<p>Emma Eriksson and Christina Henriksson: Mirror mirror on the wall: A study on how ballad texts reflect women as carriers of tradition in nineteenth century Sweden, Växjö: Musikvetenskap C, 10 p 2005.</p><p>The aim of this essay is to analyze relations between ballad texts and the lives of female carriers of tradition in nineteenth century Sweden. Four carriers of tradition have been chosen, connected by being informants to Gunnar Olof Hyltén Cavallius, a collector of medieval ballads in Sweden around 1850. The four women are Anna Ehrenström (1786-1857), Catarina Andersdotter (1792-1857), Johanna Gustafva Angel (1791-1869) och Wendela Hebbe (1808-1899). Their lives are seen from a women’s historical perspective.</p><p>Although there are uncertainties regarding to what extent the collected repertoire of the four women reflects their repertoire as a whole, some conclusions can be drawn regarding relations between remaining ballads and their lives as women. These relations are traced in textual themes and in textual form (e.g. repetition of words and phrases). The closeness between life situation, and choice and shape of ballad texts, leads us to conclude that these occurrences are due to deliberate choices, and that the ballad text thus mirror the lives of these women.</p>

No description available.

xv, 186 p. : ill. (some col.) / This dissertation analyzes issues of race, ethnicity, and identity in American comics and visual culture, and identifies important areas for alternative means to cultural authority located at the intersections of verbal and visual representation. The symbolic qualities that communicate ethnicity and give ethnicity meaning in American culture are illuminated in new ways when studied within the context of the highly symbolic medium of comics. Creators of comics are able to utilize iconic qualities, among other unique formal qualities of the medium, to construct new visual narratives around ethnicity and identity, which require new and multidisciplinary perspectives for comprehending their communicative complexity. This dissertation synthesizes cultural and critical analysis in combination with formal analysis in an effort to further advance the understanding of comics and their social implications in regard to race and ethnic identity. Much like film scholars in the 1960s, comics scholars in the United States currently are in the process of establishing a core of methodological and theoretical approaches, including Lacanian theories of the image, the comic mapping of symbolic order, the recognition of self in undetailed faces, comics closure, and the implications of the comics gutter. Drawing upon these ideas and additional perspectives offered by scholars of film and literary studies, such as the relationship between ethnicity and the symbolic, the scopophilic gaze, and filmic suture, I analyze the following visual texts: Henry Kiyama's The Four Immigrants Manga, Gene Yang's American Born Chinese, and Anna Deavere Smith's Twilight: Los Angeles. The dissertation also performs a multimedia analysis of the current ascendency of geek culture, its relationship to the comics medium, and the geek protagonist as an expression of simulated ethnicity. Ultimately, the unique insights offered by the study of comics concerning principles of ethnic iconicity and identity have far reaching implications for scholars of visual and verbal culture in other mediums as well. / Committee in charge: Daniel Wojcik, Chairperson; Dr. Priscilla P. Ovalle, Member; Dr. Benjamin D. Saunders, Member; Dr. Doug Blandy, Outside Member

Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-05-29T20:27:30Z No. of bitstreams: 1 Texto Dissertação - Com Ficha-1.pdf: 3970248 bytes, checksum: e30e7c64deb8077b0adc7a7da82e1703 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-13T16:04:20Z (GMT) No. of bitstreams: 1 Texto Dissertação - Com Ficha-1.pdf: 3970248 bytes, checksum: e30e7c64deb8077b0adc7a7da82e1703 (MD5) / Made available in DSpace on 2017-06-13T16:04:20Z (GMT). No. of bitstreams: 1 Texto Dissertação - Com Ficha-1.pdf: 3970248 bytes, checksum: e30e7c64deb8077b0adc7a7da82e1703 (MD5) / Capes / Este trabalho apresenta um estudo a respeito da construção da personagem empregada doméstica no documentário Doméstica (Gabriel Mascaro, 2012) e na ficção Que Horas Ela Volta? (Anna Muylaert, 2015). Investigam-se as estratégias adotadas pelos realizadores para a caracterização de uma personagem historicamente marcante no cotidiano brasileiro. A pesquisa se estrutura a partir de dois vieses teóricos: um estudo dos conceitos e técnicas narrativas de construção da personagem, em reflexão que busca incorporar as possíveis contribuições de diretores, roteiristas e atores neste processo; e um breve percurso historiográfico elaborado a partir da identificação do que consideramos as principais tendências de representação da empregada no imaginário social brasileiro e a sua reverberação no audiovisual. Destaca-se que a abordagem pautou-se por um diagnóstico de que a "tipologia da doméstica", presente nos filmes em questão, é, de certo modo, "herdeira" das contribuições imagéticas não apenas do cinema, como também da televisão, rádio, música, imprensa e literatura. Isto é, esta pesquisa tem como um dos seus eixos de investigação o diálogo intenso entre mídias como um dos movimentos basilares na construção do tipo "doméstica". Também incorpora como referência fundamental à pesquisa o próprio contexto-país, no sentido deste atravessar, dialeticamente, os processos de criação artístico-cultural. Sob estes horizontes empreendeu análise fílmica das duas obras, circunscrevendo, especialmente, como as estratégias de construção da personagem e a tradição de representação das domésticas, ainda onipresentes no cotidiano de tantos brasileiros, se conjugam nos dois filmes que são objetos deste trabalho / An investigation, through the documentary Housemaids (Doméstica, Gabriel Mascaro, 2012) and the fictional drama The Second Mother (Que Horas Ela Volta?. Anna Muylaert, 2015), on how the housemaid, as a character, is built: what stratagems are used by the filmmakers to portray a personage historically remarkable in Brazil's everyday life. The research is structured on two theoretical currents: a study of the concepts and narrative techniques for character's construction, reflecting on what possible contributions made by directors, writers and actors take part in this process; and a brief historiographic trajectory elaborated through the identification of what is considered the main trends for representation of housemaids in Brazilian social imaginary and its resonance on audiovisual productions. This features an approach lead by findings supporting that the "housemaid typology", present in the movies above, is in a certain way a legacy from contributions made not only by cinema itself, but also from television, radio, music, press and literature. This means an intense dialogue among different media is a crucial movement for building "housemaid" as type. Also is taken in count, as a fundamental reference, Brazil's background, once the country crosses, dialectically, the arts' and culture's creative process. Thus the two works were under filmic analysis, circumscribing specially how the stratagems for character's construction and the traditional portrayal of housemaids, workers still omnipresent in the daily life of so many Brazilians, are executed on both movies.

