Abstract Aim: The aim of the study is to analyze ten different columns written by Linda Skugge, in order to see what kind of rhetorical means she uses to get her message across. It is also to examine if, and to what extent, these means are of female nature, and to see what kind of persona Skugge uses in order to be trustworthy. Method: Rhetorical analysis of ten columns written by Linda Skugge Main results: The study has shown that Skugge´s rhetorical strategies differ from the ones recommended in theories about female speech. Skugge writes with a lot of character and emotionally based arguments, which, according to the theories, is more of a male way of speaking. Skugge gives an impression of being strong, competitive and offensive in her character, but also reveals that her role is consciously chosen in order to receive respect and to gain power. Number of pages: 42 Course: Media- and Communication studies D University: Department of Information science, University of Uppsala Period: Spring 2005 Tutor: Amelie Hössjer Keywords: rhetoric, rhetorical analysis, feminist studies, persona, Linda Skugge

No description available.

I den här avhandlingen undersöks hur privilegierade representationer av femininitet och maskulinitet tar sig uttryck och konstrueras i samtida museipraktiker med fokus på Nordiska museet i Stockholm. Studien visar hur dessa musealt imaginära representationer samverkar med intersektionella aspekter som klass, etnicitet, nationalitet och sexualitet. Avhandlingen diskuterar också epistemologiska och ontologiska frågor om hur historiska narrativ skapas och hur museala artefakter kan förstås. Huvudargumentet är att de dominerande representationerna skapas med hjälp av en reducerad matris av stereotypa skript för kön, klass, etnicitet, nationalitet såväl som sexualitet, vilket kan ses som uttryck för en fallogocentrisk betydelseekonomi. Denna undersökning av samtida skript på Nordiska museet har använt teoretiska tankegångar och analytiska redskap från de överlappande kunskapsfälten sexual difference, queer- och sexualitetsforskning, genus/könsmaktforskning, kvinnohistorisk forskning, maskulinitetsforskning, postkolonial feministisk forskning, samt feminist studies of science and technology. Ett pluralistisk feministisk nomadologisk metateoretiskt ramverk har skapats för att analysera och försöka förstå det empiriska materialet utifrån de nämnda teorierna. Världen och däribland museernas verksamhet är så komplex och mångfasetterad att många olika genusteoretiska ingångar krävs för att kunna läsa och förstå olika gestaltningar. I avhandlingen ritas en översiktskarta över de fallogocentriska museala skripten upp bredvid vilken en partiellt situerad terrängkarta placeras som kastar ljus över det musealt imaginära. / This study investigates how privileged representations of femininity and masculinity are created in contemporary work at The Swedish National Museum of Cultural History, Nordiska museet, in Stockholm. The thesis shows how these representations closely intersect with the museal imaginaries of class, ethnicity, nationality and sexuality. The study gives rise to ontological questions of how historical narratives are produced and how museal artifacts are apprehended. The main argument is that the dominating representations are created through a reduced matrix of stereotyped scripts for gender, class, ethnicity, nationality and sexuality that can be understood as reflections of a phallogocentric order. This exploration of contemporary scripts at Nordiska museet is performed with analytic tools from the overlapping fields of sexual difference, queer and sexuality studies, gender studies, women’s studies, masculinity studies, post colonial feminist studies and feminist studies of science and technology. A pluralistic feministinformed nomadological metatheoretical frame is used as an umbrella to embrace these theoretical approaches. The complexity of the social world and of a museum demand different theories to be applied to different situations. A general map of the phallogocentric museal scripts is drawn, besides which a partial and locally accounted one is juxtaposed that gives shape to the museal imaginary.

Ce mémoire porte sur les quatre premières tragédies lyriques de Quinault et Lully, soit Cadmus et Hermione (1673), Alceste (1674), Thésée (1675) et Atys (1676), et étudie la représentation des personnages féminins dans leur rapport à la violence. Se fondant sur des considérations sociohistoriques et dramaturgiques, il cherche à déterminer si, par leur liberté formelle, les premiers opéras français ont pu promouvoir une image plus libre et plus forte de la féminité que celle véhiculée par la doxa. Le premier chapitre aborde la question de la violence dans la société française du XVIIe siècle et du rapport des femmes à la violence, tant subie qu’engendrée. Il s’attarde ensuite aux particularités de la violence dans la tragédie lyrique, convoquant les notions de pathos et de catharsis, d’effet tragique et de représentation scénique. Recourant à une méthodologie basée sur les études littéraires et dramaturgiques et complétée par de brèves analyses musicales, le second chapitre analyse le rapport à la violence chez les personnages féminins du corpus : d’abord les mortelles, puis les surnaturelles, avant de comparer leur représentation dichotomique à celle plus diversifiée des personnages masculins. / This master's thesis will focus on the first four lyric tragedies that were written by Quinault and Lully, that is Cadmus et Hermione (1673), Alceste (1674), Thésée (1675), and Atys (1676), and examine the representation of female characters in their relation with violence. Based on socio-historical and dramaturgical considerations, it seeks to determine whether, through their formal freedom, the first French operas were able to promote a freer and stronger image of womanhood than the one conveyed by the doxa. The first chapter addresses the issue of violence in the French society of the 17th century and discusses women's relation with violence, suffered, as well as caused. It then details the peculiarities of violence in lyric tragedy by summoning the notions of pathos and catharsis, tragical effect and theatrical representation. Using a methodology based on literary and dramaturgical studies, complemented by short musical analysis, the second chapter analyzes the corpus' female characters' relation to violence – first, the deadly, followed by the supernatural, before comparing their dichotomous representation to the more diversified one of the male characters.

