Student Number : 9901978A - MA research report - School of Human and Community Development - Faculty of Humanities / This research explored the relationship between gender identity, body image and ego strength in men. A questionnaire consisting of a demographic section, the Bem Sex Role Inventory, the Adonis Complex Questionnaire- Revised, and the Psychosocial Inventory of Ego Strength was administered to 74 male students from the School of Actuarial Science and Statistics at the University of the Witwatersrand during lecture time. Correlation analyses were used to infer the relationships between the three variables, while a multiple regression assessed whether particular combinations of gender identity and ego strength could predict higher body image dissatisfaction. The results showed that both masculinity and androgyny had a positive effect on body image satisfaction, as did higher ego strength. The latter was also positively correlated with both femininity and masculinity, though not with androgyny. Body image disturbance did not correlate with any dimension of gender identity or ego strength. With regard to the interaction between the variables, higher ego strength was found to have a moderating effect on body image dissatisfaction in men who endorsed femininity, but not with men who endorsed masculinity. An androgynous orientation further predicted lower body image dissatisfaction irrespective of the degree of ego strength. Limitations of the study and recommendations for future research are discussed.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2017-08-07T22:00:14Z No. of bitstreams: 1 UMA IMAGEM ENTRE AS VEREDAS DO GRANDE SERT?O - DIADORIM E A CONSTRU??O DA ANDROGINIA.pdf: 967608 bytes, checksum: c518a44deebdac67ef0b72589c5d46e4 (MD5) / Made available in DSpace on 2017-08-07T22:00:14Z (GMT). No. of bitstreams: 1 UMA IMAGEM ENTRE AS VEREDAS DO GRANDE SERT?O - DIADORIM E A CONSTRU??O DA ANDROGINIA.pdf: 967608 bytes, checksum: c518a44deebdac67ef0b72589c5d46e4 (MD5) Previous issue date: 2016-04-01 / This dissertation has as its objective the mapping of the constructions around the image of androgyny for Diadorim, character in Jo?o Guimar?es Rosa?s novel Grande Sert?o: Veredas(1956). To reflect on Rosa?s work it is necessary to have an attentive look to the diversity of references and all the possible openings in the text, given through language. Starting from the relation between the idea of androgyny and the various passages that demonstrate the composition of the character Diadorim, this research is based on critical / literary studies connected to language, the idea of the third bank in Rosa?s work and the concepts of androgyny and landscape, such as Coutinho (1993), Faria (2007), Finazzi- Agr?(2001) and others. This study is justified by the fact that it is able to enhance the discussion field around Rosa?s work and reflect on gender representation in the social imaginary, composed of a binary vision of the world. / Nesta disserta??o, tem-se por objetivo estabelecer o mapeamento das constru??es em torno da imagem de androginia para a personagem Diadorim na obra Grande Sert?o: Veredas(1956), de Jo?o Guimar?es Rosa. Para refletir sobre a obra de Guimar?es Rosa ? preciso estar atento ? diversidade de refer?ncias e aberturas poss?veis ao texto, dadas atrav?s da linguagem. Partindo da rela??o entre a ideia de androginia e as diversas passagens que demonstram o modo de composi??o da personagem Diadorim, a pesquisa est? apoiada em um referencial te?rico cr?tico/liter?rio voltado para aspectos relacionados ? linguagem e a terceira margem na obra rosiana, ao conceito de androginia e aos conceitos de paisagem, acionando os estudos de Coutinho (1993), Faria (2007), Finazzi- Agr? (2001) e outros. Este trabalho justifica-se na medida em que possibilita ampliar as discuss?es em torno da obra de Guimar?es Rosa e refletir acerca das representa??es de g?nero no imagin?rio social, composto por uma vis?o bin?ria de mundo.

by Wanda Wing Yi Tsui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 92-101). / Chapter CHAPTER ONE --- Gender and Identity: Subjectivity in Women's Writing --- p.1 / Chapter CHAPTER TWO --- The Androgynous Personality Celebrated in Virginia Woolf's To the Lighthouse --- p.20 / Chapter CHAPTER THREE --- The Inner Growth of the Female Characters in Wang Anyi's Stories --- p.53 / Chapter CHAPTER FOUR --- Female Identity: the Significance of Androgyny --- p.80 / NOTES --- p.90 / WORKS CITED --- p.92

