The purpose of this study is to give a deeper understanding of Anna Sewell’s argumentation for a changed view on animals in her book Black Beauty and Sewell’s contribution to the animal welfare debate. The questions addressed in the study is: What arguments does Sewell present for a changed view on animals? What contemporary assumptions does Sewell challenge? Against what contemporary assumptions does her argument become effective? To answer these questions the material that are examined is Sewell’s book Black Beauty: His Grooms and Companions, the Autobiography of a Horse (1877), first published in England. The theoretical perspective is that the book’s influence on the debate only is effective through two factors which is Sewell’s argumentation and the contemporary conditions that affected her way of arguing. These two factors become effective through interaction. The method used is a rhetorical analysis because it takes hold on text and context. Prior research has found through their perspective that the horses in Sewell’s book represent humans. But this study argues that the horses in Sewell’s book represent horses and that the book argues for a change in the way human’s attitude towards animals. The analysis in this study shows that Sewell’s argumentation can be divided into four categories of the contemporary ethics and context’s: Christianity, socialism, critique off fashion and machine. The conclusion drawn from the study is that Sewells arguments for a changed view on animals is based on these four categories where she must argue with and against them.

This thesis aims to evaluate and consider the topic of human rights journalism conducted by women in Chechnya. The primary research question that will be supported by this research, is whether or not Anna Politkovskaya's gender impacted her work, the reception of her work, and her overall experience as a human rights advocate in Chechnya. Anna Politkovskaya is being used as a primary case study due to the volume and breadth of the reports that she produced, and because she was the most well-known reporter in Chechnya during the Second Chechen War, giving her a wider audience. The work of other female journalists will be covered, but those works will serve a secondary purpose of aiding in looking at how Politkovskaya's journalistic legacy impacted other female journalists within Chechnya. The current state of affairs within the Chechen Republic is one of limited civil liberties and increasing violence on behalf of the authoritarian state government towards advocacy groups and opposition parties. The environment for human rights has not notably improved since the official conclusion of the Second Chechen War, but the level of media attention dedicated to issues there has dramatically decreased. Chechnya is currently lacking a voice of passionate reason, and as a result lacks an effective advocate for civilian interests, which was the role previously filled by Politkovskaya. / Master of Arts / This thesis aims to evaluate and consider the topic of human rights journalism conducted by women in Chechnya. The primary research question that will be supported by this research, is whether or not Anna Politkovskaya’s gender impacted her work, the reception of her work, and her overall experience as a human rights advocate in Chechnya. Anna Politkovskaya is being used as a primary case study due to the volume and breadth of the reports that she produced, and because she was the most wellknown reporter in Chechnya during the Second Chechen War, giving her a wider audience. The work of other female journalists will be covered, but those works will serve a secondary purpose of aiding in looking at how Politkovskaya’s journalistic legacy impacted other female journalists within Chechnya. The current state of affairs within the Chechen Republic is one of limited civil liberties and increasing violence on behalf of the authoritarian state government towards advocacy groups and opposition parties. The environment for human rights has not notably improved since the official conclusion of the Second Chechen War, but the level of media attention dedicated to issues there has dramatically decreased. Chechnya is currently lacking a voice of passionate reason, and as a result lacks an effective advocate for civilian interests, which was the role previously filled by Politkovskaya.

Reference 1 Abstract The aim of this Master Thesis is to present annotated translation of the chapter Nord-Ost. Noveyshaya istoriya unichtozheniya (Istoriya pervaya. Pyatyi; Istoriya vtoraya. No. 2551 - neizvestnyi; Istoriya tretya. Siradzhi, Yacha i vsye-vsye-vsye). The first part of the commentary focuses on analysis of the author's life and work, current political and social situation in the Russian Federation and the position of Russian opposition journalists and organisations. The next part presents comparative analysis of the original and also translation solutions, which were created with emphasis on the functional equivalence. In this part the translation method is presented. The closing part discusses translation solutions of the difficult parts of the text.

The thesis focuses on the rendering of the poetics of Anna Akhmatova and Marina Tsvetaeva in Czech translations. The first part deals with the phenomenon of poetesses in the Russian literature and subsequently with Akhmatova's and Tsvetaeva's life, works, style and reception. The second part is focused on contrastive translatological analysis of different approaches to their poetry and detailed analysis of existing Czech translations of Akhmatova's poem Rekviem and Tsvetaeva's work Popytka revnosti. It defines the approach of all translators to translation and evaluates the quality and adequacy of individual translation solutions in relation to the author's style and intention.

