Zugl.: Kiel, Univ., Diss., 2002 u.d.T.: Decker, Jan-Oliver: "Where's that girl?"

Texte remanié de: Thèse de doctorat--Berlin--Freie Universität, 2004. Titre de soutenance : Formen und Funktionen der Rekursivität im Videoclip am Beispie der Musikvideos von Madonna. / Bibliogr. p. 253-301.

Frankfurt (Main), Universiẗat, Diss., 2005.

<p>Throughout history women have been the object of oppression by patriarchal society. Men have had more privileges than women and although women in earlier days have tried to resist they have been the object and not the subject. The Madonna/Whore complex is still present in many ways as there are restrictions of how women are entitled to behave according to patriarchal society. However involves a third factor; the intellectual or the universal woman who faces nearly the same problem as courtesans and prostitutes did in earlier days in order to obtain a lifelong partner. This study will shed light on the dilemma that a great deal of women encounter when struggling with love and relationships. I have analysed four short stories from Margaret Atwood´s Wilderness tips; Wilderness Tips, Hairball, True Trash and The Bog Man. The women in these novels experience subordination in their relationship to men either as a Madonna, whore or intellectual.</p><p> To come to this conclusion I have examined the short stories from different perspectives in terms of which role they each portray, how they reveal their implications in the narrative and how projective identification empowers women in relationships.</p><p>Keywords: Madonna/ whore complex, patriarchal society, narratology, voice, projective identification</p>

Throughout history women have been the object of oppression by patriarchal society. Men have had more privileges than women and although women in earlier days have tried to resist they have been the object and not the subject. The Madonna/Whore complex is still present in many ways as there are restrictions of how women are entitled to behave according to patriarchal society. However involves a third factor; the intellectual or the universal woman who faces nearly the same problem as courtesans and prostitutes did in earlier days in order to obtain a lifelong partner. This study will shed light on the dilemma that a great deal of women encounter when struggling with love and relationships. I have analysed four short stories from Margaret Atwood´s Wilderness tips; Wilderness Tips, Hairball, True Trash and The Bog Man. The women in these novels experience subordination in their relationship to men either as a Madonna, whore or intellectual. To come to this conclusion I have examined the short stories from different perspectives in terms of which role they each portray, how they reveal their implications in the narrative and how projective identification empowers women in relationships. Keywords: Madonna/ whore complex, patriarchal society, narratology, voice, projective identification

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 315-349). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29537

Thesis (Ph. D.)--West Virginia University, 2009. / Title from document title page. Document formatted into pages; contains ix, 357 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 371-396).

The following thesis investigates the figure of the black Madonna. Because there is a lack of information on why and when these figures were created, this has created an air of mystery and intrigue around them and they have become the subject of highly speculative assumptions. The thesis has two main aims. Firstly, it analyses the trends in the existing literature; it considers the problems such research raises and how these might be addressed more critically. Secondly, this thesis will argue that it is possible to adopt a different way of approaching the subject of black Madonnas. The research in this thesis was conducted because it was felt not only were there were gaps in the existing literature, but there were questions raised in this literature that largely went unanswered. A significant section of the existing literature has used what might be described as a ‘grand narrative’ approach to the subject, trying to find an explanation that can account for the existence of all black Madonnas and what these images might mean. This thesis adopts a ‘lived religion’ approach to the study of black Madonnas. By conducting an ethnographic, fieldwork based method, it looked at the place of the black Madonna at St Mary’s Anglican Church, London and the relationship the congregation have with this black Madonna. It was found that this shrine challenged some of the existing assumptions about black Madonnas. Rather than the powerful, mysterious, esoteric alternative to the Virgin Mary portrayed in the previous literature, the black Madonna at St Mary’s was not always a central feature for worshippers. This research demonstrates that different results may be obtained if the focus is on one shrine rather than a comparative study. It is the combination of a critical examination of the existing literature with the results of the fieldwork that has made this research an original contribution to the field of black Madonna studies.