Ce travail traite de la figure de l’androgyne dans la littérature britannique contemporaine, à travers un corpus de cinq oeuvres de la seconde moitié du 20ème siècle : les romans de Brigid Brophy, In Transit, d’Angela Carter, The Passion of New Eve, de Jeanette Winterson, Written on the Body, de Peter Ackroyd, Dan Leno and the Limehouse Golem et deWill Self, Cock and Bull. La première partie examine la valeur plastique de l’androgyne qui agit dans les textes comme opérateur de métamorphoses et balise un terrain textuel de l’instabilité et de la réversibilité, permettant de penser les opposés dans un rapport de prothèse plus que synthèse. La seconde partie étudie les divers aspects de la monstration, dans la perspective de dégager la double logique de l’exhibition et de la renégociation de la norme liées à l’hermaphrodisme. Enfin, la troisième partie traite des dimensions éthique et politique de la figure, dans la mesure où l’androgyne permet de réarticuler la notion de sujet comme étant interconnecté à, constitué par et responsable de l’Autre, engendrant une pensée de la relation éthique mais également pratique de la sollicitude. / This study tackles the aesthetics, politics and ethics of androgyny, focusing on five novels of contemporary British writers: Brigid Brophy’s In Transit, Angela Carter’s The Passion of New Eve, Jeanette Winterson’s Written on the Body, Peter Ackroyd’s Dan Leno and the Limehouse Golem and Will Self’s Cock and Bull. The first part examines the aestheticdimension of androgyny, a myth of metamorphic value that destabilizes notions of space, time, bodily constraints and gendered identity. The second part analyses the interplay between the grotesque and hybrid dimensions of the hermaphroditic body in reclaiming the monstrous as a means to renegotiate identity in terms of a multiplicity and to redefine the relationship of the individual to Otherness. This finally allows to examine the political and ethical values ofthe hermaphrodite that articulates the non-foundational Levinasian ethics of alterity with the more practical approach to otherness of the ethics of care.

Recentemente tem-se deparado com uma grande mudança no comportamento humano no que diz respeito a papeis de gênero, e como consequência na indumentaria, uma vez que esta e responsável por introduzir, através do elemento novo, mudanças nos padrões do comportamento tradicional instituído e que aos poucos se tornou frequente. A sociedade vem acompanhando o crescimento do numero de pessoas providas de dupla-sexualidade e elementos que antes eram de uso restrito ao gênero feminino sendo aceitos pelos homens, como as calças skinny, os decotes em V, as cores neon ou mesmo as saias. Esse movimento, denominado nogender, invadiu o universo da moda. Em paralelo, temos as mudanças de papeis de gênero na sociedade contemporânea, na qual e comum vermos casais em que homens são responsáveis pela administração da casa e mulheres capitas de industria, tendo suas funções bastante delimitadas. A partir deste momento, algumas pecas do guarda-roupa passaram a ser compartilhadas, resultando em alguns desconfortos e inadequações em relação ao corpo. Através de um estudo antropométrico, esta pesquisa teve por objetivo identificar e averiguar as características do corpo andrógino brasileiro, o que serviu como base para o desenvolvimento de uma tabela de medidas inicial representativa do publico-alvo em questão, o qual tem necessidades e desejos particulares e precisa ser valorizado em sua forma estética. Alem disso, a modelagem foi estudada como uma ferramenta de expressão e concretização do processo de desenvolvimento de produto para um corpo andrógino e foi traçado o perfil desse público consumidor / Recently we have confronted a major change in human behavior with regard to gender roles, and as a result to clothing, since it is responsible for introducing, through the new element, changes set in traditional behavior patterns that gradually became frequent. The society has been following the growing number of people \"provided\" of dual-sexuality and elements that were restricted to the female gender being accepted by men, such as skinny pants, deep necklines in \'V\', the neon colors or even the skirts. This movement, called nogender, invaded the fashion world. In parallel, we have changes in gender roles in the contemporary society, which is common to see couples where men are responsible for the management of the household and women leaders of industry, with their bounded functions. From this moment, some wardrobe pieces of clothes began to be shared, resulting in some discomforts and inadequacies in relation to the body. From an anthropometric study, this research aimed to identify and ascertain the Brazilian androgynous body characteristics, which served as a basis for the development of an initial representative table of measures of the target audience in question, that has special requirements and desires and needs to be valued in its aesthetic form. In addition, modeling was studied as a tool of expression and embodiment of product development process for an androgynous body and the consumer public profle has been set

