Made available in DSpace on 2014-06-11T19:29:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-09-19Bitstream added on 2014-06-13T19:58:30Z : No. of bitstreams: 1 rodrigues_ap_me_assis.pdf: 1096259 bytes, checksum: 622839d6ef2c48ddaa5c885467df61bc (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho propõe investigar a re-significação da feminilidade em mulheres da terceira idade. Participaram da pesquisa sete mulheres desta faixa etária, moradoras na cidade de Araçatuba, que freqüentaram um grupo de vivências denominado .Encontros para o bem viver., grupo esse que faz parte da programação do projeto Universidade da Terceira Idade, da Unesp - Campus de Araçatuba. A coleta de dados foi feita através da utilização de entrevista semi-dirigida, realizada nas próprias residências das participantes, sendo estas posteriormente sistematizadas, transcritas e interpretadas para análise qualitativa de seu conteúdo. As análises dos dados foram realizadas através da metodologia de análise do conteúdo proposta por Bardin, que tiveram como eixo a questão do feminino no processo de envelhecimento, ou seja, o entendimento e a compreensão da mulher frente à sua condição nesta fase da vida. Tais leituras foram embasadas também na noção do curso de vida e em autores que trabalham com a temática da velhice. Os resultados obtidos sugerem que a feminilidade é vivenciada de formas variadas. Algumas relatam mudanças importantes para a feminilidade, muitas vezes acompanhadas ou a partir de eventos como a viuvez, doenças inesperadas, separações e aposentadoria. Outras, no entanto, não perceberam quaisquer alterações significativas em suas vidas. No tocante às re-significações da feminilidade, foi possível verificar que as principais mudanças de sentido situam-se no plano da sociabilidade, com o aumento de amizades; no plano da autonomia pessoal, com a sensação de conquista de maior liberdade e no plano das realizações, com a concretização de aspirações, sonhos e desejos até então cerceados. / This study aims to investigate the resignificance of femininity for old women. The research was conducted through analyses of seven participant.s interviews. The participants' profile matched as old women; who lived in Araçatuba city, and were engaged in a weekly group named Meetings for Well-being, which was sponsored by the Open University for Elderly - UNESP- Campus of Araçatuba. The data were collected through semidirective interviews, which were performed in the participants' own residences, being later these systematized, transcribed and interpreted for qualitative analyses of your content. The interpretation of the data were accomplished through the methodology proposed by Bardin focusing on feminine's perspective for the aging process, in other words, the women's cognition about their condition facing that phase of life. The analyses were also based on the life course theory and other authors who studied the aging process. The results suggest that femininity is expressed in varied forms. Some individuals refer important changes, frequently linked with events, for example, widowhood, unexpected diseases, separations and retirement. By the other hand, others didn't notice any significant changes in their lives. Concerning the resignificance of femininity, it was possible to observe the most important shifts were related to the level of sociability with the increased number of friendships, in the level of personal autonomy, with the sensation of conquering expanded freedom, and in the level of accomplishments, with the materialization of goals, dreams and desires, which were formerly precluded.

