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Paintings of women as individual subjects were a popular theme in the Mughal court during the mid-seventeenth century, or the Shah Jahan period (ca. 1628-1658). These portraits depict idealized archetypes with subtle differences in facial and bodily features. The same portrait conventions were used for both historical and imaginary women. This thesis has three aims: (1) identify and explain the significance of three elements that visually represent an ideal Mughal woman using a case study from the Virginia Museum of Fine Arts called Page from the Nasir al-Din Shah Album: Portrait of a Mughal Woman (ca. 1630-45), (2) combine visual and textual sources to further the study of Mughal women, and (3) reinsert the portraits of Mughal women within a larger scope of female imagery in Indian art to show that Mughal paintings encompass just one part of a much bigger story. Paintings of Mughal women are not only aesthetic works of art—they are historical artifacts.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The study takes an analytical approach to discourse in its focus on the discursive realisation and (re)production of ideology in terms of the (re)construction of a singular female identity as portrayed by the media – specifically content generated by the online news and entertainment website, BuzzFeed. Data was collected electronically over a period of fifteen months (January 2014 to May 2015) and subjected to a keyword search, which then determined the most relevant articles. These articles were entered into two separate corpora for analysis in order to identify the most significant ideologies related to body shaming, and broken down linguistically through the use of Wordsmith Tools. The analysis of the data mainly drew upon the theories of Bakhtin’s conceptualisation of dialogic (2004), Gee’s building tasks of language (2014), van Dijk’s analytical toolkit (1984), (1990) and Kress’ notion of the formation of ideology (1989). The aim of this thesis was to investigate the (re)production of ideology surrounding traditional beauty ideals as being a singular concept in order to reveal the more complex identities of women as unique individuals. The study’s findings indicate that there is a significant correlation between female empowerment in terms of associating with feminist ideals and female misogyny as one of the main sources of body shaming, with female misogyny outranking feminism with only 4,94%. Furthermore, the study revealed that overall appearance was the most commonly discussed topic throughout the corpus, being mentioned in a total of 93,83% of articles, with the face and hair of women being most frequently discussed in 23,46% of articles. Overall appearance was also the topic most commonly shamed in the corpus, closely followed by fashion, body shape and fitness. / AFRIKAANSE OPSOMMING: Die studie maak gebruik van ‘n analitiese benadering tot diskoers gerig op aspekte van taalwetenskap wat ‘n rol speel in die realisasie van idees in terme van die rekonstruksie van ‘n singulêre vroulike identiteit soos voorgeskryf deur die media – veral in die geval van inhoud gegenereer deur die aanlyn nuus en vermaakwebblad, BuzzFeed. Data was elektronies ingesamel oor ‘n periode van vyftien maande (vanaf Januarie 2014 tot Mei 2015) en onderwerp aan ‘n sleutelwoord soektog, wat dan die mees relevante artikels kon identifiseer. Hierdie artikels was toe in twee aparte corpora ingeskryf vir analise, ten einde van die identifikasie van ideologieë mees relevant tot die konsep van liggaambeskaming. Die data was ook taalkundig afgebreek deur die gebruik van Wordsmith Tools. Die analise van die data is hoofsaaklik gegrond op die teorieë van Bakhtin se konseptualisasie van dialogie (2004), Gee se boutake van taal (2014), van Dijk se metodologiese analise (1984), (1990) en Kress se teorie oor hoe ideologiese raamwerke gevorm word (1989). Die doel van hierdie tesis was die ondersoek in terme van die reproduksie van sekere ideologieë rondom tradisionele ideale van skoonheid as ‘n enkelvoudige konsep om meer te openbaar oor die komplekse identiteite van vroue as unieke individue. Die navorsing dui op ‘n beduidende korrelasie tussen die bemagtiging van vroue in terme van die assosiasie met feministiese ideale en vroue haat deur ander vroue as een van die hoofbronne van liggaambeskaaming, met vroue haat deur ander vroue geidentifiseer as die ideologie wat die meeste voorkom in die korpus, net 4,94% meer as feminisme. Verder onthul die studie dat algehele voorkoms die mees algemeen bespreekte onderwerp was, genoem in ‘n totaal van 93,83% van artikels, met die gesig en hare van vroue mees algemeen bespreek in 23,46% van artikels. Algehele voorkoms was ook die onderwerp wat mees algemeen verneder was, gevolg deur mode, liggaamsvorm en fiksheid.

Arirang Redux is a collection of poems that explores the theme of female identity across East-West cultures, as well as such universal ideas as grief, loss, power, and memory--considered through the lens of an Asian female, multi-cultured, immigrant persona. Written mostly in a free verse, lyric-narrative style, these poems examine the psychological boundaries across genders, cultures, traditions, languages, and social hierarchies that exert forces on the lives of women.

