The thesis has both a theoretical and a practical part. Within the theoretical part it deals with problems and the characteristics of food intake failures, especially with the perception of her/his body during maturation, pubescence, adolescence, early adulthood and middle adulthood and the impact of psychological and social factors and risk factors. It points out the possibilities of a probable occurrence of a food intake failures, the attitude of the society and parents. It deals with different attitudes to slenderness, self-esteem, eating habits of girls and how present-day girls are informed about food intake failures. The diploma thesis main aim within a practical part is the illustration of a theoretical part and the description of subjectively sensed possible causes from women who suffered from food intake failures. There are 6 casuistries described here which are subsequently summarized in the results. Possible comments and ideas are mentioned in the discussion.

Det digitala samhället kännetecknas av konstant utveckling och snabb föränderlighet, vilket har skapat rollen influencer: En person som används av företag och varumärken för att marknadsföra produkter eller tjänster. Denna studie fokuserar särskilt på influencerns egen bild av sitt yrke och genom att tematisera frågor utifrån teorier rörande kommersialisering, självpresentation, deltagarkultur och opinionsbildning. I studien undersöks hur tre utvalda svenska influencers inom mode och skönhet på Instagram ser på sin roll i och med kommersialiseringen vilket analyseras utifrån samma teorier inom medie- och kommunikationsvetenskapen som har nämnts ovan. Studien genomförs genom kvalitativa forskningsintervjuer där influencerna själva är utgångspunkten. Genom studien blir det tydligt att förstå hur kommersialiseringen har påverkat mediesamhället och tidigare roller har bytts ut. Kändisar är inte bara längre skådespelare och artister, opinionsledare behöver inte längre vara traditionella medier, en person kan ha olika roller i olika mediesammanhang och annonsering är inte längre något som går från producent till konsument. Utvecklingen av både medier och sociala kanaler har förändrat medielandskapet helt och de gränserna mellan avsändare och mottagare suddas ut. Det är inte bara marknadskommunikationen som har monopol på forskning rörande annonsering och marknadsföring. Avlutningsvis visar studien att influencerna har en sammansatt och komplex roll som uppstått i och med kommersialiseringen och är en följd utav en konvergens av det digitala medielandskapet. / The digital society is characterized by constant development and rapid change, which has created the role influencer: A person used by companies and brands to market products or services. This study focuses on influencers own image of their occupation and by thematising issues based on theories of commercialization, self-presentation, participatory culture and opinion formation. The essay is exploring how three selected Swedish influencers in fashion and beauty at Instagram are looking at their role in commercialization which is analyzed on the basis of the same theories in media and communication science that have been mentioned above. The study is conducted through qualitative research interviews where the influencers themselves are the starting point. Through the study it becomes clear to understand how commercialization has affected the media community and previous roles have been replaced. Celebrities are no longer just actors and artists, opinion leaders no longer need to be traditional media, a person can have different roles in different media contexts and advertising is no longer something that goes from producer to consumer. The development of both media and social channels has changed the media landscape in so much as the boundaries between senders and recipients are being erased. It is not only market communication that has a monopoly on research relating to advertising and marketing. Lastly the study shows that influencers have a composite and complex role that has emerged through commercialization and is a consequence of a convergence of the digital media landscape.

This thesis deals with complex processes, relationships and phenomena which go beyond the assumed and accepted materialistic perception of the world in general and the process of architectural design specifically. It clarifies and actually redefine the sustainability from a point of higher universal principles forming our environment. At the beginning this thesis presents an extensive knowledge base of existing holistic design systems including Feng-shui, sacred geometry, geomancy or numerology. The purpose is to build and establish a solid foundation for understanding and further research as well as objectively interpreting lesser known topics as a whole. On the basis of intersecting information through the above mentioned topics we specify the hypothesis which proposes the pre-existence of one unifying design matrix of harmonic structures in architecture. The structure of its verification takes us from an analysis of the science of human perception to systems of self-similar contextual references of animated and inanimated forms. These systems of emergent form and flow are basically known as fractals, and could be expressed in both mathematical and geometrical languages. The thesis research then consists of analysing chosen examples of urban and architectural scale in sense of fractality, symbolism and geometrical matrices. We include and integrate the research of associated and relevant phenomena in pedagogical practice, and a case study of the application of fractals in development of a chosen town. From the results of this thesis we abstract five non-dogmatic guidelines or tenets for architectural design; which are supported by experimental verification on some of the author´s buildings. These tenets stand as pillars of implosive architecture. This kind of architecture in context of transcendental overlaps means a possibility of how to bring our anthropogenic environment closer to the natural and harmonic code of the Universe.

