This research examines the manifestation of gender inequality represented in female sculptures during the Classical period and the relevance of such evidence. To achieve the purpose, the female figures and their sculptural developments are compared to their male counterparts, and their differences are examined and interpreted. After that, the essay views how female figures from Greek mythology were represented unequally regarding the “female nakedness” and its manipulation. To conclude, the relevance of the evidence on the manifestation of female inferiority in Classical Greek sculpture is discussed by examining how the Graeco-Roman world is often perceived and how this perception might be improved in the future for the new evidence to become more relevant.  During the Classical period, Greek sculpture embodied the ideals and values of the patriarchal society. This resulted in female figures that were never represented equally and instead were made to embody the societies’ misogynistic view of women and their bodies. While the male statues were nude, athletic, and heroic, the female figures were fully clothed or partially exposed, made erotic and sensual, and with the female nakedness, they were depicted as vulnerable, violated, and always enslaved to their biology.  Not only is the evidence on gender manifestation relevant, but it should be acknowledged on a much larger scale. The misguided perception of the Graeco-Roman world should be corrected, and we should begin a new chapter in art history and create a new generation of non- biased perceptions. Ultimately, the female figures should be acknowledged for what they represent and not ignored.

Le récit Moi, l’interdite, se présente comme une exception parmi les œuvres d’Ananda Devi en ce qu’il n’aborde pas de front ni implicitement le thème de la dissidence féminine, comme nous pouvons l’observer dans la plus grande majorité des œuvres de l’auteure mauricienne. Au contraire, le récit s’évertue à mettre en place un processus singulier : celui d’une disparition, perpétré contre la narratrice et protagoniste principale, condamnée à être l’éternel Autre à cause de son physique monstrueux. La présente étude se donne pour objectif d’exposer les rouages à la fois narratifs, thématiques, corporels et relationnels de cet anéantissement de l’Autre à travers une approche essentiellement narratologique. Dans un premier temps, l’entreprise de disparition est observée à travers plusieurs procédés narratifs : complexité chronologique, enchâssement de plusieurs niveaux de récit, abondance de narrataires. Dans un second temps, le thème de la disparition est questionné dans les relations aliénantes nouées par la narratrice, dont le corps difforme est le principal enjeu. De cette volonté de destruction (re)nait et (re)meurt une narratrice, malade de folie, dont les séquelles incurables l’empêcheront de réaliser son désir d’appartenance à un Même fantasmé. / The novel Moi, l’interdite, stands as an exception in Ananda Devi’s works due to the fact that it does not, directly or inherently, address the topic of feminine dissidence usually displayed in the majority of the works from the Mauritian author. The story, on the contrary, tries to set up a singular process: a disappearance affecting the narrator and main protagonist, forever condemned to be the Other because of her monstrous physical appearance. This study aims at exposing the inner machinery of the narrative, thematic, corporal and relational aspects of the destruction of this Other mainly through a narratological approach. Firstly the initiative of the disappearance can be observed through several narrative methods: chronological complexity, interlocking of several levels of discourses, abundance of narratees. Secondly the theme of disappearance is questioned in the alienating relationships developed by the main narrator, for whom her deformed body is mainly what is at stake. This will of destruction leads to the crazily sick narrator’s (re)birth and death, as the incurable after-effects will prevent her from fulfilling her dream to belong to a fantasised Same.