Ramunės Bleizgienės disertacijoje „Moters tapatybės problema XIX a. pabaigos–XX a. pradžios moterų kūryboje“ tapatumas nagrinėjamas kaip abipusės asmens ir sociokultūrinio konteksto sąveikos rezultatas, klausiant, kaip vykęs modernios lietuviškos visuomenės kūrimasis veikė moters tapatumo formas. Remiantis keleriopa metodologine perspektyva, moterų tapatybės kaita pristatoma kaip neatsiejama moterų tapimo viešais asmenimis proceso dalis. Analizuojant Žemaitės, Gabrielės Petkevičaitės-Bitės, Šatrijos Raganos, Onos Pleirytės-Puidienės Vaidilutės ir Sofijos Kymantaitės-Čiurlionienės kūrybą siekiama išsiaiškinti, kaip rašydamos moterys įsteigia ir įtvirtina save kaip kalbantįjį viešumos subjektą. Nuodugniai nagrinėjant moterų kūrinius, daugiausia – pirminius variantus, dienoraščius, laiškus, atsiminimus, stebima, kaip rašančiosios patyrė savąjį socialumą, ryškinama, kaip moterų savivoka buvo veikiama sociokultūrinių asmens / moters apibrėžčių. Moters tapatybės struktūriniai pokyčiai tyrinėjami sutankintame sociokultūriniame kontekste, apžvelgiant ir pristatant daugybę viešojoje erdvėje cirkuliavusių moterų tekstų, padedančių įsivaizduoti vykusio proceso daugialypiškumą ir kompleksiškumą. Disertacijoje pristatoma nemažai XIX a. pabaigos–XX a. pradžios moterų publicistikos ir grožinės kūrybos tekstų, kurie iki šiol nebuvo patekę į tyrinėjimų akiratį. / Ramunė Bleizgienė‘s dissertaiton Female Identity Problem in Lithuanian Women’s Creative Writing in the Late 19th – Early 20th Century analyses identity as a result of an interaction between a person and his/her socio-cultural context, by raising a question how the development of modern Lithuanian society influenced the forms of female identity. A heterogeneous methodological perspective introduces a shift in female identity as an inseparable part of the process of women becoming public individuals. The exploration of creative texts by Žemaitė, Gabrielė Petkevičaitė-Bitė, Šatrijos Ragana, Ona Pleirytės-Puidienė Vaidilutė and Sofija Kymantaitė-Čiurlionienė reveals how the writing women bring up and establish themselves as a speaking public subject. A thorough analysis of women’s writing, their diaries, letters, and memoirs reveals the ways in which the writing women experience their sociability, and emphasizes the impact that socio-cultural definitions of an individual/woman made on women’s self-perception. Structural changes in female identity undergo analysis in a condensed socio-cultural context with a review and a presentation of many texts by female authors that were circulating in public space, which gives a view of the multiple nature and complexity of the process. The study presents a lot of journalistic and fiction texts that were written in the late 19th – early 20th century, but were not in the scope of analysis up to the present moment.

Este trabalho constitui um estudo a cerca da construção da identidade feminina tal como se apresenta nos quatro primeiros romances da autora portuguesa Lídia Jorge. Para tanto, foram selecionadas as seguintes obras: O Dia dos Prodígios (1980), O cais das merendas (1982), Notícia da Cidade Silvestre (1984) e A Costa dos murmúrios (1988). A análise dessas obras busca revelar a trajetória percorrida pelas personagens femininas nos romances, observando seus comportamentos, suas angústias, seus medos e suas paixões, para que se possa examinar como se processa a construção identitária da mulher que se insere na época ditatorial vivida por Portugal (como no primeiro romance) e daquelas que vivem no contexto pós-Revolução de 74 (como as mulheres dos outros três romances). Propõe-se identificar, neste estudo, de que maneira se desenvolve a busca do autoconhecimento das personagens, no sentido de, pelo menos, se investigar como se inicia o processo de construção da identidade da mulher portuguesa, que ficou esquecida no período que antecedeu e marcou a experiência de Abril de 1974 (destacada na obra O dia dos prodígios); como ocorre a busca pelo autoconhecimento no contexto de colonização cultural que Portugal vive nos tempos subsequentes ao 25 de Abril de 1974 (como se vê em O cais das merendas); como se processa a luta da mulher pela sobrevivência na Lisboa do final dos anos setenta (destacada em Notícia da cidade silvestre); e de que modo se desenvolve a ação entre os finais dos anos sessenta e princípio dos anos setenta, em pleno ambiente de Guerra Colonial (tal como é ficcionalizado no romance A Costa dos Murmúrios). Estas obras representam uma incursão pela vida das mulheres portuguesas da segunda metade do século XX. Esta investigação se desenvolve por meio da observação detalhada de personagens femininas que buscavam um lugar seu, um espaço próprio, tentando revelar e compreender o mundo. / This thesis is a study about how female identity has been built up in the first four novels written by the Portuguese woman writer Lídia Jorge. So, O Dia dos Prodígios (1980), O cais das merendas (1982), Notícia da Cidade Silvestre (1984) and A Costa dos murmúrios (1988) form the corpus of this study. Analysing such works searches to reveal the route covered by the female characters in such novels, having in view their behaviours, anguishes, fears and passions, in order that, by such means, one can examine the way of construction of identity of women during Salazar dictatorship, as it can be seen in the first novel, as opposed to the identity of those women living after 1974 April Revolution, as shown in the other novels of this corpus. Thus, this work aims at identifying the manner in which the search for self-knowledge happens and develops in each female character, in the sense that one can at least investigate the beginning of Portuguese woman´s identitary construction process (this woman remained forgotten and apart from Portuguese society before and shortly after Carnation Revolution, experience which has been detached in the first novel, O dia dos prodígios. Another aim of this study is to investigate womens search for self-knowledge in the context of cultural colonization experienced by Portugal in the years ahead of April 74 (as it is shown in the second work, O cais das merendas) and also the struggle for woman´s survival in the Lisbon after the seventies (shown in Notícia da cidade silvestre) and finally the way the action occurs in the period between the final years of the sixties and the first years of the seventies, when the Colonial War was taking place (as it is fictionalized in A costa dos murmúrios). Such works represent an incursion into the Portuguese women´s lives in the second half of the 20th century. This investigation is developed by means of a detailed observation of female characters who searched for a place for themselves in the world an also ried to reveal and understand the world around them.

