This study aims to provide an account of the production of subject through the representations of body and technology in the discourse of cyberculture through the analysis of Wired magazine. The findings indicate that the subject produced in this discourse is normatively white and male, and is produced along the ways of liberal humanism as it is conceptualized as autonomous, having free will and preceding the discursive operations and market relations. The production of this subject requires a series of exclusions and abjections including the smart machines which are becoming increasingly humanoid and thus forming a threat to the category of &ldquo / human&rdquo / and to the boundaries of the autonomous subject.

Thesis (M.A. (Health Social Science))--Mahidol University, 2004.

The work aims to explore the identity of transgender on the basis of gender and trans studies. The problem is formulated here as an identity crisis, which is currently gaining more and more response. The focus of the crisis is the very situation in trans-politics, stimulated by conflicting feelings stemming from the consequences of Judith Butler's performative theory of gender, whose work has become the founding text of queer theory. Opposition is forming in this crisis, with the transgender identity facing one another as one that supports Butler's conclusions, and the transgender (subordinated to the transgender identity) side, whose subjective experience of body forces to criticize performativity and opens up thus the question of the redefinition of essentialism. The aim of this work is to examine the current crisis of identity from the perspective of trans studies with emphasis on the issue of the body, as a determining aspect of the identification of oneself and others as male or female identity. The starting point will be Judith Butler's grasp of the subject of corporeality and analysis of the critique of her approach from from the perspectives of gender and trans studies. The conclusions of this critique should outline new ways of capturing and preserving gender identity. KEYWRODS Gender,...

This dissertation explores the regulation of abortion in Canada following the landmark R v Morgentaler decision (1988), which struck down Canada’s existing abortion law, causing the procedure’s subsequent reclassification as a healthcare issue. The resulting fragility of abortion rights is still evident in the varying provincial regulations governing the nature of access to the procedure. While access has been accepted as the new terrain of abortion rights, research into this area to date has taken a largely national focus, surveying provincial barriers and compiling lists of potential motivations for differences in service. This dissertation builds on this work through the use of specific case studies of provinces representative of a spectrum of access in Canada – New Brunswick, Ontario, and Quebec. Through the use of original interview data, these cases are compared and contrasted on previously enumerated grounds believed to have an influence on the treatment of abortion. By isolating the impact of specific processes responsible for the regulation of abortion, through research into its treatment in politics, law, medicine, and public discourse, this study endeavours to offer a more nuanced explanation for varying levels of provincial access to abortion services. Ultimately it finds that a province’s social climate, characterized by attitudes towards the ongoing rights versus morality debate championed by pro- and anti-choice social movements, has had the greatest impact in shaping public perceptions of the procedure. These attitudes in turn have a profound effect on the nature of provincial access. Using a citizenship framework grounded in social reproduction, which understands anti-abortion politics as elements of backlash against progressive advances in women’s citizenship, this dissertation argues for the need to understand abortion as a right of women’s citizenship to address the precarious treatment of abortion services. Recognition of women’s unique reproductive abilities through a citizenship paradigm is necessary before women can hope to achieve equality. Only when abortion is entrenched as a right of citizenship and this understanding of the procedure is embedded in social perceptions, can women not only be treated as equal citizens, but also understand themselves to be equal citizens. / Thesis (Ph.D, Political Studies) -- Queen's University, 2012-11-22 11:41:49.524

