"Flowery boys"(花样少年) - when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey's theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. With such reconsideration of the relationship between the film texts and the audiences, this project aims to strip off the negative connotations imposed on the concept of 'feminisation' and to seek to prove the emerging of a feminine discourse popularised by a graphic revolution.

This paper examines the influence of the dominant masculine-hegemonic ideology and gender- compliance on agenda setting and framing texts in the context of a healthy diet, respectively vegetarianism, which is considered a healthy alternative if this diet is balanced. With reference to the already existing academic work on the topic of health discourse in the context of patriarchal ideology, this thesis aims to uncover through discourse analysis of texts in Czech lifestyle magazines for men and for women latent and subtle ideological structures supporting the social status quo and at the same time reveal the influence of the social construction of masculinity and femininity to the discourse of vegetarianism.

Made available in DSpace on 2016-08-10T11:07:09Z (GMT). No. of bitstreams: 1 REGINA MARIA GONCALVES NEIVA.pdf: 1178298 bytes, checksum: 62ed028d6c7b2c249b925318065be0db (MD5) Previous issue date: 2015-03-13 / This paper conducts a critical approach to ethos present in female discourse, tracing a historical profile to culminate in the works and speeches of two Goiás writers: Maria Aparecida Rodrigues and Maria Helena Chein, who in his dialogues with other works, make up our object of study. Used as an analytical method, preferably, the deductive, since, saying something about the object of study, we set of hypotheses that can be tested in comparative studies, performing an investigative research, comparing texts and readings in order to demonstrate affinity, various orders, between universal literature and produced in Goiás. This research uses, and other theorists of Ruth Amossy studies, regarding the statement that every act of taking the word implies in building a picture of themselves. In the first chapter, Ethos and female literary discourse, observed in the works under study, dialogues, traces of speech and character building of the texts studied, focusing on the presence of women in literature, and the ethos of the manifestation in the discourse of female voice. In the second chapter, Hiking and mishaps of the female voice literature, we revisit the voices who undertook trajectories in Literature, encouraging other writers and critics to participate in this particular discourse. Goiás two authors and their writings in this chapter, there was an almost exclusive attention to the works of the two writers Goiás in question, making a comparison between them, observing the nuances of their texts, from theoretical basis to demonstrate how it is put into his work ethos and female speech in dialogue with other works and other realities. In Chapter IV, Two writers Goiás two arts scene, is put in question, the writing of the two Goiás writers studied observing inherent properties of the game played with some concepts as truth and lie, metamorphoses and others, in which the words give life the language that moves between moving images and scenes of past and future, permeating a cinematic reflection of this. / Este trabalho realiza uma abordagem crítica sobre ethos presentes no discurso feminino, traçando um perfil histórico para culminar nas obras e discursos de duas escritoras goianas: Maria Aparecida Rodrigues e Maria Helena Chein, que em seus diálogos com outras obras, compõem o nosso objeto de estudo. Utilizamos como método de análise, preferencialmente, o dedutivo, uma vez que, ao afirmar algo sobre o objeto de estudo, partimos de hipóteses que podem ser testadas nos estudos comparativos, realizando uma pesquisa investigativa, confrontando textos e leituras afim de demonstrar afinidades, de ordens diversas, entre a literatura universal e a produzida em Goiás. Esta pesquisa se serve, além de outros teóricos, dos estudos de Ruth Amossy, no que tange à afirmação de que todo ato de tomar a palavra implica na construção de uma imagem de si. No primeiro capítulo, Ethos e discurso literário feminino, observamos nas obras em estudo, diálogos, traços da fala e construção das personagens dos textos estudados, tendo como foco a presença da mulher na literatura, e na manifestação do ethos no discurso de voz feminina. No capítulo segundo, Percurso e percalços da literatura de voz feminina, revisitamos as vozes que empreenderam trajetórias na Literatura, motivando outras escritoras e críticos a participarem desse discurso peculiar. Duas autoras goianas e suas escrituras, neste capítulo, houve uma atenção quase exclusiva para as obras das duas escritoras goianas em questão, fazendo uma comparação entre elas, observando as nuances de seus textos, a partir de bases teóricas para se demonstrar como está posto em suas obras o ethos e o discurso feminino em diálogo com outras obras e outras realidades. No capítulo IV, Duas escritoras goianas, duas artes em cena, põe-se em questão, a escrita das duas escritoras goianas estudadas, observando propriedades inerentes ao jogo praticado com alguns conceitos como verdade e mentira, metamorfoses e outros, nos quais as palavras dão vida a uma linguagem que transita entre imagens em movimento e cenas do passado e do futuro, permeando uma reflexão cinematográfica do presente.