The specified location for the design is located in the street Hády near the former quarries -Hády and Růženin lom. The place is surrounded by suburban recreational greenery and has sufficient accessibility. On a dedicated site is considered new and existing applications. The new use of the buildings includes a water park and Roman bath and the sauna world. The building of the Roman bath and sauna world will contain, in addition to the main operations also ancillary services and hydrotherapy treatments. The object is oriented at the southern edge of the land between the parking lot and the building of the Aqua Park. The object is designed as a three-storey with basement (1S), 1st floor (1NP) and 2nd floor (2NP). Mass solution is the arc plan. The input section is designed as a contiguous solid mass. The rear part is then designed as two separate halls. From the perspective of the construction is a reinforced concrete skeleton. Surface materials are plaster with metallic paint, glass and wood.

Listan över influerare som har gjort skönhetsingrepp kan göras lång. För att nämna ett exempel har Bianca Ingrosso med ett följarantal på 343 000 på Youtube talat öppet om att hon gjort lipfillers (Ingrosso, 2020). Dessa inlägg där influerare talar om hur de korrigerar sin kropp i kombination med att de unga är i majoritet på internet och sociala medier (Svenskarna och internet 2019) ligger till grund för vår vilja att genomföra denna undersökning. Syftet med denna studie är att undersöka hur influerares reklam och framställning av skönhetsingrepp kan skapa betydelse för hur unga kvinnor ser på den egna kroppen. För att genomföra studien har vi använt oss av sex stycken kvalitativa intervjuer med kvinnor i åldrarna 15–17 år. Intervjuerna har spelats in och transkriberats och materialet har sedan analyserats för att besvara våra frågeställningar. Utifrån våra intervjuer kan vi se att influerares sätt att tala om och göra reklam för skönhetsingrepp har betydelse för unga kvinnors attityder till den egna kroppen. Några av respondenterna har även uttryckt att de blivit osäkra gällande sin egen kropp efter att ha sett inlägg gällande skönhetsingrepp från en influerare. Vi kan tydligt se att respondenterna tror att unga kvinnor är den grupp som påverkas mest av influerares framställning av skönhetsingrepp. Intervjuerna visar att respondenterna tar del av ett dominerande skönhetsideal på sociala medier och de beskriver idealet som att man ska vara smal, lång och vacker. Vi kan tydligt se, genom de analyserade intervjuerna, att de unga kvinnorna som deltog i denna studie är kritiska till influerare som talar om och gör reklam för skönhetsingrepp, då de tycker att det uppmanar andra till att korrigera sin kropp. Trots kritiken så spelar influerare en stor roll i de unga kvinnornas liv och de uttrycker att de får inspiration av influerare gällande var och vad man äter, hur man klär sig och hur man tränar. Vi kan därmed se en viss ambivalens i respondenternas svar då de följer specifika influerare samtidigt som de riktar kritik gentemot dessa. / The list of influencers who has had cosmetic procedures done can be made long. To mention one example, Bianca Ingrosso with 343 000 followers on Youtube, has spoken openly about her lip fillers (Ingrosso 2020). These types of posts, where influencers talk about how they correct their body, in combination with the fact that young people are a majority of the internet and social media users (Svenskarna och internet 2019) forms the basis of our motivation to conduct this study. This study aims to analyze whether, and if so, how influencers advertising and speech about cosmetic procedures contribute in creating meaning regarding how young women view their own body. This study was conducted with six qualitative interviews, with women in age 15-17. The interviews have been recorded and transcribed and the material has been analyzed to answer our research questions. Throughout our analyzed interviews can we see that influencers' speech and advertising about cosmetic procedures are meaningful regarding young women's attitudes to their own body. Some of the respondents expressed that they felt insecure about their own body after seeing an influencer talk about cosmetic procedures. We can also see that the respondents think that young women as a group of people are affected by influencers' opinions about cosmetic procedures. In the interviews, we can also see that the respondents take part in constructing a dominating beauty ideal on social media and they define the ideal as being skinny, tall and beautiful. Clearly the young women who took part in this study are critical of how influencers talk and do commercials about cosmetic procedures, they think influencers tell others to correct their body. Despite the criticism, the young women in this study are still inspired by influencers, regarding where and what they eat, how they dress and how they work out. We can clearly see some ambivalence in the way the respondents answer as they follow specific influencers while they also are criticizing them.