This work proposes the interlacement of the categories body, gender and aging, seeking to understand how the femininity is constructed in maturity. The corpus of this research is composed of middle-aged women who attend a gym, based on the relationships established with their bodies and their representations of female aging. Although studies on aging had proliferated around the world and most notably in Brazil, still there are few ones which turn specifically to maturity or middle age, seen only as a transition from youth to old age, not holding its own status. However it is clear that this phase is very significant, especially for women with certain prohibitions and given cultural standards. Thus, at least in the imagination and the social representations, femininity and sexuality itself whether female or male are almost always associated to youth. This study, developed through an ethnographic methodology in a gym, pursuits to fill this space, trying to understand the social and cultural meanings attributed by women to this period of life and, from the caring relationship with their bodies, how happens the construction/reconstruction of their self-image and femininity. / Este trabalho propõe o entrelaçamento das categorias corpo, gênero e envelhecimento, na busca pela compreensão de como se dá a construção de uma feminilidade na maturidade. O corpus desta pesquisa é composto por mulheres de meia-idade, frequentadoras de uma academia de ginástica, tomando-se como base as relações estabelecidas com seus corpos e suas representações sobre o envelhecimento feminino. Embora estudos sobre o envelhecimento tenham se proliferado pelo mundo e, notadamente, pelo Brasil, são poucos, ainda, os que se voltam especificamente à maturidade, ou à meia-idade, vista apenas como uma transição entre a juventude e a velhice, não sendo detentora de um status próprio. Vê-se, entretanto, que esta fase é muito significativa, sobretudo às mulheres, com interditos e padrões culturais determinados e determinantes. Assim, ao menos no imaginário e nas representações sociais, a feminilidade e a própria sexualidade quer feminina, quer masculina estão quase sempre associadas à juventude. Este estudo, desenvolvido através de uma metodologia etnográfica numa academia de ginástica, busca preencher esse espaço, tentando compreender os significados sociais e culturais atribuídos a essa fase da vida pelas mulheres e, partindo da relação de cuidado com seus corpos, como se dá a construção/reconstrução de sua autoimagem e feminilidade. Palavras-chave: Corpo. Envelhecimento. Gênero. Feminilidade

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-02-14T11:57:32Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_daiany_corpos visíveis.pdf: 4076151 bytes, checksum: bea4a714bf68f66fc63c917659587290 (MD5) / Made available in DSpace on 2017-02-14T11:57:32Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_daiany_corpos visíveis.pdf: 4076151 bytes, checksum: bea4a714bf68f66fc63c917659587290 (MD5) Previous issue date: 2015-02-27 / O cinema de mulheres, mobilizado pelos estudos feministas como campo de agenciamento da visibilidade, desafia a investigação contemporânea. Esta, busca situá-lo em função dos recentes paradigmas de gênero de ruptura com os binarismos e ênfase na dimensão política da corporeidade, e das atuais perspectivas de espectatorialidade e política da arte do campo cinematográfico. Neste trabalho, buscamos rever a perspectiva de autoria feminina como um processo de subjetivação política do corpo na obra de realizadoras que utilizam os próprios corpos como matéria fílmica. Consideramos o viés ontológico do corpo vivido, presente na obra de Beauvoir (1967) e revisitado pela abordagem recente do feminismo material, vinculado ao pensamento de Braidotti (2005) e as perspectivas de análise fílmica de Sobchack (1991, 2004), Del Rio (2008) e Marks (2000, 2002). Para tanto, empreendemos uma epistemologia estéticopolítica do corpo, mensurando a relação entre mente e corpo como central para a compreensão do lugar da mulher na arte. Posteriormente, observamos as perspectivas de autoria feminina no cinema, situando-as em relação ao status que os corpos em movimento adquirem no regime estético da arte (RANCIÈRE, 2005a, 2013), no qual o cinema desponta como locus privilegiado na articulação das distâncias entre arte e cotidiano. Por fim, analisamos filmes que trazem a presença fílmica, a performance cinematográfica e a dimensão háptica dos corpos das realizadoras, transitando entre obras de caráter deliberadamente encenado e de viés autobiográfico. Observamos que o corpo vivido emerge tanto como elemento de atração e engendramento de aspectos fílmicos, como o plano e a mise en scène, quanto como evidência política dos processos vitais destas mulheres. / Women's cinema, mobilized by feminists studies as a field of visibility and agency, defies the contemporary investigation. The feminist critique tries to place it according to recent binary gender rupture paradigms and emphasis in the political dimension of embodiment, and the current perspectives of spectatorship and art politics in the cinema field. In this thesis, we consider the perspective of female authorship as a process of body politics subjectivity in the work of filmmakers who use their own bodies as film material. We reflect on the ontological bias of the lived body, present at the work of Beauvoir (1967) and revisited by the approach of the recent material feminism, linked to the ideas of Braidotti (2005) and the perspectives of film analysis by Sobchack (1991, 2004), Del Rio (2008) and Marks (2000, 2002). Therefore, we promote an aesthetical and political epistemology of the body, measuring the confrontation between body and mind as central to the understanding of the place of women in art. Later, we observe the female authorship perspectives in cinema, placing them in relation to the status that the bodies in movement acquire in art aesthetic regimen (RANCIÈRE, 2005a, 2013), in which cinema emerges as privileged locus in the articulation of distances between art and everyday life. Finally, we analyze films that show the filmic presence, the film performance and the haptic dimension of the female filmmakers bodies, moving between works of deliberate staged character and autobiographical bias. We observe that the lived body emerges as much as element of attraction and engendering filmic aspects such as the plan and the mise-en-scène, and as political evidence of the vital processes of these women.

