Kvinnor som mördare är underrepresenterade i Sverige, vilket gör att medias intresse blir stort när det faktiskt händer. Christine Schürrer, även kallad Arbogamörderskan, dödade två barn och försökte även mörda deras mamma. Detta är ett fall som fick extremt mycket publicitet i media. Syftet med uppsatsen är att ta reda på hur Christine Schürrer framställs i fyra svenska dagstidningar: Upsala Nya Tidning, Dagens Nyheter, Aftonbladet och Expressen. Totalt valdes 47 artiklar ut från dessa dagstidningar. För att göra en analys av dessa 47 olika tidningsartiklar används en kritisk diskursanalys, vilket innebär att det som studeras i artiklarna i första hand var vad de innehöll, samt genusteori och media, som syftar till att förklara eller jämföra hur kvinnor och män framställs i media. Resultatet av denna analys är att Christine Schürrer framställs av dessa fyra dagstidningar som en iskall, nonchalant och oberörd människa utifrån de handlingar hon sitter åtalad för. Slutsatsen som kan dras från analysen är att Christine Schürrer framställs av svenska dagstidningar som en brottsling och inte ett offer. Beskrivningarna av henne i dagstidningarna är starkt negativt laddade, vilket stämmer överens med genusteorier angående hur kvinnliga gärningsmän till allvarliga brott ofta beskrivs i massmedierna.

The single most recognized transgender woman in the 1950s and throughout much of the 1960s, Christine Jorgensen symbolized in many ways the quintessential white, upper-middle-class woman and the medicalized standard by which other transgender women were measured, including poor transgender women and transgender women of color. In the late 1960s and 1970s, however, a new class of transgender women would come to denounce such an image. Holly Woodlawn, a cult icon in the late 1960s and early 1970s, for example, viewed Christine as outdated and out-of-sync with her own gendered desires for expression. Holly gained notoriety for her outrageous role in Andy Warhol's film Trash (1970). In the film, she plays the glamorous and co-dependent role of the counter-culture sex addicted welfare queen. In the film, she denounces traditional transsexual women narratives and engenders instead new forms of gendered expressions unencumbered by sex change anxieties. Christine and Holly are but two historical transgender icons, who, in the 1950s, 60s and 70s suggested new possibilities for gendered expressions. Their public personas historicize the construction of transgender identity, making visible the classed and racialized privileging of sex change surgery and the alternative expressions embodied by poor transgender women and transgender women of color. Although unable to afford sex change surgery, poor transgender women, in particular, transgender women of color, embodied new models of gender identity beyond the gendered constructs of whiteness. / text

This thesis is concerned with the supervised manuscripts of the works of Christine de Pizan (ca 1364-ca 1430), the first female author who could make a living from the products of her pen. During her long and prolific career as an author, she composed numerous works for noble and royal patrons of France, which were made into manuscripts by Parisian scribes and illuminators. Scholars have argued that Christine supervised the production of these manuscripts. Moreover, on several occasions the hypothesis has been raised that Christine also copied several of them herself, thus acting as scribe X alongside two other scribes, called P and R. The aim of this thesis is twofold: firstly, to gain a better understanding of the production process of the supervised manuscripts of Christine de Pizan's works and of the role played by the author; secondly, to develop and test a new methodology for distinguishing between scribal hands in medieval manuscripts. An account of Christine de Pizan's life and a survey of all surviving supervised manuscripts of her works clearly show that she had extensive knowledge of how they were made. Monotextual manuscripts of her works were often produced in series, in an attempt to economise and speed up the production process. The manuscripts of Christine's collected works show a production and editing process that resembles modern-day printing-on-demand. This thesis further demonstrates the use and success of the Scribal Fingerprint, a new and objective method of distinguishing between scribal hands that consists of three palaeographical core differentiators and two additional differentiators. A Scribal Fingerprint examination of the handwriting in MS Harley 4431, the most recent of the four surviving manuscripts containing Christine's collected works, generates highly heterogeneous differentiator values for the thirteen folios that were analysed. This analysis is combined with an examination executed by GIWIS, an innovative computer application for handwriting analysis. Both strngly suggest that MS Harley 4431, thought by some scholars to have been transcribed entirely by scribe X, was in fact copied by more than one scribe.

