Danse, performance, cinéma, écrits théoriques et poétiques : dans la multiplicité de sa création artistique et intellectuelle, Yvonne Rainer s’impose comme une artiste cardinale dans l’histoire de l’art. Instigatrice du changement de paradigme postmoderne en danse, elle arrache le geste ordinaire à la vie quotidienne pour le placer au cœur de la création chorégraphique, en radicale juxtaposition avec des textes, des images et des objets. À partir des années 1970, elle émerge parmi les figures centrales du cinéma expérimental et indépendant en dialogue avec les théories et les luttes politiques féministes, queer et postcoloniales. Cette thèse explore la place de la subjectivité et de l’émotion dans la danse et le cinéma de Rainer. En effet celle-ci a impulsé un renouvellement radical du matériau affectif dans la pratique artistique en l’envisageant comme un fait, une réalité objective. Dans un contexte où l’ennui agit comme un style affectif dominant au sein de l’avant-garde artistique américaine après 1945, l’artiste propose une expérience matérielle sensible, générant une conscience décuplée du temps et plaçant son public dans cette disposition affective à la fois pesante, froide et ordinaire. Puis, en résonance avec le cinéma des femmes, elle investit l’ennui à la fois comme une dynamique de subjectivation et comme une stratégie de subversion. En naviguant entre les dimensions individuelles et collectives de l’émotion, la thèse explore les enjeux esthétiques, politiques et subjectifs de l’ennui dans l’œuvre de Rainer. / The multiplicity of Yvonne Rainer’s art and intellectual works - in dance, performance, film, theoretic and poetic writings - makes her one of the essential artists in the history of art. As instigator of the post-modern paradigm shift in the dance scene, she pulled out movements from everyday life and put them at the core of her choreographic work, creating a radical juxtaposition to texts, pictures and objects. In the seventies, she became one of the main figures of experimental and independent cinema. Her polyphonic and reflexive cinematographic works entered in a dialogue with feminist, queer and postcolonial theories and struggles. The present thesis explores the notion of subjectivity and emotion in the film and dance of Rainer. Indeed, she has given the impulse for a radical renewal of the use of emotional material, which she considered as a given fact and an objective reality, in the artistic practice. In a context where boredom imposed itself as the dominant emotional style in the American artistic avant-garde after 1945, the artist offered a sensitive material experience. In particular, she created an acute conscience of time and put her audience in a specific emotional disposition, boredom, that can be described as tedious, cold and ordinary altogether. Then, in echo with women’s cinema, she explored boredom both as a process of subjectivation and as a strategy of subversion. Navigating between individual and collective dimensions, this research explores the aesthetic, political and personal stakes around the expression of boredom in Yvonne Rainer’s work.

The purpose of this study has been to investigate teachers’ treatment of girls and boys in religiouseducation and how these teachers discuss their treatment of them. The study is set in Kurdistan innorthern Iraq. Religion teachers were interviewed in order to examine their reasoning regardingtheir treatment of girls and boys and observations have been performed to investigate how theseteachers treat the students in religious education. As a background, the study describes the Kurdisheducation from the time of them being an ethnic minority group in northern Iraq to becoming a selfgovernedregion with their own curriculum. This study has used a qualitative method whereinterviews have been conducted with a phenomenological approach and ethnography as a methodfor the observations. The study's results have been analyzed based on its gender-theoretical points.The study has been written with the help of a phenomenology approach. The results have beendiscussed based on the studies gender-theoretical points. The conclusion is that even though girlsand boys are considered equal they do not have equal opportunities. / Syftet med denna studie har varit att undersöka lärares bemötande av flickor respektive pojkar ireligionsundervisningen i Kurdistan i norra Irak, samt hur dessa lärare resonerar kring sittbemötande. Religionslärare har intervjuats för att undersöka deras resonemang kring sitt bemötandeoch observationer har utförts för att undersöka hur dessa lärare bemöter eleverna ireligionsundervisningen. Som bakgrund har studien beskrivit Kurdistans undervisning från att varaen minoritetsfolkgrupp i norra Irak till att sedan bli en självstyrd region med egen läroplan. Enkvalitativ metod har använts och intervjuer med ett fenomenologiskt tillvägagångsätt har utförtsoch med etnografi som observationsmetod. Resultat har analyserats utifrån de genusteoretiskautgångspunkter. Utifrån fenomenologin och de teoretiska utgångspunkterna har resultatetdiskuterats. Slutsatsen är att trots att flickor och pojkar ses som jämlika så har de inte likamöjligheter.