A travers cette thèse, nous avons saisi des expériences féminines qui sont à l’oeuvre dans la société sénégalaise. De telles expériences qui sont souvent perçues comme « transgressives » par les figures de l’autorité masculine sénégalaise (acteurs religieux et entrepreneurs moraux par exemple) permettent de mettre à jour un Sénégal situédans les tensions d’une glocalisation. Nous avons analysé ce Sénégal comme le site d’une négociation entre ses principes visibles (vertu, morale, tolérance, tradition, etc) et des pratiques de femmes, qui n’ayant plus peur de sortir des canaux de socialisation, explorent de nouvelles subjectivités. Face à ces tensions, prime une culture del’ambivalence incarnée à la fois par les médias, les acteurs moraux et les figures étiquetées péjorativement. En d’autres termes, les médias sont souvent « créateurs » des visibilités « scandaleuses » et peuvent s’aligner derrière les acteurs moraux ou religieux pour défendre la vertu nationale ou l’image de la Sénégalaise. Pour les acteursmoraux, l’ambivalence se situe dans le fait qu’il existe un fossé entre leurs propres pratiques et les principes islamiques qu’ils incarnent et utilisent pour dénoncer des faits perçus comme « scandaleux ». Les figures « transgressives » mobilisent, quant à elles, une identification se référant aux identités religieuses et aux imaginaires sociaux pour ne pas trop s’écarter des cadres normatifs. Toutes ces ambivalences traduisent in fine l’ambivalence d’une société se définissant comme pieuse, vertueuse et « traditionnelle » mais qui est sans cesse débordée par les pratiques d’une jeunesse au diapason d’un monde globalisé. / This doctoral dissertation is an account of current female experiences I observed in Senegalese society. These experiences, often perceived as « transgressive» by Senegalese male authorities, namely religious and other moral guides, allow us to uncover a Senegalese society faced with the pressures of glocalization. Senegalese society is trying to negociate a balance between the preservation of fundamental principles (virtue, morality, tolerance, tradition, etc) and certain behaviours and life styles of women who are no longer afraid to free themselves from established socialization channels and explore new subjectivities. Faced with these tensions, a culture of contradictions is dominant as embodied through various networks namely the media, moral figures, and the female actors labelled negatively. In other words, the media is often the creator of scandalous characters and may support moral and religious figures in their defense of virtue, the country’s moral status, and the image of the Senegalese woman. For moral figures, the contradictions are marked by the fact that there is a big gap between their own practices and the Islamic principles they embody and use to speak against facts they perceive as scandalous. As for the « transgressive » actors, they find ways to relate to religious identities and social imaginaries so as not to distance themselves too much from social norms. All these tensions reflect the contradictions of a society that defines itself as « pious », « virtuous », and «traditional », but that is constantly overwhelmed by the practices of a younger generation in tune with a globalized world.

Présentant des styles musicaux spécifiques des musiques extrêmes, cette thèse permet au lecteur de découvrir leurs sources d'inspirations et imaginaires. Elle interroge, à travers l'histoire du genre, le concept de contre-culture attaché à la culture Metal. Dans cette perspective, cette recherche va s'intéresser aux stéréotypes et aux préjugés. Ceux liés à la pornographie, souvent mis en avant par les détracteurs de cette musique, avec l'analyse du projet Girls X présenté par le festival Hellfest Open Air. Puis ceux relatifs à l'homosexualité en étudiant le sous-genre du glam'metal et les figures de l'androgyne et du beefcake tout en s'interrogeant sur la place des femmes dans ce sous-genre. Ce travail met aussi en opposition deux sous-genres musicaux, le métal symphonique et le black métal afin de réaliser une analyse de la présence féminine sur ces deux scènes. Le premier a pour particularité de mettre en scène le conte de La Belle et la Bête et le second d'observer le lien entre femmes et religions, grandes inspiratrices du black métal, et de présenter un héros spécifique du Métal, le prêtre-guerrier. L'étude du corps féminin dans la culture Métal est essentielle. Ce sera l'occasion de mettre en lumière les muses du Métal et les critères auxquels elles doivent correspondre. Enfin, cette thèse s'intéresse aux interactions entre ce qui est traditionnellement associé à la féminité et à la masculinité dans cette culture musicale notamment à travers les notions de puissance et pouvoir, la pratique du maquillage et le port de la jupe. Enfin, le changement de genre fait l'objet d'un dernier point de ce travail. / Is Heavy Metal music a counterculture? To answer this question this thesis presents various styles of Metal music with their imaginary worlds and inspirations in relation to gender studies. First, this thesis studies pornography stereotypes and prejudices with Hellfest Open Air Festival's project: Girls X. Then, this analysis studies those in relation to homosexuality in the glam'metal and present androgyne and beefcake figures. There is also some question as to, where women are in the glam' metal ? This research shall also estimate the presence of women into symphonic metal and black metal. Symphonic metal staging tale of Beauty and the Beast and black metal study observe link between of women and religions and present the warrior-priest hero character. This work studies the female body in Heavy Metal culture as well as the interactions within this musical culture, which matter and are seen as traditionally masculine or feminine through notions power over and power to, makeup... Lastly the thesis study the transgender people in Heavy Metal culture.