Este trabalho constitui um estudo a cerca da construção da identidade feminina tal como se apresenta nos quatro primeiros romances da autora portuguesa Lídia Jorge. Para tanto, foram selecionadas as seguintes obras: O Dia dos Prodígios (1980), O cais das merendas (1982), Notícia da Cidade Silvestre (1984) e A Costa dos murmúrios (1988). A análise dessas obras busca revelar a trajetória percorrida pelas personagens femininas nos romances, observando seus comportamentos, suas angústias, seus medos e suas paixões, para que se possa examinar como se processa a construção identitária da mulher que se insere na época ditatorial vivida por Portugal (como no primeiro romance) e daquelas que vivem no contexto pós-Revolução de 74 (como as mulheres dos outros três romances). Propõe-se identificar, neste estudo, de que maneira se desenvolve a busca do autoconhecimento das personagens, no sentido de, pelo menos, se investigar como se inicia o processo de construção da identidade da mulher portuguesa, que ficou esquecida no período que antecedeu e marcou a experiência de Abril de 1974 (destacada na obra O dia dos prodígios); como ocorre a busca pelo autoconhecimento no contexto de colonização cultural que Portugal vive nos tempos subsequentes ao 25 de Abril de 1974 (como se vê em O cais das merendas); como se processa a luta da mulher pela sobrevivência na Lisboa do final dos anos setenta (destacada em Notícia da cidade silvestre); e de que modo se desenvolve a ação entre os finais dos anos sessenta e princípio dos anos setenta, em pleno ambiente de Guerra Colonial (tal como é ficcionalizado no romance A Costa dos Murmúrios). Estas obras representam uma incursão pela vida das mulheres portuguesas da segunda metade do século XX. Esta investigação se desenvolve por meio da observação detalhada de personagens femininas que buscavam um lugar seu, um espaço próprio, tentando revelar e compreender o mundo. / This thesis is a study about how female identity has been built up in the first four novels written by the Portuguese woman writer Lídia Jorge. So, O Dia dos Prodígios (1980), O cais das merendas (1982), Notícia da Cidade Silvestre (1984) and A Costa dos murmúrios (1988) form the corpus of this study. Analysing such works searches to reveal the route covered by the female characters in such novels, having in view their behaviours, anguishes, fears and passions, in order that, by such means, one can examine the way of construction of identity of women during Salazar dictatorship, as it can be seen in the first novel, as opposed to the identity of those women living after 1974 April Revolution, as shown in the other novels of this corpus. Thus, this work aims at identifying the manner in which the search for self-knowledge happens and develops in each female character, in the sense that one can at least investigate the beginning of Portuguese woman´s identitary construction process (this woman remained forgotten and apart from Portuguese society before and shortly after Carnation Revolution, experience which has been detached in the first novel, O dia dos prodígios. Another aim of this study is to investigate womens search for self-knowledge in the context of cultural colonization experienced by Portugal in the years ahead of April 74 (as it is shown in the second work, O cais das merendas) and also the struggle for woman´s survival in the Lisbon after the seventies (shown in Notícia da cidade silvestre) and finally the way the action occurs in the period between the final years of the sixties and the first years of the seventies, when the Colonial War was taking place (as it is fictionalized in A costa dos murmúrios). Such works represent an incursion into the Portuguese women´s lives in the second half of the 20th century. This investigation is developed by means of a detailed observation of female characters who searched for a place for themselves in the world an also ried to reveal and understand the world around them.

This paper addresses the collusion with and contradiction to patriarchal power structures of race and femininity in Yamada Eimi's Bedtime Eyes and Trash. In moments of Bedtime Eyes, particularly the final novella "Jesse," and Trash, Yamada contradicts her irresponsible portrayals of Japanese female and black male identity often found in her fiction. This paper will discuss ideological shifts in Yamada's narratives through a textual analysis of Bedtime Eyes and Trash, arguing that through changes in narrative that affect character development, "Jesse" and Trash begin to deconstruct some of the detrimental power structures that shape much Yamada's fictional works.