Studien har syftat till att skapa förståelse för hur verkligheten kan upplevas för personer som identifierar sig som homosexuella, bisexuella, transpersoner och/eller queer (H/B/T/Q), idag i Sverige. Vi hade en explorativ ansats utifrån detta syfte och använde oss av Grounded theory som kvalitativ metod för datainsamling och databearbetning. Vi intervjuade 11 H/B/T/Q-personer i Örebro, och vi fann ett antal centrala teman som var återkommande i intervjuberättelserna. Dessa handlade om hur sociala interaktioner med omgivningen påverkade den egna processen mot ett öppet liv som H/B/T/Q-person eller ett mer dolt. Det framkom också att det fanns en koppling mellan öppenhet i detta avseende och psykiskt välbefinnande. Utifrån dataanalysen drog vi en slutsats om påverkansfaktorer för den sociala interaktionens riktning gällande öppenhet/slutenhet och belyste relationerna mellan dessa i teoretiska modeller, där olika uttryck hos en heteronormativ omgivning beskrevs som centrala i detta avseende, men även den enskilda H/B/T/Q-personens interaktionsstrategier och tillgången till socialt stöd. / The aim of this study was to create an understanding of the life-views of persons identifying themselves as homosexual, bisexual, transpersons and/or queer (H/B/T/Q) in Sweden today. We had an explorative approach to this aim and used Grounded theory as a research method. We interviewed 11 H/B/T/Q-persons living in Örebro, and we found some central themes wich were frequently described, generally about how the social interaction with others had an effect on their own processes to living an open H/B/T/Q-life or having a restrictive approach. We also found that living openly as an H/B/T/Q-person seemed to be a salutogene factor. Those factors that we found to be central in the interactional processes to openly or restrictive ways of living as a H/B/T/Q-person, were illustrated in theoretical models, where the relationships between heteronormativity, individual interactional strategies and social support were focused.