This thesis examined the relationship among sex role attributes of registered nurses and their professional attitudes. The study was centered in a number of 200-bed or larger medical-surgical hospitals located in Northeastern Indiana. Nonadministrative female staff R.N.s employed to work at least 32 hours per week comprised the sample population. The instruments for measurement were (1) a 25item professional attitudinal scale developed by Richard Hall, and (2) Sandra L. Bemis Sex Role Inventory.A multiple regression analysis was computed using the questionnaire results. The independent variables were age, number of years of active practice, masculine score, feminine score, and masculine-feminine interaction. The dependent variable was degree of professionalism. The findings revealed that those nurses scoring higher on the femininity subscale of the Bem Sex Role Inventory scored higher on the total Professionalism Scale than subjects endorsing a high degree of masculine traits. Older nurses and nurses with a greater number of years of practice demonstrated a higher degree of professionalism when compared with younger, less experienced nurses. Other findings revealed that nurses endorsing high levels of feminine traits on the Bem Sex Role Inventory manifested a strong belief in self regulation; nurses endorsing high levels of masculine traits on the Bem Sex Role Inventory employed use of the professional organization as a major referent most consistently.Ball State UniversityMuncie, IN 47306

This study examined gender portrayals in the film, The Crvinq Game. The societal labels for gender, "masculine" and "feminine," are not negative in and of themselves. However, when they are coupled with stereotypes, their power to direct behavior and perception formation can rob people of their freedom to be simply "human." This study primarily focused upon the costs of maintaining, challenging, and abandoning gender role stereotypes as illustrated in The Crvinq Game. Sonja Foss's four-step approach to feminist criticism was used as a tool for examination of this film.By examining the appearances, attitudes, and behaviors of the four central characters in the film, two messages emerged. First, in all four cases, being of a feminine nature was less desirable than being of a masculine nature. Second, Neil Jordan, the film's director, prescribes that all people should transcend the boundaries of gender, and simply allow themselves and others to be human.Jordan's humanistic message also provides insight into expansion of rhetorical methods and theories. Feminist criticism and Queer theory could attempt to transcend the boundaries of gender, and work toward the inclusion of all non-traditional sex roles. / Department of Speech Communication

Blanche DuBois marked the most significant literary achievement of Tennessee Williams. Though her rape functions dramatically as a powerful climax which has troubled critics and bothered audiences, it is more a thematic culmination of Blanche's inability to sequester her sexuality. In fact, nearly everything Williams wrote prior to 1947 was building toward Blanche's rape; nearly everything that came after was a thematic attempt to resolve that issue left incomplete in her character--the southern dialectic, the preponderant theme and unsolved riddle of Williams's long career.The southern dialectic--a model developed from the joint theories of southern historian W. J. Cash, theorist Allen Tate, novelist William Faulkner, literary critic C. Hugh Holman, and playwright Tennessee Williams--is the internalization of opposites virulent in human nature which seeks to synthesize its disparate traits. Williams juxtaposed onto most of his characters this metaphysical debate between antinomies, most notably flesh and spirit, past and present, and miscegenation. Although he explored each with precise attention to balance, Williams returnedto flesh and spirit and its teleological (as opposed to theological) assessment of the human condition as his thematic touchstone.From his first performed play in 1935 to his last works of-the Eighties, Williams harnessed the dialectic in himself --between his innate desire for flesh and his learned duties to spirit--and generated from it the art that was as much his career as it was his exercise in psychotherapy. By placing both traits in his characters and dramatizing their interaction through two key images--the cat and the bird, whose own timeless battle reflected the same attraction/ repulsion nexus of the flesh-spirit dialectic--Williams could search for the one-androgynous hero who, like Christ, would successfully integrate them.Androgyny, for Williams, was not strictly hermaphroditism, though he was drawn to the asexual, but the ideal state of human existence--the integration of paradoxically repellent and attractive forces created by the dialectic. Though his Grail-like pursuit led him to discover different ways to end or survive this dialectic (denial, then death, then endurance), Williams's search for his androgynous hero would ultimately be in vain. / Department of English