No description available.

À mi-chemin entre un café, un jardin d’agrément, un bal et une scène théâtrale, les cafés-concerts et les music-halls représentent les divertissements les plus importants du XIXe siècle. Espaces spectaculaires qui accueillent des sociabilités hétérogènes et qui combinent une double fonction artistique et festive, l’identité socioculturelle de ces nouveaux loisirs s’est d’abord élaborée par opposition au statut du lieu d’art. Le postulat de la rareté des répertoires et des artistes issus des cafés-concerts et des music-halls dans l’historiographie des arts scéniques, et dans la transmission des savoirs en danse, nous a conduits à enquêter sur les raisons et les enjeux de cette mise à l’écart. « Lieux dangereux et vulgaires », « spectacles immoraux », « artistes insipides », sont les expressions symptomatiques d’une perception négative fondée sur un ensemble idéologique qui concourt à dessiner les contours d’une illégitimité culturelle. Une première étape de la recherche vise à analyser les principes de distinction sociale et de hiérarchisation artistique en œuvre dans le processus de délégitimation des cafés-concerts et des music-halls, en puisant dans les sources produites par les institutions en charge du contrôle des spectacles au XIXe siècle. Catégorisés en tant qu’objets populaires, les arguments déployés par les instances administratives et la police des théâtres révèlent en premier lieu le fondement d’une idéologie de classe, focalisée sur les origines prétendues populaires de ces divertissements. Entre le Second Empire et la Troisième République, l’histoire des cafés-concerts et des music-halls est traversée par un phénomène de féminisation qui bouleverse les pratiques et les représentations associées à ces espaces et participe à resémantiser leurs premières attributions sociales et symboliques. La seconde phase de ce travail s’intéresse aux effets d’un processus qui interagit sur les plans socioculturel, professionnel et symbolique par une présence féminine érotisée et qui tend à bâtir la catégorie du divertissement comme appartenant au genre féminin. Afin d’interroger les échanges entre altérités féminines et corporéités populaires sur les scènes des cafés-concerts et des music-halls durant la seconde moitié du XIXe siècle, la thèse mobilise deux catégories d’artistes féminines — les effeuilleuses et les danseuses de chahut-cancan — réunies autour d’un geste scénique et érotique commun : le déshabillage. L’étude de ce geste ouvre un troisième champ de questionnements sur les rapports entre l’érotique et l’illégitime dans les pratiques professionnelles de femmes qui exercent un métier artistique au sein d’un lieu spectaculaire à la fois déconsidéré et hautement érotisé. À travers les différentes étapes qui jalonnent cette recherche, la réflexion cherche à rendre compte de l’impact du déshabillage érotique sur la sensibilité d’une époque, sur le statut social des femmes, mais également sur les mouvements internes de professionnalisation des artistes de café-concert et de music-hall au XIXe siècle, et plus globalement, sur l’héritage historiographique de ces divertissements. / Halfway between a café, a pleasure garden, a ball and a theatrical stage, café-concert and music hall are the main entertainment places in the 19th century. Spectacular spaces that welcome heterogeneous sociability and combine a dual artistic and festive function, the socio-cultural identity of these new leisure activities was first developed as opposed to the status of the art place. The postulate of the rarity of repertoires and artists from café-concert and music hall in the historiography of performing arts, and in the transmission of knowledge in dance, has led us to investigate the reasons of this exclusion and the issues at stake. "Dangerous and vulgar places", "immoral performances", "insipid artists", are symptomatic expressions of a negative perception based on an ideological set that contributes to drawing the contours of cultural illegitimacy. The first stage of the research consists in analysing the principles of social distinction and artistic hierarchy in the process of delegitimization of café-concert and music hall, based on the sources from the institutions responsible for controlling 19th century performances. Categorized as popular objects, the arguments put forward by the administrative authorities and the theatre police reveal first and foremost the basis of a class ideology, focused on the supposedly popular origins of these entertainments. Between the Second Empire and the Third Republic, the history of café-concert and music hall was marked by a phenomenon of feminization that disrupted the practices and representations associated with these places and helped to redefine their first social and symbolic attributions. The second stage of this work focuses on the effects of a process that interacts socioculturally, professionally and symbolically through an eroticized female presence, and that tends to build the entertainment category as belonging to the female gender. In order to question the exchanges between female otherness and popular corporealities on the stages of café-concert and music hall during the second half of the 19th century, the thesis focuses on two categories of female artists — the effeuilleuse (strippers) and the chahut-cancan dancers — gathered around a common scenic and erotic gesture: undressing.