Syftet med denna studie är att undersöka hur två svenska modeföretag, Modefabriken och Klädverket, som båda påstår sig vara kroppspositiva visar detta i praktiken. Studien är genomförd inom ämnet textilt management. Studien är ur ett företagsperspektiv, men har även genererat inblickar från ett konsumentperspektiv. Data har samlats in genom primär- och sekundärdata. Studiens sekundära data har genererat ett teoretiskt ramverk som återfinns inom studier av ett västerländskt smalhetsideal och massmedias påverkan, modeindustrin och storlekar, vardagliga modeller och retuscherade modeller, kroppsideal och kroppspositivism. Studiens primära data har samlats in genom semistrukturerade intervjuer, strukturerade observationer i butik samt analys av fyra produktkategorier online. Studiens insamlade data har resulterat i en modifierad kommunikationsmodell för att undersöka hur företagen använder sig av provdockor i butik och modeller online för att visa sitt storleksspann. Judith Butlers Queerteori appliceras för att se om företagen har brutit sig loss från smalhetsidealet. Studiens resultat visar att både Modefabriken och Klädverket använder sig av provdockor i två storlekar, en normativ och en över norm. Båda dessa visar plagg med ett storleksspann från den minsta till den största storleken som företagen har. Slutsatsen av studien är att Klädverket visar sin kroppspositiva inställning i större utsträckning än Modefabriken, detta främst genom att använda sig av fler större modeller online, men även större provdockor i butik. Förslag till vidare forskning är att göra en liknande studie men ur ett konsumentperspektiv. Detta för att komplettera studiens resultat med hur konsumenter uppfattar användandet av större provdockor och modeller. / The purpose of this study is to investigate how two Swedish fashion companies, Modefabriken and Klädverket, who claims to be body positive shows that in practice. The study is conducted within the subject Textile Management. The study is from a corporate perspective but has also generated some insights from a customer perspective. The data has been collected through primary and secondary data. The studies secondary data has generated a theoretical framework which includes a western society ideal of being skinny and the impact of media, the fashion industry and sizes, everyday models and edited models, body ideals and body activism. The primary data of the study has been collected through semi structured interviews, structured observations in store as well as analysis of four different product categories online. The collected data of the study has resulted in a modified communications model to investigate how companies uses mannequins in store and models online to show their range of sizes. Judith Butlers Queer theory is applied to see if companies have broken away from the skinny ideal. The result of the study shows that both Modefabriken and Klädverket use mannequins in two sizes. In their stores and online, they use one normative size and one size above the norm. Both shows garments with a size range from the smallest to the biggest size that the companies offer. The conclusion of the study is that Klädverket shows their body positive approach in greater extent than Modefabriken, mainly by using more plus sized models online but also bigger mannequins in store.