This thesis examines the embodiment of the sexed body and the struggle of fitting into the narrow frames of what a woman is supposed to behave and look like in Japanese cinema. Using the medium of film, I, therefore, seek to produce knowledge regarding the internalized gaze of the oppressor, and self-objectification, caused by the capitalist heteropatriarchy. Thus, I am drawing from cyborg feminism, and the second wave of sexual difference theory’s concept of becoming, expanded upon by the Italian-Australian philosopher Rosi Braidotti. I further use the French sociologist Pierre Bourdieu’s notion of masculine domination and the American philosopher Gayle Rubin’s charmed circle, in creating a theoretical framework, and using the methods of cultural and feminist film analysis to contextualize the films and locate the subjectification of the women. The movies that I will be analyzing are the Japanese director and poet Sion Sono’s Antiporno (アンチポルノ, 2016) and the Japanese director and photographer Mika Ninagawa’s Helter Skelter (ヘルタースケルター, 2012), which both center around two women and their struggle in becoming-cyborg, in relation to power, trauma, sexuality, technology, and beauty ideals in ‘modernized’ Japan. In that sense, I will study the phenomenon of operating outside the lines of social norms of femininity and desire.

No description available.

No description available.

My thesis explores why beauty became so much more important in nineteenth-century Britain, especially for marriageable young women in the upper and middle class. My argument addresses the consequences of that change in the status of beauty for plain or ugly women, how this social shift is reflected in the novel, and how authors respond to the issue of plainer women and issues of their marriageability. I look at how these authorial attitudes shifted over the century, observing that the issue of plain women and their marriageability was dramatized by nineteenth-century authors, whose efforts to heighten the audience's awareness of the plight of plainer women can be traced by contrasting novels written early in the century with novels written mid-century. I argue that beauty gained more significance for young women in nineteenth-century England because the marriage ideal shifted, a shift which especially influenced the upper and middle class. The eighteenth century brought into marriage concepts such as Rousseau's "wife-farm principle" the idea that a man chooses a significantly younger child-bride, mentoring and molding her into the woman he needs. But by the end of the century the ideal of marriage moved to the companionate ideal, which opted for an equal partnership. That ideal was based on the conception that marriage was based on personal happiness hence should be founded on compatibility and love. The companionate ideal became more influential as individuality reigned among the Romantics. The new ideal of companionate marriage limited parents' influence on their children's choice of spouse to the extent that the choice lay now largely with young men. Yet that choice was constrained because young men and women were restricted by social conventions, their social interaction limited. Thus, according to my reading of nineteenth-century authors, the companionate ideal was a charade, as young men were not able to get to know women well enough to determine whether or not they were compatible. So instead of getting to know a young woman's character and her personality, they distinguished potential brides mainly on the basis of appearance.

Upbringing and psychological make-up inspire individual norms for beauty and cuteness. The mannerist approach in my work is a product of the figural liberties found in cartooning, illustration and art history. By altering facial and bodily features, I relate the proportions of an infant to cuteness and innocence. However, I tailor the photographs to empower the subjects all the while mirroring trends in contemporary pop culture. I'm interested in themes of everyday life, vitality and emotion placed in obscure, imaginary or exaggerated venues. I fictionalize subjects of my reality to compel viewers to identify with and fancy emotions, circumstances, moods and relationships. The intent is to amplify, yet be truer to their existence and idiosyncrasies through figural adaptations.