The aim of this thesis was to examine how the media representation of elite skiers Anna Holmlund and Thomas Fogdö was altered following their accidents resulting in disabilities. In order to examine this a critical discourse analysis was performed on 16 newspaper articles from Tidningarnas Telegrambyrå, Expressen, Dagens Nyheter, Göteborgs-posten, Sundsvalls Tidning and Aftonbladet, out of which eight of them had been published before the skiers respective accidents and the other eight afterwards. The results showed that swedish newspapers shifted their focus from how the skiers performed in competitions prior to their accidents to how their bodies functioned and how they would perform everyday tasks following the accidents. We found that this would distance Holmlund and Fogdö, representing them as deviants when compared to non-disabled people. In contrast to this we found that Holmlund and Fogdö would be allowed to talk about or show their lives and bodies in great detail. This would seem to function as a way of teaching non-disabled people of what it’s like to live with a disability. Through this Holmlund and Fogdö were represented as ambassadors for the disabled collective. We also found that there was a risk of objectification which would increase in connection with a decrease in Holmlund and Fogdö’s represented ability to communicate and function as a non-disabled person does. This also appears to increase the risk of having one’s voice excluded by other people talking in one’s place.

This paper examines in what way the heterosexual matrix is challenged by Stephenie Meyer in Breaking dawn (Så länge vi båda andas). By doing a thematic study on the various family constellations appearing in the novel, I search for the queer elements in it. I discuss incest, family building and motherhood, and find that there are numerous queer elements associated with the themes I have chosen. I conclude that the Cullen family challenges the heterosexual matrix, despite not being typical queer vampire characters. I also find that building a successful family is not based on gender or constellation otherwise, but is instead dependant on democracy and equality. Bella has a desire to taste the blood of both her daughter and her father, interpreted as an incestuous desire. I find similarities between Bella’s extreme motherhood behaviors and how drag show artists parody gender. / Denna uppsats undersöker på vilka sätt Stephenie Meyer utmanar den heterosexuella matrisen i Så länge vi båda andas. Genom att göra en queerteoretisk temastudie utifrån temat familj undersöker jag de queera elementen i texten. Jag behandlar incest, familjebildning och moderskap och kommer fram till att det finns många queera inslag i mina valda teman. I min analys drar jag slutsatsen att familjen Cullen, trots att de inte är klassiska queera vampyrkaraktärer ändå utmanar den heterosexuella matrisen. Jag kommer även fram till att framgången i en familjebildning inte ligger i kön, eller konstruktion, utan i demokrati och jämställdhet. När Bella åtrår sin faders och dotterns blod tolkar jag detta i sin kontext som ett incestuöst begär. Jag jämför extremismen i Bellas moderskap med hur dragshowartisten parodierar genus.

[pt] A dissertação reúne cinco ensaios sobre a ficção brasileira contemporânea, articulados em torno da ideia de que os anos 1990 e 2000 são um momento de crise dos conceitos que demarcavam o valor e lugar da literatura no Brasil. Se entre nós o valor literário foi muitas vezes pensado em função de seu índice de verdade ou medida de utilidade, as fraturas atuais nas noções de História e Nação ajudam a redefinir interesses, prioridades, referências e caminhos dos autores brasileiros. Discussão que não implica um experimentalismo ensimesmado, mas antes um jogo político, no sentido de busca de um lugar. Num tal contexto, o surgimento de vozes narrativas que vinculam o narrado a uma determinada inflexão afetiva aparece como contraponto às incertezas, instaurando um novo tipo de assertividade que orienta e circunscreve a imaginação do leitor. Uma rediscussão da distinção feita por Blanchot entre falar e ver, e da experiência de leitura como descrita por Iser, abre caminho para o exame da tensão entre visão de mundo e modo de ver inerente ao texto literário, e fundamenta o desenvolvimento da noção de uma literatura caricatural, que permite a constatação de afinidades entre autores aparentemente díspares, como João Anzanello Carrascoza, André Sant Anna e Marcelino Freire. Apresentados em conjunto, os três são também pensados em separado, em leituras críticas apoiadas na discussão das noções de kitsch, engajamento político e valor do ordinário. / [en] This dissertation is composed of five essays about contemporary Brazilian literature, organized around the idea that the 1990s and 2000s are a moment of crisis in the concepts that traditionally defined the value and place of literature in Brazil. If among us literary value has often been measured according to its degree of truth or usefulness, the current fractures in the notions of History and Nation help to redefine the preoccupations, priorities, references and practices of Brazilian authors. This does not result in an insular experimentalism, but rather in a political effort, in the sense of search for a place. In such a context, the emergence of narrative voices that link the narrated events to a determined affective inflection appears as a counterpoint to uncertainties, establishing a new kind of assertiveness that guides and circumscribes the reader s imagination. A discussion of Blanchot s distinction between speaking and seeing, and of the experience of reading as described by Iser, opens up the way for the analysis of the tension between the point of view and the viewpoint intrinsical to literary texts, and supports the development of the notion of a caricatural literature, which allows the recognition of affinities between apparently incompatible authors, such as João Anzanello Carrascoza, André Sant Anna e Marcelino Freire. Although presented as a group, they are also examined individually, in critical readings that rely on the discussion of such notions as kitsch, political commitment and the value of the ordinary.

