<p>Koreodrama je jedan od oblika pozori&scaron;ne igre u kojoj se insistira na sintezi različitih oblika ispoljavanja: pokretom, muzikom, rečju. Ne postoji jedna definicija koreodrame s obzirom na vreme kada se pojavila i na umetničke i dru&scaron;tvene prilike u kojima su pojedine snažne koreografske ličnosti stvarale do danas u svetu i Srbiji. Istražuju se praktične i teorijske dimenzije koreodrame kao zasebnog pozori&scaron;nog žanra sa stanovi&scaron;ta forme koja doprinosi razvoju rodnih studija, pre svega diskusijom o emancipaciji ženskog tela.<br />Cilj ovoga rada je da prikupi, sistematizuje i interpretira podatke o razvoju koreodrame u Srbiji tokom 20. veka i njenom vidljivom prodoru u pozori&scaron;noj umetnosti 21. veka - kako bi se jasno pokazale zasluge žena u afirmaciji ovog pozori&scaron;nog usmerenja.<br />Hipoteza je da je koreodrama izmenila odnos prema igri, odnos prema drami i odnos prema ženskom telu.<br />Savremene teorija roda vode računa o osobinama identiteta žena (i mu&scaron;karaca) i tumače ga kao promenljivu pojavu kompleksnog sadržaja, sastavljenu od vi&scaron;e različitih komponenata (Duhaček, 2011; 2014). U tumačenju osobina identiteta četiri odabrane umetnice koristimo holistički teorijski pristup savremenih teorija (poststrukturalni, postmoderni i interkulturalni feminizam), a metodom analize diskursa takav teorijski pristup proveravamo. Takav teorijski pristup uzima u obzir ne samo verbalnu poruku, nego podjednako i kontekst u kojem se verbalni i neverbalni događaj ispoljava i same sagovornike.<br />Promenljivost identiteta je osnova ovakvog teorijskog pristupa, dokumentovana na empirijskom materijalu života i stvarala&scaron;tva umetnica u Srbiji u 20. veku.<br />Metod istraživanja se oslanja na analizu teksta, odnosno dva su osnovna metoda (Savić, 1993): analiza tekstova i analiza razgovora (diskursa).<br />Rezultati pokazuju da su se u Srbiji koreodramom bavile uglavnom umetnice izrazite individualnosti i obrazovanja, o kojima je samo delimično pisano u domaćoj literaturi kada je u pitanju odnos roda i koreodramskog postupka stvaranja, odabiranja sadržaja i afirmisanja u javnom prostoru: Maga Magazinović, Smiljana Mandukić, Nada Kokotović i Sonja Vukićević.<br />1.Vlastitim umetničkim i pedago&scaron;kim delovanjem na&scaron;e četri umetnice doprinele su &scaron;irenju znanja o igri u Srbiji uop&scaron;te, posebno novom poimanju oslobođenog tela (i to ne samo u igri);<br />2 Njihov doprinos se ogleda u ukupnoj emancipaciji žena (u profesiji, u porodici i dr.);<br />3. Sada je poznato da je uporedo tekla borba za ravnopravnost žena u dru&scaron;tvu sa afirmacijom moderne igre i koreodrame u Srbiji.<br />4. Rad četiri umetnice je uticao na formiranje stvarateljki nove generacije koreografkinja u Srbiji u 21. veku.<br />Zaključujem da postoji kontinuitet u afirmisanju žanra koreodrame u pozori&scaron;nom životu Srbije od periferije ka centru umetničkog događanja.<br />Podaci iz ovog istraživanja se mogu neposredno uključiti u postojeće kurikulume o savremenoj igri na Akademiji umetnosti, s jedne strane, i u obrazovni program iz muzičke i pozori&scaron;ne umetnosti u srednjim &scaron;kolama, s druge strane.</p> / <p>Choreodrama is a form of theatrical dance which insists on the synthesis of different forms of expression: movement, music, word. There is not a unique definition of choreodrama given the time when it appeared on the artistic and social situation in which some strong choreographic personalities have created to this date in the world and Serbia as well. The practical and theoretical dimensions of choreodrama as a separate genre are examined from the standpoint of form which contributes the development of gender studies, especially the discussion on the emancipation of the female body.<br />The aim of this study is to gather, systematize and interpret information on the development of choreodrama in Serbia during the 20th century and its visible breakthrough in the art of theatre of the 21st century - in order to clearly show the merits of women in the promotion of this theatrical direction.<br />The hypothesis is that choreodrama has changed attitude towards dance, the attitude towards drama and relationship to the female body.