L'objectif de cette étude a été double. D'une part, il fait l’inclusion du roman Estaba la pájara pinta sentada en el verde limón d’Albalucía Angel au genre du nouveau roman historique, selon la théorie exposée par Seymour Menton, Cristina Pons, Fernando Ainsa et Biruté Ciplijauskaité. Dans cet ordre on a examinée en détail l`utilisation faite dans cette nouvelle de l'histoire récente de la Colombie, ainsi que les questions relatives à la mise en fiction de personnages historiques, la métafiction, l`intertextualité et la polyphonie. Deuxièmement, cette étude analyse la perspective de genre qui définit cette nouvelle grâce à l'inclusion de la voix féminine que raconte des événements historiques à partir du point de vue de l'expérience des femmes, trait qui deviendra caractéristique du nouveau roman historique écrit par des femmes sur les femmes. Notre intérêt est d'analyser comment les différentes voix dans le roman parviennent à créer une nouvelle subjectivité féminine, renversant ainsi le discours historique officiel que le système patriarcal. Ces aspects, dans le contexte historique de la violence en Colombie, permettent une nouvelle lecture de la société colombienne du milieu du XXe siècle. / The objective of this study is twofold. On one hand it considers the assignment of Albalucía Angel`s Estaba la pájara pinta sentada en el verde limón in the gender of the New Historical Novel, according to the theory exposed by Seymour Menton, Cristina Pons, Fernando Ainsa and Biruté Ciplijauskaité. In order to get this, it discusses in detail how this novel utilizes Colombia’s more recent history, and it also considers different issues relating to the fictionalization of historical characters, metafiction, intertextuality and polyphony. Second, this study analyzes the gender perspective that defines the novel thanks to the inclusion of the female voice narrating historical events from the feminine point of view of women's experience, a feature that would become characteristic of the new historical novel written by women about women. Our interest is to analyze how the different voices in the novel manage to create a new female subjectivity, thus subverting the official historical discourse as well as the patriarchal system. These aspects, in the historical context of violence in Colombia, allow a new reading of Colombian society of the mid-twentieth century. / El objetivo de este estudio es doble. Por un lado se considera la adscripción de la novela Estaba la pájara pinta sentada en el verde limón de Albalucía Ángel al género de la nueva novela histórica, según los planteamientos teóricos expuestos por Seymour Menton, Cristina Pons, Fernando Ainsa y Biruté Ciplijauskaité. Para ello se analiza en detalle el uso que en la novela se hace de la historia más reciente de Colombia, así como se consideran también aspectos relativos a la ficcionalización de personajes históricos, la metaficción, la intertextualidad y la polifonía. En segundo lugar, este estudio analiza la perspectiva de género que define la novela gracias a la inclusión de la voz femenina que narra los hechos históricos desde un sentir propio de la experiencia de la mujer, rasgo que vendría a ser característico de la nueva novela histórica escrita por mujeres sobre mujeres. Nuestro interés reside en analizar cómo las diferentes voces en la novela logran crear una nueva subjetividad femenina, subvirtiendo tanto el discurso histórico oficial como el sistema patriarcal. Estos aspectos, en el contexto histórico de la violencia en Colombia, permiten una nueva lectura de la sociedad colombiana de mediados del siglo XX.

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littératures et de langues modernes] / L'objectif de cette étude a été double. D'une part, il fait l’inclusion du roman Estaba la pájara pinta sentada en el verde limón d’Albalucía Angel au genre du nouveau roman historique, selon la théorie exposée par Seymour Menton, Cristina Pons, Fernando Ainsa et Biruté Ciplijauskaité. Dans cet ordre on a examinée en détail l`utilisation faite dans cette nouvelle de l'histoire récente de la Colombie, ainsi que les questions relatives à la mise en fiction de personnages historiques, la métafiction, l`intertextualité et la polyphonie. Deuxièmement, cette étude analyse la perspective de genre qui définit cette nouvelle grâce à l'inclusion de la voix féminine que raconte des événements historiques à partir du point de vue de l'expérience des femmes, trait qui deviendra caractéristique du nouveau roman historique écrit par des femmes sur les femmes. Notre intérêt est d'analyser comment les différentes voix dans le roman parviennent à créer une nouvelle subjectivité féminine, renversant ainsi le discours historique officiel que le système patriarcal. Ces aspects, dans le contexte historique de la violence en Colombie, permettent une nouvelle lecture de la société colombienne du milieu du XXe siècle. / The objective of this study is twofold. On one hand it considers the assignment of Albalucía Angel`s Estaba la pájara pinta sentada en el verde limón in the gender of the New Historical Novel, according to the theory exposed by Seymour Menton, Cristina Pons, Fernando Ainsa and Biruté Ciplijauskaité. In order to get this, it discusses in detail how this novel utilizes Colombia’s more recent history, and it also considers different issues relating to the fictionalization of historical characters, metafiction, intertextuality and polyphony. Second, this study analyzes the gender perspective that defines the novel thanks to the inclusion of the female voice narrating historical events from the feminine point of view of women's experience, a feature that would become characteristic of the new historical novel written by women about women. Our interest is to analyze how the different voices in the novel manage to create a new female subjectivity, thus subverting the official historical discourse as well as the patriarchal system. These aspects, in the historical context of violence in Colombia, allow a new reading of Colombian society of the mid-twentieth century. / El objetivo de este estudio es doble. Por un lado se considera la adscripción de la novela Estaba la pájara pinta sentada en el verde limón de Albalucía Ángel al género de la nueva novela histórica, según los planteamientos teóricos expuestos por Seymour Menton, Cristina Pons, Fernando Ainsa y Biruté Ciplijauskaité. Para ello se analiza en detalle el uso que en la novela se hace de la historia más reciente de Colombia, así como se consideran también aspectos relativos a la ficcionalización de personajes históricos, la metaficción, la intertextualidad y la polifonía. En segundo lugar, este estudio analiza la perspectiva de género que define la novela gracias a la inclusión de la voz femenina que narra los hechos históricos desde un sentir propio de la experiencia de la mujer, rasgo que vendría a ser característico de la nueva novela histórica escrita por mujeres sobre mujeres. Nuestro interés reside en analizar cómo las diferentes voces en la novela logran crear una nueva subjetividad femenina, subvirtiendo tanto el discurso histórico oficial como el sistema patriarcal. Estos aspectos, en el contexto histórico de la violencia en Colombia, permiten una nueva lectura de la sociedad colombiana de mediados del siglo XX.