1960年代的電視機與現代生活圖景，在傳播研究史上仍有待開拓。本文試圖以1960年代之平面媒體資料，理解報紙、雜誌、書籍中電視再現的現代家庭生活樣貌，以及在都市發展過程中，電視機在新式住宅中扮演之角色。 結果發現，「現代化」是1960年代電視機販售推廣時常見的定義架構。現代化的「電化家庭」以現代化符碼作為販售號召，標誌著的是技術理性、進步之建構，過程中，嫁妝成為物質電器與美滿符號的具體化實踐機會。 「現代化」電化生活的再現中，家庭勞務之性別關係被凸顯出來。女性多以家庭主婦角色出現，展現的是勞務責任的承擔。由於女性的勞務承擔角色，她們被限縮於住宅與勞務工作之中，因此寂寞與無聊困擾之討論見於史料。電視機化做主婦的依託，提供她們對外交流的心理滿足。 此外，新式住宅的出現，私領域在鐵門與隔音不佳的水泥牆物質形構中漸漸形成一種心理狀態。電視機的出現，使家庭成為一個消費場域、享受空間，私領域得以深化。而電視也不僅僅成為總體居家裝飾的一部分，也成為個人地位象徵，電視消費者的分析展現現代的「高品味」與「低品味」的區分過程。 電視機的再現透露日本殖民、國府統戰、美國冷戰體系三股力量複雜交會的圖景。電視機造型、技術、資本，都因為日本家電廠與台廠合作之關係而承接下來，日本符號仍然沒有完全被去除，而以另外一種姿態低調地進入電視機的家庭生活再現中。 然而，大部分的平面媒體論述集中在美國。美國節目、美國影集大舉進入家庭之中，成為「現代生活的參照標準」。在整體對美國親近的強勢論域上，日本符號被歸依在美國的論述下。現代化被塑造成是歐美的標準，認同也指向了歐美。 但是事實上，日本符號仍然以品牌認同、簡潔理性之設計外觀出現於生活之中。 至於在電視機的國族方面，設置具高度宣傳意義，不過，不管是電視機販售與電視節目內容，國的宣傳身影不斷，但更強大的渴望娛樂與追求享受之消費者邏輯，正在醞釀形成。國的宣傳雖然得以進入家戶，不過卻與娛樂趨向之間，在家戶內形成角力。

The figure of the Tibetan Buddhist nun as a female monastic is situated within a matrix of complexities and contradictions that are constituted by textual and doctrinal sources, Tibetan social views on gender and female monasticism, and experiential realities. In order to understand the situation of nuns, one first must understand that monasticism, mainly the order of monks, has been a highly respected and financially supported institution in Tibetan society for centuries. However, because the histories of Tibetan nuns and female renunciants have gone primarily undocumented, their lineages and stories are much more opaque than those of Tibetan monks. Therefore, most of the scholarship on female Buddhist practitioners, with the exception of a few extraordinary yoginis, dates after the Chinese occupation of Tibet in the 1950s. Historically it is believed that there were a few great nunneries that existed centuries ago, but the majority of Tibetan nunneries have been smaller and lacking in the lay support and funding granted to monasteries. Currently, however, the landscape of Tibetan nuns is beginning to shift, as new resources and educational opportunities are beginning to be made available for Tibetan nuns in exile. It is on these nuns and nunneries in exile that this thesis will focus.

Le récit Moi, l’interdite, se présente comme une exception parmi les œuvres d’Ananda Devi en ce qu’il n’aborde pas de front ni implicitement le thème de la dissidence féminine, comme nous pouvons l’observer dans la plus grande majorité des œuvres de l’auteure mauricienne. Au contraire, le récit s’évertue à mettre en place un processus singulier : celui d’une disparition, perpétré contre la narratrice et protagoniste principale, condamnée à être l’éternel Autre à cause de son physique monstrueux. La présente étude se donne pour objectif d’exposer les rouages à la fois narratifs, thématiques, corporels et relationnels de cet anéantissement de l’Autre à travers une approche essentiellement narratologique. Dans un premier temps, l’entreprise de disparition est observée à travers plusieurs procédés narratifs : complexité chronologique, enchâssement de plusieurs niveaux de récit, abondance de narrataires. Dans un second temps, le thème de la disparition est questionné dans les relations aliénantes nouées par la narratrice, dont le corps difforme est le principal enjeu. De cette volonté de destruction (re)nait et (re)meurt une narratrice, malade de folie, dont les séquelles incurables l’empêcheront de réaliser son désir d’appartenance à un Même fantasmé. / The novel Moi, l’interdite, stands as an exception in Ananda Devi’s works due to the fact that it does not, directly or inherently, address the topic of feminine dissidence usually displayed in the majority of the works from the Mauritian author. The story, on the contrary, tries to set up a singular process: a disappearance affecting the narrator and main protagonist, forever condemned to be the Other because of her monstrous physical appearance. This study aims at exposing the inner machinery of the narrative, thematic, corporal and relational aspects of the destruction of this Other mainly through a narratological approach. Firstly the initiative of the disappearance can be observed through several narrative methods: chronological complexity, interlocking of several levels of discourses, abundance of narratees. Secondly the theme of disappearance is questioned in the alienating relationships developed by the main narrator, for whom her deformed body is mainly what is at stake. This will of destruction leads to the crazily sick narrator’s (re)birth and death, as the incurable after-effects will prevent her from fulfilling her dream to belong to a fantasised Same.