Made available in DSpace on 2014-06-11T19:29:02Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-12-04Bitstream added on 2014-06-13T18:38:38Z : No. of bitstreams: 1 emidio_ts_me_assis.pdf: 618154 bytes, checksum: 234bc422421f337697831f496aba6075 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Este trabalho pretendeu, sob o olhar da mitologia e da psicanálise, compreender as configurações e as figurações da feminilidade e da maternidade contemporânea e assim discutir questões referentes à relação mãe e filho, buscando o entendimento de como se dá a relação da figura materna com seu filho e a repercussão e ressonância da vivência desta na vida do indivíduo. Mediante o estudo de mitos clássicos – Narciso, Édipo e Eros e Psique –, analisando-os sob uma perspectiva que remonta ao desenvolvimento psíquico proposto pela Psicanálise e considerando-os como fio disparador, condutor e articulador, construímos o referencial teórico deste trabalho a partir da relação estabelecida entre Psicanálise e Mitologia. Discutimos, portanto, a relação entre mitologia e psicanálise e o campo possibilitado na contextualização das narrativas mitológicas. Em seguida, iniciamos a compreensão da construção da identidade feminina, a fundamentação da maternidade como valor social, a relação mãe e filho e os sentimentos pertinentes a esta; para então, a partir das análises das narrativas mitológicas, buscarmos o entendimento do papel da mãe nos estágios de desenvolvimento de seu filho. O método adotado para o desenvolvimento deste trabalho foi o método psicanalítico. Partimos, assim, da Psicanálise, enquanto fonte teórica, para a construção do conhecimento em pesquisa qualitativa. A partir das discussões deste trabalho pudemos concluir que nos estágios de desenvolvimento a relação com a figura materna está presente e precisa sofrer alguns cortes e afastamentos, estes são necessários, pois permitem o desenvolvimento tanto do filho quanto... / This work aimed, under the glance of mythology and psychoanalysis, to comprehend the configurations and figuration of femininity and contemporary motherhood, and thus discuss issues related to the relationship mother and son, searching to understand the way in which the relation mother and son takes place, and the repercussion and resonance of such existence in the individual’s life. Through the study of classic myths – Narcissus, Oedipus, Eros and Psyche-, analyzing them under a perspective that remounts to the psychic development proposed by Psychoanalysis and considering them as trigger, conductor and articulator, the theoretical referential of this work was done, from the established relationship between Psychoanalysis and Mythology. We discussed, therefore, the relation between mythology and psychoanalysis and the field made possible in the contextualization of the mythological narratives. Soon after, we began the comprehension of the construction of the feminine identity, the fundamentals of motherhood as social value, the relationship between mother and son and the pertinent feelings; so that from analysis of mythological statements we sought the understanding of the mother’s role in the apprenticeship of her son’s development . The method adopted for the development of this work was the psychoanalytical method. Therefore, we started from Psychoanalysis, whereas a theoretical source, for the construction of the knowledge in qualitative research. From the discussions of this work... (Complete abstract click electronic access below)

Orientador: José Sterza Justo / Banca: Meyre Eiras de Barros Pinto / Banca: Luiz Carlos da Rocha / Resumo: Este trabalho propõe investigar a re-significação da feminilidade em mulheres da terceira idade. Participaram da pesquisa sete mulheres desta faixa etária, moradoras na cidade de Araçatuba, que freqüentaram um grupo de vivências denominado .Encontros para o bem viver., grupo esse que faz parte da programação do projeto Universidade da Terceira Idade, da Unesp - Campus de Araçatuba. A coleta de dados foi feita através da utilização de entrevista semi-dirigida, realizada nas próprias residências das participantes, sendo estas posteriormente sistematizadas, transcritas e interpretadas para análise qualitativa de seu conteúdo. As análises dos dados foram realizadas através da metodologia de análise do conteúdo proposta por Bardin, que tiveram como eixo a questão do feminino no processo de envelhecimento, ou seja, o entendimento e a compreensão da mulher frente à sua condição nesta fase da vida. Tais leituras foram embasadas também na noção do curso de vida e em autores que trabalham com a temática da velhice. Os resultados obtidos sugerem que a feminilidade é vivenciada de formas variadas. Algumas relatam mudanças importantes para a feminilidade, muitas vezes acompanhadas ou a partir de eventos como a viuvez, doenças inesperadas, separações e aposentadoria. Outras, no entanto, não perceberam quaisquer alterações significativas em suas vidas. No tocante às re-significações da feminilidade, foi possível verificar que as principais mudanças de sentido