Abstract The present study examines three novels by Finnish women – Johanna Sinisalo, Pirkko Saisio and Helena Sinervo – each of whom has received the Finlandia Prize for fiction. The novels Ennen päivänlaskua ei voi (2000), Punainen erokirja (2003) and Runoilijan talossa (2004) are analysed in the context of contemporary cultural change in which queer themes have become not only a visible part of cultural representations of gender and sexuality but also active constituents of the established cultural canon. The study considers the varieties of gendered and sexual meaning which are generated by this fiction and – as the novels in question deal with non-normative sexuality – it also discusses how these issues were manifested in their reception. Additionally, it investigates the problematics of a literary genre which thematises non-normative sexuality. Beyond its engagement with the interrelationship between the selected novels (along with their social context) and the present culture, institutions and canon, the study also concerns itself with the question of how non-normative sexuality is addressed and discussed in literature and its reception. The novels are examined as products of a context in which their publication had seemed like a swift, yet appropriate, response to a cultural need for the creation of new, 'liberal' and 'progressive' queer representations. In addition, they are approached as works with specific queer-political agendas, aimed at opposing and deranging the hetero establishment. The analysis of the novels is consequently grounded in the politics of performativity, queer theory and the problematics of its domestic contextualisation, taking account, too, of the intersection between performativity and queer reading. This methodology is called queer political reading. The novels under investigation participate in the cultural, societal, social and discursive processes that use gender and sexuality to construct meaning. The fact that they have also received the Finlandia Prize connects them to a wider context, into a contemporary culture and society, which places sexuality at its centre. Where wide and far-reaching gender issues, brought about by cultural, intellectual, judicial and political changes, marked the turn of the 20th century, the turn of the present century is more explicitly sexual in character, facilitated by contemporary phenomena – such as the epochal changes in theories of gender and sexuality, or legislation and presentations of sexual culture, which have manifested themselves over recent years. Nevertheless, it would seem that discussions of queerness tend to remain allusive and implied rather than explicit, taking not only peculiar but also traditional forms, in which the rhetoric of the closet is used extensively. On the one hand, queerness is quite visible in representations of sexuality. But on the other hand, the reception of that queerness remains largely in the closet. This suggests that – particularly on institutional levels – queer themes can be rendered explicit only when it remains contextually suitable. / Tiivistelmä Tutkimus tarkastelee kolmen kirjallisuuden Finlandia-palkinnolla palkitun naiskirjailijan, Johanna Sinisalon, Pirkko Saision ja Helena Sinervon palkintoromaaneja Ennen päivänlaskua ei voi (2000), Punainen erokirja (2003) ja Runoilijan talossa (2004). Teoksia analysoidaan osana nykyistä kulttuurista käännettä, jossa heteronormatiivisuutta kyseenalaistavat, queerit kulttuurituotteet ovat tulleet osaksi sukupuolen ja seksuaalisuuden kulttuurisia esityksiä ja jopa osaksi hyväksyttyä kulttuurista kaanonia. Tutkimuksessa kysytään, millaisia sukupuolen ja seksuaalisuuden merkityksiä Sinisalon, Saision ja Sinervon normienvastaista seksuaalisuutta käsittelevät teokset tuottavat ja miten aiheet tulevat esille vastaanotossa. Lisäksi pohditaan normienvastaisia seksuaalisuuksia käsittelevän kirjallisuuden lajiproblematiikkaa. Tutkimuksessa tarkastellaan paitsi teosten, myös niiden yhteiskunnallisen kontekstin kautta nykyistä kulttuuriin ja sen instituutioihin ja jopa kaanoniin kytkeytyviä tapoja, joilla normien vastaisista seksuaalisuuksista puhutaan ja kirjoitetaan sekä kirjallisuudessa että sen vastaanotossa. Romaaneja tutkitaan siinä kulttuurisessa kontekstissa, jossa niiden julkaiseminen vaikuttaa äkkiseltään sopivalta vastaukselta kulttuurin tarpeeseen saada uudenlaista, "vapaamielisyydestä" ja "edistyksellisyydestä" kertovia queer-esityksiä. Toisaalta niitä lähestytään teoksina, joilla on queer-poliittisia, heterojärjestystä vastustamaan ja sekoittamaan pyrkiviä tavoitteita. Teosten tarkastelu liitetään osaksi performatiivisuuden politiikkojen sekä queer-teoretisoinnin ja sen kotimaisen kontekstualisoinnin problematiikan tutkimusta, performatiivisen ja queer-luennan risteyskohtaan. Tätä tutkimuksen menetelmää kutsutaan queer-poliittiseksi luennaksi. Sinisalon, Saision ja Sinervon romaanit osallistuvat osaltaan siihen kulttuuriseen, yhteiskunnalliseen, sosiaaliseen ja diskursiiviseen prosessiin, jossa työstetään ja rakennetaan sukupuolten ja seksuaalisuuksien merkityksiä. Se, että ne ovat saaneet myös kirjallisuuden Finlandia-palkinnon, kiinnittää ne laajempaan kontekstiin, nykykulttuuriin ja -yhteiskuntaan, joiden keskeiseksi kysymykseksi seksuaalisuus on muotoutunut. Siinä missä 1800–1900-lukujen vaihdetta kuvasti laaja ja kauaskantoinen sukupuoliproblematiikka, jolle aikaan sidottu kulttuurinen, intellektuaalinen, oikeusjärjestelmällinen ja poliittinen muutos raivasi tilaa, tämän vuosisadanvaihteen murros liittyy seksuaalisuuteen, jonka raivaajina ovat samankaltaiset, omaan aikaansa kytkeytyneet ilmiöt: jopa käänteentekevät muutokset sukupuoli- ja seksuaaliteorioissa, lainsäädännöissä ja seksuaalisuuden kulttuurisissa esityksissä. Näyttäisi kuitenkin siltä, että julkisissa keskusteluissa queeriudesta ei vieläkään puhuta kaikissa yhteyksissä suoraan vaan vihjaillen ja mitä eriskummallisimmin mutta usein silti hyvin perinteisin, kaapin retoriikkaa hyväkseen käyttävin sanankääntein: queer on yhtäältä kovin läsnä ja pinnassa seksuaalisuuden representaatioissa, mutta samalla esimerkiksi vastaanotossa monin ehdoin kaapissa. Näyttäisi siltä, että piilevästä queeriudesta huolimatta etenkin instituutiotasolla queer-tematiikka on näkyvää vain silloin, kun se on paikan ja tilanteen mukaan sopivaa.

