoa-New Zealand comedy industry can tell us about male-dominated, unregulated workplaces : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Clinical Psychology at Massey University, Albany, New Zealand
    (Massey University, 2023) Davies, Bridget
    With the international development of the #MeToo movement, a similar moment occurred in the Aotearoa-New Zealand (A-NZ) comedy industry. Women shared their experiences of harassment in the industry, and a Working Group emerged with the aim of making the A-NZ comedy industry safer and more inclusive. Drawing upon the existing literature about #MeToo and the challenges women face in male-dominated and unregulated industries, this study aimed to understand women’s experiences in an industry where these factors intersect. The study was based on interviews with 15 women working in the A-NZ comedy industry. A feminist phenomenological thematic analysis of these interviews provided insight into these women's experiences and meaning-making. Three superordinate themes were produced from this analysis. The first, ‘comedy requires negotiating a male-as-norm world’, discussed women's challenges in this male-dominated industry. These included being made to feel that women do not belong in the industry, being judged as a woman rather than on merit, and often feeling isolated as a woman. The second theme, ‘feeling unsafe in an unregulated space,’ discussed how the informal nature of the comedy industry creates additional challenges when combined with comedy being male-dominated. These challenges included women reporting feeling unsafe and unable to speak up. Finally, in the theme, ‘experiencing Aotearoa-New Zealand comedy’s #MeToo moment’, participants reflected on the positive changes they have observed since the initial #MeToo discussions and the challenges of implementing formal solutions in an informal space. These findings align with existing research and demonstrate the importance of the #MeToo moment for women working in the comedy industry and the factors reducing its chance of leading to significant change. Supporting this conclusion, the thesis finishes with a reflection on the specific context in which the study was undertaken, including the implications of a recent decision for the Working Group to stop accepting complaints and what this means for women comedians currently working in Aotearoa-New Zealand.