<br />Contemporary theories of gender pay special attention on the characteristics of women&#39; identity (and men&#39; as well) and interpret it as the emergence of a complex variable content made up of several different components (Duhacek, 2011; 2014). In identity characterics interpreting of four selected artists we use a holistic theoretical approach to contemporary theories (poststructural, postmodern feminism and intercultural feminism) and this theoretical approach can be checked by method of discourse analysis. Such an approach takes into account not only the verbal message, but also the context in which the verbal and non-verbal situations are manifested, as well as interlocutors themselves. Variability of identity is the basis of this theoretical approach, documented in the empirical material of the female artists&#39; lives and work in Serbia in the 20th century.<br />The research method relies on the analysis of the text or, to be precise, two basic methods (Savić, 1993): analysis of texts and conversation analysis (discourse). The results show that in Serbia mainly female artists of great individuality and education dealt with choreodrama and they were only partly written about in our literature concerning the relationship of gender and choreodrama process of creation, selection of content and affirmation in the public area: Maga Magazinović, Smiljana Mandukić, Nada Kokotović and Sonja Vukicevic.<br />1.With their personal artistic and pedagogical functioning, our four women artists have contributed to spreading the knowledge about dance in Serbia in general, especially the new understanding of the liberated body (and not only in dance);<br />2. Their contribution is reflected in the total emancipation of women (in their profession, family, etc.);<br />3Now it is known that the struggle for women&#39;s equality in society was lead simultaneously with the affirmation of the modern dance and choreodrama in Serbia.<br />4. The work of these four female artists has influenced the work of the creators of a new generation of choreographers in Serbia in the 21st century.<br />I conclude that there is continuity in the promotion of the choreodrama genre in Serbian theatrical life from the periphery to the center of artistic events.<br />The research information can be directly incorporated into existing curricula of contemporary art at the Academies of Arts, on the one hand, and in the educational programme of music and theatrical art in secondary schools, on the other hand.</p>

The interest for natural dye has increased together with the concern in sustainability and environmental awareness within the textile industry. Natural dye is one of the oldest techniques when it comes to textile production, but when synthetic dyestuffs were discovered, the usage of the technique decreased. Today, the technique is slowly coming back together with the awareness in sustainability. However, regarding surface patterns, the expression is quite limited, and patterns are created by dyeing techniques, muted colors and nature as an obvious inspiration. This degree work explores natural dye print by designing a screen printed surface pattern collection, and the project advocates for and is an addition to the field of natural dye print. The methods used were drawing, digital sketching and screen printing. The methods of designing were done through practical workshops, both for sketching patterns and to explore techniques within natural dye print. The female body is a design theme in the work and the intention is simply to portray the body as it is. The motive has not been chosen to provoke, to address a political issue or to evoke discussion. The result is three surface patterns printed with different printing techniques on different fibers. A significant part of the result is the reference library containing all the printed samples and can be used for further research within the field. Choice of fabric and scale of design was done with fashion fabric in mind, however, to focus on the design and technique the designs are not presented on any kind of product. Tests were done to try out the light fastness of the different colorants on different fibers. This project has expanded the field of natural dye print by adding a screen printed surface pattern collection with thematic patterns and an expression that does not reveal the use of natural dye. The project also resulted in a steppingstone for further work within the field.