situam-se no plano da sociabilidade, com o aumento de amizades; no plano da autonomia pessoal, com a sensação de conquista de maior liberdade e no plano das realizações, com a concretização de aspirações, sonhos e desejos até então cerceados. / Abstract: This study aims to investigate the resignificance of femininity for old women. The research was conducted through analyses of seven participant.s interviews. The participants' profile matched as old women; who lived in Araçatuba city, and were engaged in a weekly group named "Meetings for Well-being", which was sponsored by the Open University for Elderly - UNESP- Campus of Araçatuba. The data were collected through semidirective interviews, which were performed in the participants' own residences, being later these systematized, transcribed and interpreted for qualitative analyses of your content. The interpretation of the data were accomplished through the methodology proposed by Bardin focusing on feminine's perspective for the aging process, in other words, the women's cognition about their condition facing that phase of life. The analyses were also based on the life course theory and other authors who studied the aging process. The results suggest that femininity is expressed in varied forms. Some individuals refer important changes, frequently linked with events, for example, widowhood, unexpected diseases, separations and retirement. By the other hand, others didn't notice any significant changes in their lives. Concerning the resignificance of femininity, it was possible to observe the most important shifts were related to the level of sociability with the increased number of friendships, in the level of personal autonomy, with the sensation of conquering expanded freedom, and in the level of accomplishments, with the materialization of goals, dreams and desires, which were formerly precluded. / Mestre

A presente pesquisa objetiva trabalhar as considerações psicanalíticas sobre o feminino, depreendidas da obra de Freud, Lacan e comentadores, por meio da mística. Lacan, em O seminário, livro 20, Mais, ainda, concedeu à mística o estatuto de verdade sobre o feminino e, desse modo, apresentou um caminho a ser percorrido a fim de melhor se poder meio-dizer sobre o que é da ordem do inefável. Para tanto, a pesquisa orienta-se sobre alguns eixos temáticos: 1) apresentar o que é propriamente o feminino para a psicanálise, dissociando-o do sexo biológico e afirmando-o como uma posição subjetiva que pode ser visitada tanto por homens quanto por mulheres. Para sustentar tal afirmativa recorre-se à experiência de Francisco de Assis, homem e grande místico; 2) conceituar o gozo, extraído da noção freudiana de pulsão de morte e abordar algumas possíveis modalidades de gozo, principalmente o gozo feminino que Lacan relacionou com o gozo dos místicos; 3) diferenciar o gozo místico do delírio místico psicótico, apresentando alguns pontos específicos que auxiliam a distinguir a posição mística da psicose. Com isso, objetiva-se desfazer possíveis confusões que levam, muitas vezes, o místico a ser tratado e considerado um doente mental. Aproveita-se, ainda, a riqueza da biografia de Francisco de Assis para abordar as noções do sentimento oceânico e do despertar, intentando apontar para a verdade que sustenta e orienta a vida do místico: um mais além. / Supported by Freuds and Lacans theories and some of their commentators, the present research aims at working on the psychoanalytical considerations on the feminine and its relation to the mystic jouissance (enjoyment). Lacan, in The Seminar, Book XX: Encore (1972-1973), stated that the mystic experience stands for the truth as regards the feminine. By doing so, he showed us a way to be paved so as to get as near as possible to what is considered to be ineffable. We intend to support our points by presenting the theories on the feminine according to psychoanalysis. By doing so, we not only discard the idea related to the biological sex but we also state that the feminine is an affirmative subjective position which can be visited by both men and women and that is why we turn to the experience of San Francisco de Assis, a great mystic man. We not only work on the concept of jouissance extracted from Freudians notion of death drive but we also work on the concepts which deal with the feminine jouissance once Lacan related it to the one mystic people experience. It is important to differ the mystic jouissance from the psychotic mystic delirium and to do so we must highlight some specific points which will enable us to distinguish one position from the other. We finally intend to clear up some of the mistaken ideas with regard to the mystic people once most of such ideas lead to the prejudiced notion that the mystic person is mentally sick. Once San Fancisco de Assis biography is very rich, we also mean to bring up the notion regarding the oceanic feeling and the one related to the awakening, as we intend to point out that the truth that supports and guides a mystic persons life is something that is placed far beyond .