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Texte remanié de: Diss.--Philosophische Fakultät--Köln--Universität, 1993. / Bibliogr. p. 451-484. Index.

Le mythe de Médée est un des mythes les plus anciens que la tradition nous a transmis, mais, paradoxalement, c'est peut-être le plus “moderne” et scabreux entre les mythes connus. La thèse s'occupera d'abord de l'œuvre de Christine de Pizan, “La Cité des Dames” et l'image de Médée qui émerge: la terrible reine devient dans les pages de Christine un symbole du savoir et de la loyauté féminine par rapport à l'autre, qui n'est pas seulement fidélité amoureuse mais c'est l'abandon total du corps et de l'âme. On mettra en relation la “Cité” de Christine avec le “De mulieribus claris” de Boccace et on cherchera à démontrer que l'œuvre de Christine n'est pas une traduction, un plagiat de la plus célèbre œuvre de notre écrivain et poète. Dans la deuxième partie de la thèse, je vais analyser la version d'une autre femme spéciale; démontrant que les visages de Médée sont nombreux et variés: la Midea de Irina Possamai. Irina, est, en effet, une des premières librettistes italiennes et a choisi – comme Christine - de raconter dans un opéra lyrique sa Médée qui, ce n’est pas par hasard , qu’elle l’a appelé Midea. / The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known.For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art.We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea.The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known.For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art.We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea

Made available in DSpace on 2014-06-12T18:33:46Z (GMT). No. of bitstreams: 2 arquivo7802_1.pdf: 1902132 bytes, checksum: ed526af9701ccc6a26e317c32bf5600b (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2006 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese tem como objeto de pesquisa o estudo da obra La Cité des Dames, escrita em 1405, pela escritora Christine de Pizan, e sua tradução em língua portuguesa. A contribuição central dessa obra medieval consiste em apreender/compreender as relações sociais de gênero ao longo do tempo, através do resgate da memória feminina, esquecida pela História oficial; assim como a reivindicação do justo lugar para a mulher na sociedade e na literatura profundamente marcadas por traços misóginos. A escritora Christine elabora então uma cidade utópica, uma fortaleza, na qual, com a ajuda de três damas alegóricas: Dama Razão, Dama Retidão e Dama Justiça, as mulheres serão protegidas das injustiças e hostilidade masculinas. Concebida como uma reação à produção literária da época, a obra será analisada como a utopia feminina do século XV. A tese está divida em três partes: a primeira diz respeito ao estudo da biografia de Christine de Pizan e a análise da construção de sua identidade feminina através de seus escritos. Em seguida, buscou-se identificar as fontes literárias e históricas que serviram de fundamento para a construção de suas obras. A segunda parte trata do estudo dos elementos utópicos na obra de Christine de Pizan. E, por último, na terceira parte, encontra-se a tradução portuguesa da Cité des Dames, a partir do Manuscrito do Duque