Denna studie är skapad för Medie- och kommunikationsvetenskapliga programmet på Karlstad Universitet. Uppsatsen skriven på B-nivå, det vill säga 7,5 högskolepoäng. Syftet med den här uppsatsen är att undersöka och fylla kunskapsluckan kring hur, ur genus- och feministiskt perspektiv, kvinnokroppen framställs av varumärket H&amp;M på kanalen Instagram. Frågeställningen som skapades utifrån dessa premisser blev därmed “På vilket sätt, ur ett genus- och feministiskt perspektiv, porträtterades kvinnokroppen i bilder på H&amp;Ms Instagram under 2019?”. För att undersöka denna frågeställning valdes metoden kvantitativ innehållsanalys. Denna metod frambringar generaliserbara resultat som går att applicera på samtliga enheter i populationen. Materialet som används för denna studie består av 100 analysenheter i form av Instagraminlägg, tagna från H&amp;Ms Instagram den 11 maj 2020. Dessa 100 analysenheter har erhållits genom slumpmässigt obundet urval, där populationen bestod av samtliga inlägg H&amp;M publicerat, under perioden 2019. Kraven för bilderna var att de innehöll minst en kvinna. I de analysenheter som innehöll flera kvinnor analyserades kvinnan placerad längst till vänster. Genom studien visade resultaten att kvinnor genom flertalet undersökta variabler och applicerade feministiska och genusperspektiv, porträtterade kvinnokroppen som undergiven samt objektifierad. En handfull resultat visade på motsatsen, där resultaten antingen talade för motsatsen eller för en mer neutral porträttering. Slutsatsen drogs att kvinnokroppen i H&amp;Ms Instagram under 2019 porträtteras som undergiven och objektifierad, då övervägande resultat pekade på detta. / This study was written at the Media and Communication Studies program at Karlstad University. The thesis is written at B-level, which constitutes 7,5 HP. The purpose of this study is to explore and fill the scientific knowledge gap surrounding the way the female body is portrayed on H&amp;M’s Instagram from a feminist and gender perspective. The research question originated from these premises and is consequently phrased “In which way, from a feminist and gender perspective, was the female body portrayed on H&amp;Ms Instagram during 2019?”. The method quantitative content analysis was chosen to investigate and examine the question at hand. Using this method will enable the possibility to generalize the results and apply them to all units of the chosen population. The material used in this study consists of 100 units in the form of Instagram posts, extracted May 11th, 2020. All 100 units were obtained through the selection method simple random sample (SRS), in which the population consisted of all H&amp;Ms published posts, without exception, during the period of 2019. The requirements to become an analytical unit, was for the image to portray at least one woman. In the units where several women were portrayed, the woman placed furthest to the left was examined. The study showed, through several variables together with the theoretical framework, that the female body is portrayed as an object and furthermore as submissive. A handful of the results argued against this statement, where the results either showed on the contrary or a neutral position of power. The predominant results showed that H&amp;M’s Instagram, during 2019, are objectifying the female body and putting it in a submissive position.

Consumption of surgical and non-surgical cosmetic procedures are increasing every year and are consumed by women to a far greater extent than by men. To bear the role of an influencer has also become increasingly common. When influencers post on their social media, they reach out to a large audience with the intention of  influencing their followers to consume the goods or services that they share. Since consumption of beauty procedures has increased in Sweden and continues to increase, we want to investigate whether influencers convey messages about consuming beauty procedures. The aim of the study is to analyze Swedish female influencer's opinions and arguments about the consumption of surgical and nonsurgical beauty procedures. To fulfill the aim of the study, the following questions will be answered: what opinions and arguments about the appearance and consumption of beauty procedures do influencers express? and What norms and values are visible in influencer's opinions and arguments? In total, 14 YouTube videos and 10 Swedish female influencers were examined. The women's ages range from 18 to 35 years old. The phenomenon was studied through netnography because influencers are very much active online and do sometimes share their opinions about beauty procedures online. The theories and concepts we analyze and interpret our empirical material with is Bauman’s (2008) theory of consumer society, Bordo’s (1993) view of feminism, western culture and the body and Cooley’s (1902) concept the looking-glass self. The findings showed that there were five values and norms that the influencers in our survey expressed, these were: believing the human being to be autonomous, women need to look a certain way to be accepted as beautiful, beauty procedures lead to happiness, the body should be subjected to examination, evaluation, modification and objectification, that beauty procedures should not be taken very seriously but instead accepted as an everyday practice.