This thesis examines the writings of second generation Japanese Canadian women in the newspaper, The New Canadian between 1938 and 1949. Nisei women lived in a dual world containing different messages of appropriate female behaviour. Although there were similarities between Japanese and North American notions of womanhood, female Nisei writers advocated acculturation to the dominant society. In The New Canadian three major themes emerge from their writings that centre around social acceptance. The first theme is prescriptions of masculinity and femininity. They openly advocated popular North American gender roles, deportment, etiquette and courting customs. The second theme concerns the Issei-Nisei relationship and the conflicts that arose over different notions of femininity. The third examines how Nisei women responded to Anglo-Canadian prejudice, by denouncing racism and advocating acculturation to mainstream society. These articles offer one image of how some Nisei women actively defined themselves, their male counterparts and their future roles. These female voices suggest the deep seeded ambivalent feelings many Nisei women had about their dual identity, their Issei parents, and their status in Canadian society. The women in The New Canadian offered one solution to this uncertainty--acculturation. / Graduate

The development of measures of masculinity/femininity in psychology has reflected historical interest in categorizing gender differences. Recent measures have characterized masculinity as instrumental/agentic behavior. In this study, a traditional measure (the Minnesota Multiphasic Personality Inventory Masculinity/femininity scale) was pitted against a more recent measure (the Personal Attributes Questionnaire) in predicting instrumental behavior of mixed sex dyads in laboratory sex stereotyped tasks. Neither measure effectively predicted instrumental behavior. Rather, females performed better on the more complex but feminine stereotyped task, and males performed better on the masculine stereotyped task. The outcome of this study supports the need to view gender differences as dynamic phenomena influenced by individual choice, situational pressures, and interactional characteristics.

Research has explored the increasing muscularity of male bodies in popular media, the cultural ideal of masculinity, and its effect on body dissatisfaction in young men, but similar research with young women nearly always focuses on “thinness as the cultural ideal for femininity” (Eisenberg, Wall, & Neumark-Sztainer, 2012). This study addresses the lack of research exploring the increasing muscularity of female bodies in popular media and explores the depiction of the healthy and fit female body via health and fitness content on social media platforms. In particular, it discusses this particular bodily presentation’s potential to play a bigger part in body satisfaction, body image concerns, and the cultural ideal of femininity today than it has previously. This study examines a group of young women’s (ages 17-22) perceptions of health and fitness media online via five focus groups and one interview. This research was conducted to explore their understandings and interpretations of health and fitness content on social media, with particular attention to the representation of the healthy and fit body on Instagram. The data reveal how the girls negotiated, and often critiqued, the limited representation of the concepts of health and of fitness. In spite of some of the affordances of social media, in particular the ability for users to contribute content that might challenge traditional and/or stereotypical media representations, numerous constraints appear to normalize a particular body that is deemed healthy and/or fit. It would appear that certain bodies (are allowed to) perform health and fitness in specific ways and these representations have implications that relate to gender, race, ethnicity, class, and consumption. / Graduate

L’objectif de ce travail est d’analyser la représentation de la figure de l’héroïne en cinq oeuvres littéraires et cinématographiques: Talons Aiguilles (1991) et Tout sur Ma Mère (1999), films espagnols de fiction dirigés par Pedro Almodóvar; Estamira (2004) et Estamira para Todos e para Ninguém (2004), documentaires brésiliens en long-métrage et moyen métrage, respectivement, dirigés par Marcos Prado; et Le Dépotoir (19602), livre brésilien écrit par Carolina Maria de Jesus et édité par Audálio Dantas.Je propose d’analyser, entre autres, comment ces textes littéraires et cinématographiques façonnent et présentent ses respectives protagonistes le long de toute le récit: Rebeca (Talons Aiguilles), Manuela (Tout sur Ma Mère), Estamira (Estamira et Estamira para Todos e para Ninguém) et Carolina (Le Dépotoir).Le travail est développé