Although the earliest known literary evidence for a dual-sexed divinity on Cyprus dates to the fifth century BCE, archaeological evidence indicates there was a tradition on the island of sexually ambiguous imagery which predates the literary sources. This information prompted the present research, which traces the tradition back to the earliest known examples on Late Neolithic Cyprus, and tracks its evolution through to the Cypro-Archaic period. Rather than rely upon descriptions, photographs and drawings presented in consulted publications, the various international museums that house the figures were visited by the writer in order to physically examine the images. Controversial aspects of these figures were discussed with senior museum staff and/or curators. If figurines were unavailable for viewing, where possible, photographs were acquired from the relevant museums, and controversial aspects of the figures discussed by email. As a result, the majority of the images discussed in this thesis have been examined and photographed by the author. A catalogue of the sexually ambiguous imagery for Cyprus from the Neolithic to the Cypro-Archaic period has been compiled and is included in this work. It is proposed that the imagery is of Cypriot innovation, and consists of proto-anthropomorphic, anthropomorphic and half-animal, half-human representations. The genre is influenced from its earliest period by the figurative art of the Syro-Anatolian mainland, but from the Late Bronze Age onwards, influences from the western Mediterranean and Aegean are also evident. Despite the periods in which there is little evidence for figurine production, sexually ambivalent imagery re-emerges when figurative evidence is once more apparent in the archaeological records. Furthermore, stylistic continuity of the genre from one period to the next is also apparent. This continuity is regardless of the cultural changes which occur intermittently during the seven millennia period relevant to this study. Although it is not until the Cypro-Geometric period that there is firm evidence to support a religious interpretation of sexually equivocal imagery, it is suggested that the genre from the earliest period was at least associated with fertility, and perhaps religious cult.

Although the earliest known literary evidence for a dual-sexed divinity on Cyprus dates to the fifth century BCE, archaeological evidence indicates there was a tradition on the island of sexually ambiguous imagery which predates the literary sources. This information prompted the present research, which traces the tradition back to the earliest known examples on Late Neolithic Cyprus, and tracks its evolution through to the Cypro-Archaic period. Rather than rely upon descriptions, photographs and drawings presented in consulted publications, the various international museums that house the figures were visited by the writer in order to physically examine the images. Controversial aspects of these figures were discussed with senior museum staff and/or curators. If figurines were unavailable for viewing, where possible, photographs were acquired from the relevant museums, and controversial aspects of the figures discussed by email. As a result, the majority of the images discussed in this thesis have been examined and photographed by the author. A catalogue of the sexually ambiguous imagery for Cyprus from the Neolithic to the Cypro-Archaic period has been compiled and is included in this work. It is proposed that the imagery is of Cypriot innovation, and consists of proto-anthropomorphic, anthropomorphic and half-animal, half-human representations. The genre is influenced from its earliest period by the figurative art of the Syro-Anatolian mainland, but from the Late Bronze Age onwards, influences from the western Mediterranean and Aegean are also evident. Despite the periods in which there is little evidence for figurine production, sexually ambivalent imagery re-emerges when figurative evidence is once more apparent in the archaeological records. Furthermore, stylistic continuity of the genre from one period to the next is also apparent. This continuity is regardless of the cultural changes which occur intermittently during the seven millennia period relevant to this study. Although it is not until the Cypro-Geometric period that there is firm evidence to support a religious interpretation of sexually equivocal imagery, it is suggested that the genre from the earliest period was at least associated with fertility, and perhaps religious cult.