No description available.

Historically, films from the mainstream American animation companies have had an almost non-existent representation of homosexual characters. Previously, it has been proven that the heteronormative has had a strong dominance in these companies. Considering the companies constantly produce new films, we aim to explore if this is still accurate. Within this context, this research offers an updated perspective on current representation by analyzing five animated feature films: Zootopia (2016), ParaNorman (2012), Storks (2016), Finding Dory (2016) and Frozen (2013). We have, with semiotics as a foundation, conducted a qualitative inductive content analysis of these films. By diverging from the heteronormative perspective which is deeply rooted in society we have viewed these films with a different approach. This research shows that the inclusion of homosexual couples and queer characters in animated films has increased. However, despite this increase the characters remain in small roles which are only included for a short time. This shows that the heteronormative still dominates in American mainstream animation. The clues which are given about the characters’ sexuality are subtle, resulting in them being easily overlooked. / Filmerna från de stora amerikanska animationsbolagen har tidigare haft en näst intill obefintlig representation av homosexuella karaktärer. Tidigare har det bevisats att heteronormativet har dominerat i dessa bolag. Med tanke på att bolagen ständigt producerar nya filmer vi vill se om detta fortfarande stämmer. Denna undersökning ger därför en uppdaterad bild av den rådande representationen genom att undersöka fem animerade långfilmer, Zootopia (2016), ParaNorman (2012), Storks (2016), Finding Dory (2016) och Frozen (2013). Vi har, med semiotisk metod som grund, utfört en kvalitativ induktiv innehållsanalys av dessa filmer. Genom att frångå det heteronormativa synsätt som finns djupt rotat i vårt samhälle har vi tittat på dessa filmer från en ny infallsvinkel. I vår undersökning framgår det att inkluderingen av homosexuella par och queer-karaktärer har ökat. Trots denna ökning förblir det tidsmässiga utrymmet för dessa karaktärer kort, därmed bibehåller heteronormativet sitt grepp i den amerikanska mainstream-animationen. Ledtrådarna om karaktärernas sexualitet är subtila vilket resulterar i att de enkelt kan missas.

This thesis aims to present, discuss, and analyze issues relating to queer representations in film and television. The thesis focuses on existing tropes, such as queer coding, queerbaiting, and the “Bury Your Gays” trope that are prevalent in contemporary media, and applies the analysis of these tropes to a case study based on the television series Black Sails (2014-2017). The analysis explores the main research question: in what way does Black Sails subvert or reproduce existing queer tropes in film and television? This then leads to the discussion of three aspects: the way queer sexual identities are represented overall, what representational strategies are employed by the series in a number of episodes, and whether or not these representations reproduce or subvert media tropes.

League of Legends is one of the most popular video games in the world, and yet it is also infamously known as being filled with harassment and failure. Why do I continue to play? In this project, a critical autoethnography is used to illustrate what it is like to play in this male-dominated space as a woman. Using feminist and queer game studies as my theoretical framework, this project investigates three distinct, but interconnected concepts: hegemonic masculinity, weaponized failure, and subversive play. In chapter one, I use Raewyn Connell’s theory of hegemonic masculinity to analyze League of Legends. I argue that gameplay elements such as champion selection, communication, and role-play make it difficult to challenge hegemonic masculinity in League of Legends. However, I do acknowledge that it is possible to challenge through playing the role of support properly – by concentrating on teamwork and sacrifice. In chapter two, I use queer video game studies, including key texts by Bonnie Ruberg and Jesper Juul, to consider failure in League of Legends. While queer failure can be fun in single-player video games, I argue that failure in League of Legends can be used as a weapon to intentionally hurt your teammates. Finally, in chapter three I consider my own subversive playstyle. While some academics have argued that woman who play masculine video games using male-coded skills cannot challenge the patriarchy, I argue that embracing my femininity in League of Legends allows me to persevere and push against the patriarchy. I argue that my feminine visibility in the form of my gamertag, SJW Queen, my communication style that emphasizes positivity and mediation, and how I play League of Legends are all examples of subversive gameplay. I bring my femininity into League of Legends uncompromised and I embrace it, rather than try to escape from it.

No description available.