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This research examines the manifestation of gender inequality represented in female sculptures during the Classical period and the relevance of such evidence. To achieve the purpose, the female figures and their sculptural developments are compared to their male counterparts, and their differences are examined and interpreted. After that, the essay views how female figures from Greek mythology were represented unequally regarding the “female nakedness” and its manipulation. To conclude, the relevance of the evidence on the manifestation of female inferiority in Classical Greek sculpture is discussed by examining how the Graeco-Roman world is often perceived and how this perception might be improved in the future for the new evidence to become more relevant.  During the Classical period, Greek sculpture embodied the ideals and values of the patriarchal society. This resulted in female figures that were never represented equally and instead were made to embody the societies’ misogynistic view of women and their bodies. While the male statues were nude, athletic, and heroic, the female figures were fully clothed or partially exposed, made erotic and sensual, and with the female nakedness, they were depicted as vulnerable, violated, and always enslaved to their biology.  Not only is the evidence on gender manifestation relevant, but it should be acknowledged on a much larger scale. The misguided perception of the Graeco-Roman world should be corrected, and we should begin a new chapter in art history and create a new generation of non- biased perceptions. Ultimately, the female figures should be acknowledged for what they represent and not ignored.

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Le récit Moi, l’interdite, se présente comme une exception parmi les œuvres d’Ananda Devi en ce qu’il n’aborde pas de front ni implicitement le thème de la dissidence féminine, comme nous pouvons l’observer dans la plus grande majorité des œuvres de l’auteure mauricienne. Au contraire, le récit s’évertue à mettre en place un processus singulier : celui d’une disparition, perpétré contre la narratrice et protagoniste principale, condamnée à être l’éternel Autre à cause de son physique monstrueux. La présente étude se donne pour objectif d’exposer les rouages à la fois narratifs, thématiques, corporels et relationnels de cet anéantissement de l’Autre à travers une approche essentiellement narratologique. Dans un premier temps, l’entreprise de disparition est observée à travers plusieurs procédés narratifs : complexité chronologique, enchâssement de plusieurs niveaux de récit, abondance de narrataires. Dans un second temps, le thème de la disparition est questionné dans les relations aliénantes nouées par la narratrice, dont le corps difforme est le principal enjeu. De cette volonté de destruction (re)nait et (re)meurt une narratrice, malade de folie, dont les séquelles incurables l’empêcheront de réaliser son désir d’appartenance à un Même fantasmé. / The novel Moi, l’interdite, stands as an exception in Ananda Devi’s works due to the fact that it does not, directly or inherently, address the topic of feminine dissidence usually displayed in the majority of the works from the Mauritian author. The story, on the contrary, tries to set up a singular process: a disappearance affecting the narrator and main protagonist, forever condemned to be the Other because of her monstrous physical appearance. This study aims at exposing the inner machinery of the narrative, thematic, corporal and relational aspects of the destruction of this Other mainly through a narratological approach. Firstly the initiative of the disappearance can be observed through several narrative methods: chronological complexity, interlocking of several levels of discourses, abundance of narratees. Secondly the theme of disappearance is questioned in the alienating relationships developed by the main narrator, for whom her deformed body is mainly what is at stake. This will of destruction leads to the crazily sick narrator’s (re)birth and death, as the incurable after-effects will prevent her from fulfilling her dream to belong to a fantasised Same.