This thesis provides a new overview of the wooden, sculpted image of the Madonna and Child in thirteenth - and early fourteenth - century Sweden. It comprises five parts: a socio-political and economic contextualisation of the images; a critique of the existing literature in the form of an analytical bibliography; a detailed evaluation of the sculptures; a catalogue of selected material; and a bibliography. In Chapter one, the historical examination discusses the Scandinavian context between 1250 and 1350. Scandinavia was then a thriving area, both economically and culturally, and was far less isolated and inward looking than art-historical analyses have hitherto assumed. However, Scandinavia was not a stable region in the period; borders were constantly revised as a result of political and military changes. Trade links also changed and brought with them different influences. Building on the works of Aron Andersson, Andreas Lindblom, C.R af Ugglas, Rune Norberg, Peter Tångeberg, Lena Liepe, Carina Jacobsson and Lennart Karlsson, the bibliographical critique in chapter two will analyse earlier texts that have discussed the sculptures which are the subject of this thesis. The third chapter organizes the sculptures into two main groups, and draws comparisons with international examples. It comprises a visual analysis of Swedish and international comparative material on a scale which has not been attempted before. The fourth chapter is a comprehensive catalogue of the 144 Madonnas dealt with in the text, sorted by region of origin.

Thesis (MA)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This thesis analyses Zakes Mda’s The Madonna of Excelsior from three different points of view, namely post-colonial, feminist and satirical. The latter constitutes the main interpretation of the novel and serves as a link with the other two discourses – the key argument being that satire is not a solipsistic form of art, and thus a satirical text should not be considered on its own, but should rather be interpreted in conjunction with other cultural discourses. This thesis is of the opinion that one needs all three of the named viewpoints in order to fully comprehend and appreciate the depth of Mda’s satire and his comments on South African society. His novel contains several candid comments on the political situation of South Africa in both the apartheid and the democratic eras, and his tongue-in-cheek observations force the reader to consider his novel from a political and a satirical angle. As apartheid is a form of colonialism and South Africa carries several scars from colonial times (such as diasporic conditions and multi-cultural identity crises, to name a few of those discussed), this thesis analyses Mda’s political commentary in terms of post-colonial discourse. Due to Mda’s use of female protagonists, this thesis also considers a feminist interpretation as necessary for a better understanding of the novel: through the use of feminist discourse, the violence that is committed against some of the female characters in the novel is interpreted as a way of enforcing colonial power relations. Chapters two, three and four respectively each discuss one of these interpretations: post-colonial, feminist and satirical, whilst chapter one is devoted to defining the art of satire. / AFRIKAANSE OPSOMMING: Hierdie tesis analiseer Zakes Mda se The Madonna of Excelsior vanuit drie verskillende oogpunte, naamlik die postkoloniale, feministiese and satiriese. Laasgenoemde konstitueer die hoofinterpretasie van die teks, en vorm ook ‘n skakel met die ander twee diskoerse. Die hoofargument van die tesis is dat satire nie ‘n kunsvorm is wat alleen bestaan nie, en dus behoort ‘n mens nie ‘n satiriese teks in isolasie te oordink nie, maar so ‘n teks moet geïnterpreteer word in verbinding met ander diskoerse. Hierdie tesis glo dat al drie van die genoemde oogpunte noodsaaklik is om Mda se satiriese kommentaar en aanmerkings oor die Suid-Afrikaanse gemeenskap werklik te verstaan en waardeer. Daar is etlike openhartige aanmerkings in die teks wat die politiese situasie van Suid-Afrika in beide die apartheid en die demokratiese eras aanspreek, en Mda se skertsende kommentaar dwing die leser om die teks te oordink van ‘n politiese, asook ‘n satiriese, gesigspunt. Aangesien apartheid ‘n vorm van kolonialisme is, en Suid-Afrika verskeie littekens van koloniale tye dra (soos disporas en multi-kulturele krisisse, om maar ‘n paar te noem), analiseer hierdie tesis Mda se politiese aanmerkings in terme van ‘n postkoloniale interpretasie. Mda se gebruik van vroulike hoofkarakters veroorsaak dat hierdie tesis ook a feministiese interpretasie benuttig vir ‘n betere begrip van die teks: deur die gebruik van ‘n feministiese diskoers kan ‘n mens die geweld wat teen sommige van die vroulike karakters gepleeg word sien as ‘n manier om koloniale magsverhoudinge af te dwing. Hoofstukke twee, drie en vier bespreek elk een van hierdie oogpunte: postkoloniaal, feminisme en satiere, terwyl hoofstuk een die satiriese kuns probeer definieer.