Syftet med denna studie är att utforska den manliga och kvinnliga blicken i George R.R. Martins fantasinovell, A Game of Thrones (1996). Jag föreslår att skillnader i hur den manliga och kvinnliga blicken betraktar sitt objekt, kan avslöjas genom kritisk analys av kvinnliga huvudkaraktären Sansa Stark. Vidare menar jag att patriarkala strukturer kan synliggöras genom analys av manliga blickar som riktas mot den kvinnliga karaktären. Min analys av Martins fantasinovell har genomförts med hjälp av ett teoretiskt ramverk baserat på framförallt Laura Mulveys artikel Visual Pleasure and Narrative Cinema (1975) och Rachel S. Grates tes ”Love at First Sight? Jane Austen and the Transformative Male Gaze” (2015). Min analys visar att det finns skillnader i hur den kvinnliga och manliga blicken betraktar i sitt objekt. Den kvinnliga blicken tenderar exempelvis att vara mer mångfacetterad i sin värdering av ett objekt. Vidare visar analysen att de manliga blickarna avslöjar patriarkala strukturer.

The feminist movement of the last two decades decried the dominance of hierarchical structures in public and private organizations. This thesis scrutinizes the differences and overlappings of three major feminist "schools" in regard to their advocacy of non-hierarchical forms of organization. The three strands examined are 'radical feminism', ‘cultural feminism' and ‘difference feminism'. The theoretical positions of two of them (radical and difference feminism) are evaluated through the example of two feminist, egalitarian organizations. The discussion focuses on the problem of maintaining egalitarian structures and achieving a certain level of efficiency and effectiveness in such groups. / Master of Arts

Essa dissertação percorre a obra da escritora francesa, Violette Leduc, elaborando uma reflexão crítica a partir das noções de performatividade e performance, tal como conceituadas por Judith Butler. O núcleo da investigação proposta é a maneira como tais noções operam na obra leduciana, sobretudo sua trilogia autobiográfica, composta pelos livros La bâtarde, La folie en tête e La chasse à lamour. A partir da lente da crítica feminista, com especial atenção aos estudos queer (sem, no entanto, esquecer as vertentes críticas que os precedem), a análise da obra de Leduc torna-se, também, uma discussão sobre poder, gêneros, sexualidades e potências da linguagem literária. As narradoras-personagens dos livros de Leduc constantemente se debruçam sobre a própria obra da autora e a tomam para si: reescrevem os livros publicados como ficcionais, denunciam suas estratégias criativas, falam sobre os impasses do exercício da escrita, desestabilizam a obra de Violette Leduc, transformando-a constantemente. Para além disso, há na literatura leduciana um questionamento recorrente das estruturas sociais, culturais e políticas que regulam os gêneros, os desejos e as práticas sexuais. Tanto a lesbiandade, a bissexualidade, a heterossexualidade, a fluidez dos desejos e das possibilidades para sua práxis quanto as feminilidades e masculinidades, são temas narrados e explorados ao longo de toda a trilogia autobiográfica e também dos romances. Tais indagações culminam em transformações na própria escrita literária, revelando como característica central da literatura leduciana a relação simbiótica entre criação (performance) e citação (performatividade). / The following dissertation explores the work of french writer, Violette Leduc through Judith Butlers definition for both gender performativity and performance notions. The investigations core is the part such notions play in Leducs work, especially her autobiographical trilogy, which comprehends the novels La bâtarde, La folie en tête and La chasse à lamour. This research views Leducs work from the feminist criticism perspective, with special attention to queer studies (but without losing account of the critical thinking that preceded it). The result is an literary analysis that transforms into a discussion of various themes, such as power, genders, sexualities and the different potentials for literary language. Leducs autobiographical protagonist-narrators constantly address Leducs own literary work and claim their ownership over it: they rewrite Leducs fiction and also denounce their creative strategies as well as her impasses with literary writing. The result is a narrator that destabilizes Violette Leducs work, persistently transforming it. Beyond that, in the leducian literature there is a recurrent interrogation of social, political and cultural structures that regulate genders, desires and sexual practices. Lesbianhood, bissexuality, heterossexuality, feminility and masculinity as well as desire and its practical potentialities are themes explored throughout the entire autobiographical trilogy and also in the fictional work. Such inquiries result in transformations on the very literary writing, revealing a key aspect of Leducs literature: the symbiotic relationship established between creation (performance) and citation (performativity).