en quatre chapitres. Le premier : traite des théories de représentation, de la conceptualisation et représentation de l’être héroïque, des particularités pertinentes de chaque genre (mélodrame, documentaire, journal autobiographique), et de la question d’intertextualité où chaque oeuvre s’entremêle avec d’autres types d’art. Le secondchapitre se consacre à l’analyse des questions identitaires pertinentes dans l’univers des personnages principaux, considérant son constant dialogue avec le lecteur/spectateur. Le troisième et quatrième chapitres décrivent les stratégies d’éloignement et d’approximation des héroïnes par rapport au lecteur/spectateur, observées dans les textes filmiques et littéraires.Talons Aiguilles raconte la vie de deux femmes – mère et fille – qui vivent des moments différents. La mère, la chanteuse et actrice fameuse Becky Del Páramo (Marisa Paredes), revient à Madrid, sa ville natale, où elle prétend passer ses derniers jours. Elle retrouve sa fille Rebeca (Victoria Abril) aprés quinze ans de séparation. La jeune fille n’a jamais pu surmonter le désir d’imiter sa mère.Tout sur Ma Mère représente la souffrance de Manuela (Cecília Roth), qui perd son fils unique, Estéban (Eloy Azorín) peu avant de lui raconter toute la vérité sur son père. Elle décide alors de revenir à Barcelone pour retrouver son ex-mari Estéban (Toni Cantó). Celui-ci, peu avant de l’enfanter, avait décidé de devenir le travesti Lola.Estamira et Estamira para Todos e para Ninguém, racontent l’histoire d’Estamira Gomes de Souza (1939-2011), une brésilienne qui souffre de troubles mentaux et durant près de deux décennies vit et travaille au dépotoir d’ordure du Jardim Gramacho, à Rio de Janeiro, dans de terribles conditions de vie.Le Dépotoir raconte les confidences quotidiennes de Carolina Maria de Jesus entre 1955 et 1960. L’édition a été faite par Audálio Dantas, qui lut les vingt cahiers contenant les récits de l’auteur. Dans ce livre, Carolina décrit sa routine comme favelada au côté de ses trois enfants et d’autres qui, comme elle, lutent pour survivre à la misère dans le bidonville duCanindé, à São Paulo, aujourd’hui démoli. Pour dévoiler les intentions implicites des films, j’utilise comme méthodologie, l’analyse des commentaires des personnages et l’observation des autres composants littéraires ou filmiques, comme la gestuelle, le dialogue, le scénario, les figurines, le lieu, l’atmosphère, le montage. En proposant cette analyse je me base sur des théoriciens tels que MichelFoucault, Stuart Hall, Mikhaïl Bakhtin, Kathryn Woodward, Antonio Candido et Anatol Rosenfeld / The purpose of this thesis is to analyze the representation of the heroine figure through five works of cinema and literature: High Heels (1991) and All About My Mother (1999), both Spanish fiction films directed by Pedro Almodóvar; Estamira (2004) and Estamira para Todos e para Ninguém (2004), respectively full-length and medium-length Brazilian documentaries, directed by Marcos Prado; and Child of the Dark: the Diary of Carolina Maria de Jesus (1960)3, a Brazilian book written by Carolina Maria de Jesus and edited by Audálio Dantas.I intend to analyze, among other aspects, how these literary and cinematographic pieces assemble and display their respective protagonists throughout the entire narrative: Rebeca (High Heels), Manuela (All about My Mother), Estamira (Estamira and Estamira para Todos e para Ninguém) and Carolina (Child of the dark: the diary of Carolina Maria deJesus).This thesis is segmented in four chapters, the first being the one which concerns the theories of representation; the conceptualization and representation of the heroic being; the peculiarities applicable to each genre (melodrama, documentary, autobiographical diary), and the interchange that each piece establishes with other types of art throughout the narrative. For the second chapter, I contemplate the analysis of identitary issues concerning the main characters’ universe, heeding the on-going dialogue from the given parts towards the reader/ spectator. For the third and fourth chapter, I analyse the strategies of distancing and approaching of the heroines regarding the reader/spectator, strategies which have beenpinpointed all over the cinematic and literary texts.High Heels is a film, which tells the story of two women - mother and daughter - who experience different moments. The mother, the famous singer and actress, Becky Del Páramo (Marisa Paredes), returns to Madrid, her hometown, where she wishes to spend the last days of her life. There she reunites with her daughter Rebeca (Victoria Abril) after having spent 15years apart. The daughter failed to overcome the desire to emulate her mother.All about My Mother represents the suffering of Manuela (Cecília Roth), who has lost her only son, Estéban (Eloy