The present thesis is devoted to selected prosaic works of Anna Blažíčková - specifically to her books Čekání v zástupu, Psí víno and Teď něco ze života. In its chapters-which focus successively on the narrator, composition, characters, time, and space-the thesis shows the repertory of elements and procedures which link the texts as well as how these elements and procedures help to create the world of the chosen prosaic works. These observations are based on an analysis of the original texts and with the help of theoretical literature.

Este trabalho investiga a produção em fotografia e vídeo de artistas que utilizaram o próprio corpo como objeto de representação nos anos 1970, sob um viés de análise feminista e de gênero. O objetivo principal foi o de destacar se houve ou não a influência do movimento feminista de segunda onda na obra de artistas brasileiras. As artistas Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater e Sonia Andrade fazem parte do meu escopo de estudos de caso. O desenvolvimento do trabalho foi fundamentado em entrevistas inéditas com as artistas pesquisadas e a apreciação de suas obras que atendem ao recorte escolhido. A partir da criação de três categorias baseadas no conteúdo dos trabalhos artísticos, foram definidos os seguintes temas: a esfera do privado em oposição à pública, a construção ficcional de si e a estética da violência. Cada um desses núcleos temáticos orientam os três capítulos que constituem a dissertação: “O corpo é a casa”, “O corpo é a camuflagem” e “O corpo é a fissura”, respectivamente. No primeiro capítulo, apresento obras que expõem questões relativas ao espaço doméstico e às funções gendradas vivenciadas por mulheres, por meio da interlocução teórica de Hannah Arendt e Jayne Wark. No segundo, aponto obras que se relacionam com a ideia de identidade fragmentada com base em construções ficcionais de si. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira e Janet Wolff foram as contribuições teóricas mais significativas do capítulo. Por fim, no terceiro, abordo obras produzidas no contexto da ditadura militar no Brasil, que confrontam as violências do período decorrente de censuras, torturas e cerceamento das liberdades individuais e coletivas, baseando-me em três autores que se dedicaram sobre o período: Artur Freitas, Claudia Calirman e Margareth Rago. Com o suporte metodológico de uma análise de conteúdo das entrevistas e o parecer teórico-crítico das obras, foi possível inferir que o discurso das artistas sobre os seus trabalhos não possui intenções feministas na maioria das vezes. Todavia, as ideias presentes nos seus trabalhos em fotografia e vídeo indicam preocupações comuns ao feminismo daquele período. A contradição entre o discurso e a prática foi a pergunta que guiou o processo de escrita do trabalho. / This work investigates the photography and video production of artists who used their own body as an object of representation in the 1970s, under a bias of feminist and gender analysis. The main objective was to highlight the possible influence of the second wave feminist movement on the work of brazilian artists. The artists Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater and Sonia Andrade are part of my scope of case studies. The development of the work was based on unpublished interviews with the artists researched and the appreciation of their work that meet the chosen cut. From the creation of three categories based on the content of artistic work, the following themes were defined: the private sphere as opposed to the public, the fictional construction of self, and the aesthetics of violence. Each of these thematic nuclei guide the three chapters that constitute the dissertation: "The body is the house", "The body is the camouflage" and "The body is the fissure", respectively. In the first chapter, I present works that expose questions regarding the domestic space and the gendered functions experienced by women, through the theoretical interlocution of Hannah Arendt and Jayne Wark. In the second, I point to works that relate to the idea of fragmented identity based on fictional constructions of self that artists have developed for photography and video. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira and Janet Wolff were the most significant theoretical contributions of the chapter. Lastly, in the third, I approach works produced in the context of the military dictatorship in Brazil, which confront the violence of the period resulting from censorship, torture and restriction of individual and collective freedoms, based on three authors who dedicated themselves on the period: Artur Freitas, Claudia Calirman and Margareth Rago. With the methodological support of a content analysis of the interviews and the theoretical-critical opinion of the works, it was possible to infer that the discourse of the artists about their works does not have feminist intentions in the majority of the times. However, the ideas present in their work in photography and video indicate concerns common to feminism during that period. The contradiction between discourse and practice was the question that guided the writing process of the work.