Friedrich Nietzsche fait appel à un nouveau langage au service de la philosophie de l’avenir dans Par-delà le bien et le mal (1886). Son écriture s’en fait l’ostentation là même où elle se refuse à des descriptions explicites jugées trop conceptuellement fixes. Fidèle à une perspective résolument pluridisciplinaire, ce mémoire propose de souligner comment Nietzsche se tient à dessein sur la frontière mouvante entre philosophie et littérature pour mettre en œuvre ces nouveautés. Puisque la complexité du monde s’avère irréductible aux concepts philosophiques traditionnels, il s’agit plutôt d’illustrer ses vérités perspectivistes en ayant recours à la stylisation poétique et joueuse du texte. Ainsi s’expriment et s’élaborent maintes interprétations artistiquement créatrices du réel. La métaphore de la femme filée dans les œuvres de Nietzsche, qui personnifie tour à tour la vérité, la vie et la sagesse, s’avère centrale à cette pensée pleinement affirmative de la réalité. Elle met en scène des personnages féminins d’apparence voilée et pudique, entités qui se dérobent à la saisie conceptuelle tentée par la philosophie. Obéissant au principe de dévoilement de l’alètheia, la visée de celle-ci se compare à l’indécence juvénile du prétendant qui ne saurait s’y prendre pour conquérir l’objet de son amour et par là lui ferait violence. Nous proposons une exposition chronologico-thématique des diverses occurrences de la métaphore de la femme, enrichie de nombreux parallèles avec les écrits et commentaires de Jacques Derrida, de Sarah Kofman et d’Hélène Cixous. La caractérisation de figures mythologiques féminines (Sphinx, Baubô, Méduse) s’entrelaçant dans les passages étudiés indiquera que les textes de Nietzsche opèrent subrepticement des subversions de genres. La théorie queer de Judith Butler sera mobilisée afin de saisir les subtilités du bouleversement des figures canoniques de la vérité/vie/sagesse-femme et de la philosophie-homme. Il apparaîtra que ces subversions de l’identité de genre sont intimement liées à des subversions du genre textuel. L’interprétation du motif du voile, qui rattache tangiblement la métaphore de la femme à l’acception nietzschéenne du poète-philosophe de l’avenir, montrera que la valorisation des apparences par l’écriture poétique, habituellement perçues comme trompeuses, défie les formes consacrées de l’écriture philosophique et, par conséquent, l’appréhension du réel. / In Beyond Good and Evil (1886), Friedrich Nietzsche proclaims the necessity of a new language serving the philosophy of the future he envisions. While his writing refuses to advocate for explicit descriptions deemed too conceptually fixed, it becomes the ostentation of this new language. Faithful to a resolutely multidisciplinary perspective, this dissertation proposes to underline how Nietzsche’s work purposefully blurs the border between philosophy and literature. Since the complexity of the world is irreducible to traditional philosophical concepts, it is rather a matter of illustrating perspectivist truths through poetic and playful textual stylization. Many artistically creative interpretations of reality are thus expressed and elaborated through writing. Specifically, the metaphor of the woman spun in Nietzsche’s works personifies in turn truth, life and wisdom, and is central to his affirmative philosophy of reality. It depicts veiled, modest female characters, such entities evading philosophy’s attempted conceptual grasp. Obeying aletheia’s (truth’s) principle of unveiling, its aim is comparable to the juvenile indecency of the suitor who knows not how to conquer the object of his love, hence committing acts of violence toward it. I propose to exhibit chronologically and thematically the various occurrences of the metaphor of the woman, which will then be read in parallel to the works or commentaries by Jacques Derrida, Sarah Kofman and Hélène Cixous. A characterization of certain female mythological figures intertwined in the examined passages (namely the Sphinx, Baubo and Medusa) will indicate that Nietzsche’s texts surreptitiously operate gender subversions. I will call upon Judith Butler’s Queer Theory to grasp in detail the upheaval of that canonical figures represented by truth/life/wisdom-woman and philosophy-man. As a result, these gender identity subversions will appear intimately tied to subversions of the textual genre. An interpretation of the veil motif, by tangibly linking the metaphor of the woman to the Nietzschean meaning of the future poet-philosopher, will show that the valorization of appearances by poetic writing, usually perceived as deceptive, defies the consecrated forms of philosophical writing. Consequently, it has a significant incidence on human beings’ apprehension of reality or realities.