Azorín), just before she tells him all the truth concerning his father. The woman then decides to come back to Barcelona to meet her ex-husband, Estéban. The man, soon before impregnating her, had decided to turn into the transvestite Lola (Eloy Azorín).Estamira and Estamira para Todos e para Ninguém narrates the story of Estamira Gomes de Souza (1939 -2011), a Brazilian woman who has a mental disorder and has been working for more than twenty years at a landfill in Jardim Gramacho, in Rio de Janeiro, under appalling living conditions.Child of the dark: the diary of Carolina Maria de Jesus reveals the daily chronicles of Carolina Maria de Jesus from 1955 to 1960. The editing was done by Audálio Dantas, who has read all the twenty notebooks, in which the writer’s reports were found. In the book, Carolina documents her everyday life as a slum woman besides her three children, and others,who share the same eagerness to get over the extreme poverty in Canindé, an extinct shanty town, in São Paulo.Having in mind the process of unveiling the implicit intentions of the films, I choose to use as a methodology the analysis of the characters’ speech and the observation of other literary or cinematographic components, such as gesture, screenplay, settings, costume, location, atmosphere, and assembly. This analysis is based in theorists such as Michel Foucault, Stuart Hall, Mikhail Bakhtin, Kathryn Woodward, Antonio Candido and Anatol Rosenfeld / O objetivo deste trabalho é analisar a representação da figura de heroína em cinco obras de cinema e literatura: De Salto Alto (1991) e Tudo sobre Minha Mãe (1999), filmes espanhóis de ficção dirigidos por Pedro Almodóvar; Estamira (2004) e Estamira para Todos e para Ninguém (2004), documentários brasileiros em longa-metragem e média-metragem,respectivamente, dirigidos por Marcos Prado; e Quarto de Despejo: diário de uma favelada (19601), livro brasileiro escrito por Carolina Maria de Jesus e editado por Audálio Dantas.Propõe-se a análise do modo como esses textos cinematográficos e literário constroem e apresentam suas respectivas protagonistas ao longo de toda a narrativa: Rebeca (De Salto Alto), Manuela (Tudo sobre Minha Mãe), Estamira (Estamira e Estamira para Todos e para Ninguém) e Carolina Maria de Jesus (Quarto de Despejo: diário de uma favelada).O trabalho é desenvolvido em quatro capítulos, sendo que o primeiro trata das teorias de representação, da conceituação e representação do ser heroico, das peculiaridades pertinentes a cada gênero (melodrama, documentário, diário autobiográfico), e do diálogo que cada obra trava com outros tipos de arte ao longo das narrativas. No segundo capítulo, aproposta é analisar as questões identitárias pertinentes ao universo das personagens principais, considerando o constante diálogo dessas com o leitor/espectador. No terceiro e quarto capítulos, discorre-se sobre as estratégias de distanciamento e aproximação das heroínas com relação ao leitor/espectador, observadas ao longo dos textos fílmicos e literário.De Salto Alto é uma obra que conta a vida de duas mulheres – mãe e filha – que vivem momentos diferentes. A mãe, a cantora e atriz famosa Becky Del Páramo (Marisa Paredes), retorna a Madri, sua cidade natal, onde pretende passar seus últimos dias. Ela reencontra sua filha Rebeca (Victoria Abril), depois de quinze anos de separação. A moça nunca superou o desejo de imitar a mãe.Tudo sobre Minha Mãe representa o sofrimento de Manuela (Cecília Roth) que perde seu filho único, Estéban (Eloy Azorín), pouco antes de contar a ele toda a verdade sobre seu pai. A mulher resolve voltar à cidade de Barcelona para reencontrar o ex-marido, Estéban. O homem, pouco antes de engravidá-la, havia decidido se tornar o travesti Lola (Toni Cantó).Estamira e Estamira para Todos e para Ninguém contam a história de Estamira Gomes de Souza (1939-2011), uma brasileira que sofre de distúrbios mentais e que durante cerca de duas décadas vive e trabalha no Lixão do Jardim Gramacho, no Rio de Janeiro, em péssimas condições de vida.Quarto de Despejo: diário de uma favelada revela os escritos diários de Carolina Maria de Jesus entre 1955 e 1960. A edição foi feita por Audálio Dantas, que leu os vinte cadernos onde se encontravam os relatos da autora. No livro, Carolina descreve sua rotina como favelada ao lado dos três filhos e de outras pessoas que, como ela, lutam para sobreviver à miséria na hoje extinta favela do Canindé, em São Paulo.Para o processo de desvendamento das intenções implícitas dos filmes, opta-se por utilizar como metodologia a análise do discurso das personagens e a observação de outros componentes literários ou fílmicos, como o gestual, o roteiro, o cenário, o figurino, a locação, a atmosfera, a montagem. Propõe-se uma análise com base em teóricos como MichelFoucault, Stuart Hall, Mikhail Bakhtin, Kathryn Woodward, Antonio Candido e Anatol Rosenfeld