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Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-23T15:47:36Z No. of bitstreams: 1 arquivototal.pdf: 1213118 bytes, checksum: b23a75b94d1c4bf3ad107a6f2f533bdc (MD5) / Made available in DSpace on 2017-08-23T15:47:36Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1213118 bytes, checksum: b23a75b94d1c4bf3ad107a6f2f533bdc (MD5) Previous issue date: 2016-07-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / L'objectif principal de ce travail est la réalisation d’une traduction en portugais du poème Le Ditié de Jehanne d'Arc de Christine Pizan. Il s’agit d’un poème écrit en 1429 sur les actes héroïques de Jeanne d'Arc pendant la guerre de Cent Ans, à partir du moment où elle rencontre le roi Charles VII dans la ville de Chinon jusqu’à la libération de la ville de Orléans du pouvoir anglais. Le travail est divisé en trois parties. Tout d’abord il y a un chapitre panoramique, afin de contextualiser le Moyen Âge dans lequel Christine de Pizan et Jeanne d'Arc ont vécu. Nous discutons les motivations et les conséquences de la guerre de Cent Ans, le moment historique où se passe le poème de Pizan. Nous finissons le chapitre abordant la vie et le travail de l’auteur Christine de Pizan, ainsi que la vie et les actes de la Pucelle. Ensuite, au troisième chapitre, nous voyons comment l'histoire littéraire traditionnelle a réduit au silence le discours féminin, et comment les Études de Genre et les Études Féministes ont contribué aux travaux sur les ouvrages écrits par des femmes à travers l'histoire. Dans ce chapitre, nous analysons la façon dont la Traductologie contribue à la récupération des oeuvres écrites par des femmes, en particulier les oeuvres médiévales, contribuant ainsi à la critique littéraire. Au dernier chapitre, nous analysons la structure du poème Le Ditié de Jehanne d'Arc en tant que poème épique. Pour terminer, nous présentons notre traduction en langue portugaise du poème et nos justificatifs de traduction. Pour cela faire, nous nous appuyons nos aux Eléments Spécifiques à une Culture (ESC) apportés par Javier Franco Aixela et les oeuvres d’Antoine Berman, Rosvitha Blume et Patrícia Peterle. / O objetivo principal desse trabalho é a realização de uma tradução para a língua portuguesa do poema Le Ditié de Jehanne d’Arc de Christine de Pizan. O poema escrito em 1429 traz os feitos heroicos de Joana d’Arc na Guerra dos Cem Anos, desde o momento em que ela se encontra com o rei Charles VII na cidade de Chinon até a libertação da cidade de Orleães do poder inglês. O trabalho está dividido em três partes. Primeiramente, fizemos um capítulo panorâmico, com o intuito de contextualizar a Idade Média em que Christine de Pizan e Joana d’Arc viveram. Também abordamos as motivações e consequências da Guerra dos Cem Anos, momento histórico em que se passa o poema de Pizan. Fechamos o capítulo abordando a vida e obra da autora Christine de Pizan, bem como a vida e os feitos de Joana d’Arc. No capítulo seguinte vemos como a história literária tradicional silenciou o discurso feminino, e como os Estudos de Gênero e os Estudos Feministas contribuíram para os trabalhos a cerca de obras escritas por mulheres ao longo da história. Neste capítulo, também vemos como os Estudos da Tradução contribuem para o resgate de obras escritas por mulheres, sobretudo as obras medievais, contribuindo para a crítica literária. No último capítulo, analisamos a estrutura do poema Le Ditié de Jehanne d’Arc defendendo a sua epicidade. Em seguida apresentamos a nossa tradução para a língua portuguesa do poema e depois as nossas justificativas tradutórias. Para as nossas justificativas tradutórias, nos apoiamos no conceito de Itens Culturais-Específicos (ICEs) trazidos por Javier Franco Aixelá, e nos trabalhos de Antoine Berman, Rosvitha Blume e Patrícia Peterle.

Christine Jorgensen is the first known American citizen undergo sexual reassignment surgery. After her medical operations in Denmark in 1952, during which George Jorgensen Jr., a twenty-six year old man from the Bronx, New York, became Christine Jorgensen, an attractive, feminine woman, Jorgensen returned home to face the curiosity and scrutiny of the American public. As the “first celebrity transsexual," Jorgensen sparked public controversy by questioning the gender expectations that structured society in mid-twentieth century America. Jorgensen’s gender presentation closely aligned to the idealized standards of womanhood reinforced by institutional forces during the 1950s. Due to the amount of public scrutiny she faced after her transition, Jorgensen had to conform to these expectations entirely in order to achieve social acceptance. Examining Jorgensen’s gender expression critically exposes the social limits for expression of gender as well as what forces were responsible for placing these limits on women.