Ina Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 87-90). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Table of Contents --- p.ii / Abstract --- p.iii / Introduction --- p.1 / The Gendered Vampires in Contemporary Culture / Vampires and Contemporary Culture --- p.1 / Woman/Lesbian as Vampire --- p.7 / "Ortner and ""the Angel in the House""" --- p.9 / "Mulvey, Postfeminist Media Critics and the Female Body" --- p.10 / Butler and the Lesbian Phallus --- p.12 / Feminism and Postfeminisms --- p.14 / Chapter Chapter One --- The Woman Vampire: The Fallen Angel --- p.18 / Woman and Nature --- p.18 / The Angel and the Woman Vampire --- p.23 / The Postmodern Dracula --- p.33 / Conclusion --- p.39 / Chapter Chapter Two --- The Girl Vampire: The Resistant Female Body --- p.40 / The Male Gaze --- p.40 / """When the Woman Looks"" at a Woman" --- p.47 / The Postmodern Female Body --- p.56 / Conclusion --- p.58 / Chapter Chapter Three --- The Lesbian Vampire: The Female Desire --- p.60 / The Lacanian Phallus --- p.60 / The Lesbian Phallus --- p.64 / The Lesbian Vampire --- p.67 / The Dark Kiss and Female Sexual Pleasures --- p.70 / Conclusion --- p.78 / Conclusion --- p.81 / Towards an Autonomous Representation of Womanhood / Bibliography --- p.87

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references (leaves 127-138).

My dissertation examines some of the ways in which new technologies alter traditional readings of the female body and of feminine subjectivity in contemporary fiction. To illustrate these alterations, I have selected two short stories, one by William Gibson and the other by Margaret Atwood, published in the speculative fiction Tesseracts2 anthology in 1987, both of which deal with disease and women's technological access. Within this context, I examine how feminine sexuality and embodiment are deconstructed and re-written. While historically women have been represented as victims of technology and/or intimately connected with the natural world, I propose that women's increased access to both bio-technologies and communications technologies offers an unprecedented route to self-definition and cultural power. I explore ways in which analogue technology mimics women's reproductive enslavement in Atwood's The Handmaid's Tale, and in which the emergence of digital technology offers some emancipation in The Blind Assassin. Subsequently, I discuss the intersections of sex work and virtual reality in William Gibson's Cyberpunk Trilogy and associated short fiction, demonstrating that digitality is not a panacea for gendered oppression. However, digitized women may have unexpected opportunities for self-definition. In comparing Gibson's Idoru and Atwood's Oryx and Crake, I discuss how women “created” for the male gaze (either virtually or by cloning) may evade that gaze and both assert their individuality and create communities among women with similar origins. Subsequently, I examine the interconnections among women, animals, and food that emerge within technologized cultures. Self-protective anorexia provides a link among Atwood's earliest writing (The Edible Woman) and her most recent (Oryx and Crake, The Year of the Flood), and suggests that the same technological facility which provides access to power also induces profound bodily anxieties in female characters. Building on those anxieties, I conclude with a discussion of the ways in which disability disrupts expectations of feminine embodiment. The constant abjection of women with disabilities is counter-balanced by those women's ability to create radical innovations of technology that transform the larger culture.

Thesis (M.A.)--Georgia State University, 2007. / Title from file title page. Elizabeth West, committee chair; Layli Phillips, Kameelah Martin Samuel, committee members. Electronic text (52 p.) : digital, PDF file. Description based on contents viewed Jan. 30, 2008. Includes bibliographical references (p. 49-52).

Thesis (Ph.D.)--The Union Institute, 1997. / Includes bibliographical references (leaves 400-415).

Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 315-342).

Thesis (M.A.)--Eastern Illinois University, 2009. / Includes bibliographical references (leaves 82-92).