Nikos Kazantzakis� Captain Michales is a freedom fighter in nineteenth century Crete. Patrick White�s Voss is a German explorer in nineteenth century Australia. Two men struggling for achievement, their disparate social contexts united in the same fundamental search for meaning. This thesis makes comparison of these different struggles through thematic analysis of the texts, examining within the narratives the role of food, perceptions of body and soul, landscapes, gender relations, home-coming and religious experience. Themes from the novels are extracted and intertwined, within a range of theoretical frameworks: history, anthropology, science, literary and social theories, religion and politics; allowing close investigation of each novel�s social, political and historical particularities, as well as their underlying discussion of perennial human issues. These novels are each essentially explorations of the human experience. Read together, they highlight the commonest of human elements, most poignantly the need for communion; facilitating analysis of the individual and all our communities. Comparing the two novels also continues the process of each: examining the self both within and outside of the narratives, producing a new textual self, arising from both primary sources and the contextual breadth of such rewriting.

Nikos Kazantzakis� Captain Michales is a freedom fighter in nineteenth century Crete. Patrick White�s Voss is a German explorer in nineteenth century Australia. Two men struggling for achievement, their disparate social contexts united in the same fundamental search for meaning. This thesis makes comparison of these different struggles through thematic analysis of the texts, examining within the narratives the role of food, perceptions of body and soul, landscapes, gender relations, home-coming and religious experience. Themes from the novels are extracted and intertwined, within a range of theoretical frameworks: history, anthropology, science, literary and social theories, religion and politics; allowing close investigation of each novel�s social, political and historical particularities, as well as their underlying discussion of perennial human issues. These novels are each essentially explorations of the human experience. Read together, they highlight the commonest of human elements, most poignantly the need for communion; facilitating analysis of the individual and all our communities. Comparing the two novels also continues the process of each: examining the self both within and outside of the narratives, producing a new textual self, arising from both primary sources and the contextual breadth of such rewriting.