No description available.

This essay examines two different female political leaders' ways to top positions. Even though it is over a century since women received voting rights in both the United Kingdom and Sweden, quite few women leaders have reached top positions. The purpose of this essay is to find explanation factors to why Margaret Thatcher succeeded to reach the top and why Anna Kinberg Batra did not. The method in this essay is a comparing case study between Great Britain's Margaret Thatcher and Sweden's Anna Kinberg Batra and it is analysed through Jane S Jensens theory that tries to give explanations behind the low representation of female political leadership. Yvonne Hirdmans gender theory is also a part of the analytical framework. The result of this study offers several factors as helpful for succeeding in reaching top positions such as growing up in a supportive family, having an attitude that gender would not be an obstacle and to be able to step outside one’s gender role seems essential to reach the political leadership as a female.

Diploma thesis, which is based on Anna Wierzbicka's natural semantic metalanguage theory, discusses certain specific features of Czech language worldview and compares them with specific features of English language worldview. This intercultural comparison is made possible by the cultural neutrality of the natural semantic metalanguage which serves as a language in which explications of analyzed words are formulated and compared to their English counterparts. Analyses of Czech keywords are based mainly on the use of dictionaries (explanatory and etymological dictionaries and dictionaries of phrases and idioms) and Czech corpora. The analysis aims to show differences between Czech and English cultural norms and values as reflected in different semantic structures of analyzed concepts, which presumably indicate deeper differences in perceiving and interpreting reality in both languages.

Historian David Bell recently suggested that scholars reconsider the impact of the Revolutionary and Napoleonic Wars (1793-1815) upon modern culture, naming them the first "total war" in modern history. My thesis explores the significance of the wars specifically in the British mourning culture of the period by studying the war literature of four women writers: Anna Letitia Barbauld, Amelia Opie, Jane Austen, and Felicia Hemans. This paper further asks how these authors contributed to the development of a national consciousness studied by Georg Lukács, Benedict Anderson, and others. I argue that women had a representative experience of non-combatants' struggle to mourn war deaths occurring in relatively foreign lands and circumstances. Women writers recorded and contributed to this representative experience that aided the development of a national consciousness in its strong sense of shared anxieties and grief for soldiers. Excluded physically and experientially, women would have had an especially difficult time attempting to mourn combatant deaths while struggling to imagine the places and manners in which those deaths occurred, especially when no physical bodies came home to "testify" of their loved ones' experiences. Women writers' literary portraits of imagined women mourning those whose bodies never came home provide interesting insights into the strategies employed during the grieving process and ultimately demonstrate their contribution to a collective British consciousness based on mourning. The questions I explore in the first section of this thesis circle around the idea of women as writers and mourners: What were writers saying about war, death, and mourning? What common themes begin to appear in the women's Romantic war literature? And, perhaps most importantly, how did such mourning literature affect the growing sense of nationality coming out of this period? In the second section, I consider more precisely how these literary contributions affected mourning culture when no bodies were present for burial and advanced the development of a national consciousness that recognized the wars' "nobodies." How did women's experiences of being left behind and marginalized in the war efforts prepare them to conceptualize destructive mass deaths abroad, and, conceptualizing them, to mourn them?

Магистерская диссертация представляет собой исследование переводов Анны Ахматовой из древнекитайской поэзии. Сопоставительный анализ «оригинал – подстрочник – перевод» ведется на трем основных уровнях: лексическом, образном и строфически-композиционном. В итоге делаются выводы о том, что из двух способов перевода – дословное воспроизведение языка оригинала и перевод, основанный на стремлении отразить "дух", Ахматова избирает второй. / This master's thesis is a study of Anna Akhmatova's translations from ancient Chinese poetry. The comparative analysis of "original - word for word translation - translation" is conducted on three main levels: lexical, figurative and strophic-compositional. The conclusion is that Akhmatova chooses the second of the two modes of translation - word for word translation of the original language and translation based on the desire to reflect the "spirit".

No description available.