Este trabalho investiga a produção em fotografia e vídeo de artistas que utilizaram o próprio corpo como objeto de representação nos anos 1970, sob um viés de análise feminista e de gênero. O objetivo principal foi o de destacar se houve ou não a influência do movimento feminista de segunda onda na obra de artistas brasileiras. As artistas Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater e Sonia Andrade fazem parte do meu escopo de estudos de caso. O desenvolvimento do trabalho foi fundamentado em entrevistas inéditas com as artistas pesquisadas e a apreciação de suas obras que atendem ao recorte escolhido. A partir da criação de três categorias baseadas no conteúdo dos trabalhos artísticos, foram definidos os seguintes temas: a esfera do privado em oposição à pública, a construção ficcional de si e a estética da violência. Cada um desses núcleos temáticos orientam os três capítulos que constituem a dissertação: “O corpo é a casa”, “O corpo é a camuflagem” e “O corpo é a fissura”, respectivamente. No primeiro capítulo, apresento obras que expõem questões relativas ao espaço doméstico e às funções gendradas vivenciadas por mulheres, por meio da interlocução teórica de Hannah Arendt e Jayne Wark. No segundo, aponto obras que se relacionam com a ideia de identidade fragmentada com base em construções ficcionais de si. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira e Janet Wolff foram as contribuições teóricas mais significativas do capítulo. Por fim, no terceiro, abordo obras produzidas no contexto da ditadura militar no Brasil, que confrontam as violências do período decorrente de censuras, torturas e cerceamento das liberdades individuais e coletivas, baseando-me em três autores que se dedicaram sobre o período: Artur Freitas, Claudia Calirman e Margareth Rago. Com o suporte metodológico de uma análise de conteúdo das entrevistas e o parecer teórico-crítico das obras, foi possível inferir que o discurso das artistas sobre os seus trabalhos não possui intenções feministas na maioria das vezes. Todavia, as ideias presentes nos seus trabalhos em fotografia e vídeo indicam preocupações comuns ao feminismo daquele período. A contradição entre o discurso e a prática foi a pergunta que guiou o processo de escrita do trabalho. / This work investigates the photography and video production of artists who used their own body as an object of representation in the 1970s, under a bias of feminist and gender analysis. The main objective was to highlight the possible influence of the second wave feminist movement on the work of brazilian artists. The artists Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater and Sonia Andrade are part of my scope of case studies. The development of the work was based on unpublished interviews with the artists researched and the appreciation of their work that meet the chosen cut. From the creation of three categories based on the content of artistic work, the following themes were defined: the private sphere as opposed to the public, the fictional construction of self, and the aesthetics of violence. Each of these thematic nuclei guide the three chapters that constitute the dissertation: "The body is the house", "The body is the camouflage" and "The body is the fissure", respectively. In the first chapter, I present works that expose questions regarding the domestic space and the gendered functions experienced by women, through the theoretical interlocution of Hannah Arendt and Jayne Wark. In the second, I point to works that relate to the idea of fragmented identity based on fictional constructions of self that artists have developed for photography and video. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira and Janet Wolff were the most significant theoretical contributions of the chapter. Lastly, in the third, I approach works produced in the context of the military dictatorship in Brazil, which confront the violence of the period resulting from censorship, torture and restriction of individual and collective freedoms, based on three authors who dedicated themselves on the period: Artur Freitas, Claudia Calirman and Margareth Rago. With the methodological support of a content analysis of the interviews and the theoretical-critical opinion of the works, it was possible to infer that the discourse of the artists about their works does not have feminist intentions in the majority of the times. However, the ideas present in their work in photography and video indicate concerns common to feminism during that period. The contradiction between discourse and practice was the question that guided the writing process of the work.