As clothing is the most visible type of consumption, what we wear often says a lot about who we are. We buy what we consider in line with our identity and avoid what we consider as not. Our consumption is influenced by a number of factors, whether internal or external and throughout the years we adopt a certain way of style. As our style evolves, on it depended fashion consumption is also going through a major change. In this master thesis, we present a study of young women from Generation Y, which adopted a style based on their personal needs, desires, and reflections on own body, and decided not to show their femininity in a predictable manner. Opinions on what is considered feminine vary across regions but in this research, we take an interest in Western culture consumers born and located in Europe. By adopting the modest style, women interviewed for the purpose of this study are perceived as challenging the stereotypical views of the female body, which is in the contemporary society and media often shown as an object of male desire, by wearing unisex, oversized, loose fit, deconstructed and even menswear garments. By the method of personal interviews, we asked nine young women about their opinions and reflections on their fashion consumption and views on communicating their self-identity and femininity through their individual take on the modest style. The research has, in addition to literature introducing symbolic consumption and the concept of the self, its foundation in framework discussing feminine identity and relation of the dress and the body. Based on the findings, the thesis presents an analysis of young women’s construction of feminine identity through modest style and reasons and clues influencing their fashion consumption. Through adaptation of modest style, young women purchase garments closely in line with their values and needs and are rarely influenced by opinions of their social groups. By dressing modestly, they demonstrate their femininity in an alternative way and priority in their fashion consumption is given to durable and timeless garments of high quality. In conclusion, we can see that participants are not only modest in their style, but also in the way they consume. Abandoning the presumption that Generation Y was “born to shop”, they are likely to invest in brand concepts with added value in form of appealing brand aesthetics, inspiring retail environment, outstanding personal approach or sustainable production of garments. By repairing or reselling their garments, buying them in second hand or from brands that produce their garments in an ethical way, today’s young women show that they are aware of environmental and political impacts of fashion, and their motivation to buy certain products is highly influenced by individual preferences and deeply rooted in their self-identity.

Camille Claudel, une artiste de génie au destin hors du commun a suscité de nombreux travaux. Les esthéticiens de l'art, les historiens, les psychanalystes ont tissé autour de Camille Claudel un réseau extrêmement dense d'interprétations autour de sa vie, de son art. Dans ce projet, il s'agit d'examiner le rapport qu'entretient cette artiste avec ses oeuvres et cela à partir de ses correspondances, de ses écrits. La sculpture semble avoir pour elle, une place particulière. Cette passion viserait elle à promouvoir un certain discours ? Il s'agit d'examiner les fragments de sens épars dans ce matériel écrit pour tenter d'analyser ce dont il est question pour cette femme singulière et de tenter de saisir l'artiste dans sa vérité. Ce travail vise à apprécier le sens de cette passion, de cette inscription dans le réel de cet acte de création au-delà de toute considération esthétique. Cette approche dans le champ de la psychanalyse permet la mise en oeuvre d'une clinique différentielle et de travailler sur un témoignage à partir des écrits de l'artiste. / Camille Claudel, a genius artist with an unusual destiny, sparked off a lot of work. Estheticians, historians, psychoanalysts have woven around this women an extremely dense network of interpretations concerning her life and her art. This artist has a special connection with her pieces of art. This work aims to assess the meaning of this passion, of this inscription in the real of this act of creation, over and above all esthetic consideration.This work is about to examine from her correspondence, her writings, the scattered meanings of the fragments in this written material in order to try to analyze what it is about for this singular women and to attempt to understand the artist in her verity. This approach, in the field of the psychoanalysis, allows to do a reflection centered on the real of the artist and on her initiative to treat it