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-02-05T14:33:59Z No. of bitstreams: 1 arquivototal.pdf: 1146190 bytes, checksum: 0a43ed25bde19c7667c471fb5d1710ca (MD5) / Made available in DSpace on 2016-02-05T14:34:00Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1146190 bytes, checksum: 0a43ed25bde19c7667c471fb5d1710ca (MD5) Previous issue date: 2014-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following research is centered on the construction of the female body in contemporary society, from the development of an ethnographic experience in a women’s fitness gym, located in a popular neighborhood in the city of João Pessoa, during the period from December 2012 to December 2013. The objectives of the study are to investigate how the body is built on the practices and discourses of a women’s fitness center, which control mechanisms, and profiles of femininity constituted in everyday fitness facility. Moreover, it is also a main interest of this study to examine the practices of an organized sociability, as to understand the socio anthropological construction of the body in the context of those health centers. The research involves middle-aged adult women attending a women's fitness club and the results are structured into main axes of analysis, namely: the morality of practices around the body, the represented tangible types and the not stated performance identified by body movements. The study revealed that the corporeality is constituted by a broad network of meanings that involves my own body as revealed the survey. Therefore, the femininity stands out and pervades the maternal, the marital, the media and the religious fields, such as the changes that happen during the middle-aged period; a dynamic of permanent construction between subjects and the social environment. / A pesquisa que se segue tem como eixo central a construção do corpo feminino na atual sociedade, a partir do desenvolvimento de uma experiência etnográfica em uma academia de ginástica só para mulheres, localizada em um bairro popular da cidade de João Pessoa, no período entre os meses de dezembro de 2012 a dezembro de 2013. Os objetivos do estudo são investigar de que maneira o corpo é construído nas práticas e nos discursos da academia de ginástica só para mulheres, quais os mecanismos de controle que influenciam tal construção, e os perfis de feminilidade constituídos no cotidiano da academia de ginástica. Além disso, também é de interesse deste estudo examinar as práticas de sociabilidade organizadas, para assim, compreender a construção sócio antropológica do corpo no contexto da academia. A pesquisa envolve mulheres adultas de meia-idade, frequentadoras de uma academia de ginástica feminina e os resultados estão estruturados em três amplos eixos de análise, quais sejam: as práticas de moralidade em torno do corpo, os tipos corpóreos representados e o plano do nãodito identificado pela performance dos movimentos corporais. O estudo revelou que a corporeidade está constituída a partir de uma ampla rede de significações. Destaca-se, portanto, uma feminilidade que permeia os campos maternal, midiático, religioso, matrimonial e as mudanças ocorridas no período da meia-idade feminina, numa dinâmica de construção permanente entre sujeitos e o meio social.

Trade-off between offspring size and number belongs to the most discussed concepts in the life history theory. The aim of this study was to elucidate the relationship between egg size, clutch size and female body mass at the family level in bird's and to examine whether there is the relationship between offspring size and number and life history traits specific for particular bird families. From published sources, I collected data about 5.073 species belong in 146 families. Most species of birds lay smaller clutches, on average three eggs. In 112 families from 130 tested eggs size was positively correlated with female body mass. There is evidence that egg size and clutch size are inversely related in 83 families from 130 tested but only for 34 families was significant. The relationship exists independently of female body mass across bird families and this suggests a trade-off between these traits. The relationship between the strength and shape of egg size-number correlations and life history characteristics of bird families was not frequent. According to results, the strength of correlation seems to be related to development mode and diet type. The negative egg size-number correlation is stronger when incubation period and fledging time is longer and in birds with longer lifespan. The...