Il presente studio mira a constatare lo stretto collegamento tra la figura femminile e il cinema thriller e horror italiano, qui denominato genericamente “fantastico” in un’ accezione estensiva, a evidenziarne caratteristiche comuni relative a entrambi i generi. La periodizzazione della ricerca va dagli anni sessanta agli anni ottanta ed il primo obiettivo è stato quello di valutare secondo un approccio culturalista l’interdipendenza donna-horror, spesso sfociata in un approccio misogino al genere. I risultati sono stati spesso discordanti rispetto alle premesse di partenza: le donne sono raffigurate solo come vittime, il gradimento del pubblico è esclusivamente maschile. La messa in discussione di questa tesi si è resa possibile attraverso una ricerca empirico-applicativa di un campione di film e una disamina di scritti più recenti che mirano in qualche caso a rovesciare il paradigma di partenza. Il secondo obiettivo ha rilevato differenze tra rappresentazione femminile nel cinema italiano e americano, muovendo dal presupposto che le teorie su cui ci si è basati provengono dagli stati uniti e hanno previsto un campione per lo più di film non italiani. quindi l’ intento dello studio è stato anche quello di misurare l’applicabilità di alcuni paradigmi teorici al caso italiano. lo svolgimento della ricerca ha previsto un’indagine di tipo quantitativo (rilevazione del corpus estensivo di film) e intensivo-qualitativo (analisi di alcuni principali stereotipi femminili, tratti dalla letteratura e dal cinema: damsel in distress, belle dame sans merci, final girl), per giungere poi alla conclusione che il genere fantastico italiano ha risentito forse più di ogni altro di una conflittualità permanente, tra bisogno di emancipazione e resistenza conservatrice. / This current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.

Ce travail de recherche propose d'étudier le cinéma d'Arturo Ripstein, et se concentre plus particulièrement sur un corpus de films, tous élaborés à partir d'oeuvres préexistantes. La notion de "pré-texte" fait référence à ces dernières, dont l'origine est dans la plupart des cas littéraire, mais aussi cinématographique. L'analyse des réélaborations ripsteiniennes entend mettre en avant le prétexte qui se cache derrière le recours au pré-texte. En d'autres termes, il s'agit, pour chacun des huit films sélectionnés, de dévoiler le message que l'artiste a souhaité véhiculer, ou l'intention sous-jacente de l'acte créatif. La dialectique local/global traverse l'ensemble de la thèse. Elle est d'abord visible à travers son architecture , dans la mesure où notre travail part des pré-textes mexicains, puis s'intéresse aux productions du Tiers monde, pour terminer avec les pré-textes issus de la culture européenne. Mais nous avons aussi souhaité la mettre en évidence en évoquant, au sein des différentes parties, les phénomènes d'intertextualité, d'interfilmicité, et les stratégies de production, qui octroient au cinéma de Ripstein une dimension transnationale. / This research explores Arturo Ripstein's cinema, and focuses more particularly on a corpus of films which are all based on pre-existent works. The notion of "pre-text" refers to the latter, whose originsare in most cases leterary, but also cinematographic. The analysis of Ripstein's reworking saims at highlighting the pretext hiding behind the use of the pre-text. In other words, for each of the eight selected movies, we try to reveal the message the artist wished to convey, or the underlying intention of the creative act. The local/global dialectic is present throughout the whole thesis. It is first visible in its structure, given that our work takes as its starting point Mexican pre-texts, then examines Third World productions, and finally the pre-texts originating in European culture. But this dialectic is also illustrated, in the different parts of our work, through the phenomena of intertextuality or interfilmicity, and the strategies of production give Ripstein's cinema a transnational dimension.

Using a feminist poststructuralist approach as a guide, I begin this thesis with the workinghypothesis that gender may be an adult-centred concept in feminist studies. This leads me toask: If the concept of gender in feminist studies is adult-centred, how is this centring formedand maintained? To answer this question, I begin by splitting my analysis into three analyticalsections: age, children, and gender. Although I include age, children, and gender into eachsectional analysis, my main priority in the first two sections is to look at how feminist scholarsdiscuss and use the terms age and child(ren). In the gender section, I use three canonical gendertheory texts as the basis of my analysis, where I see how gender is discussed and conceptualisedand how both children and age figure in these conceptualisations.One of the main concerns of feminist poststructuralist theory is tackling binaries. However,with the category of age having been often taken for granted in feminist studies, and thereforeunder-theorised, the adult/child binary in the category of age remains largely unchallenged.Instead, where age has been investigated in terms of tackling binaries, the young/old binary hasdominated but has remained centred around the adult; leaving children underacknowledgedand under-theorised in feminist studies age discourse. This under-theorisation of childrenmeans that “child” remains a master status with seemingly unshakeable connotations ofinnocence, vulnerability, and incompetence. Children are those who are not adults and not-yetsubjects. They are understood as being in constant need of care from the competent andcomplete adult. In this thesis, I show how these points, among others, contribute to both theformation and maintenance of the concept of gender as adult-centred.

This work explores the everyday uses of rock music by women rock musicians, fans and DJs (amateurs), in a specific place (Portugal) and time (1990s-2014). Drawing on the work in the two main fields of music sociology and gender studies and its performative perspective to both gender and music (but also taking contributions from techno-feminist studies, science and technology studies, sociology of work, leisure and sports), this research takes a ‘music-in-action’ approach. This approach understands music as a social activity, as a network of connections between people, materials, discourses and activities. Rock music is best understood as a genre-in-action (not just as a semiotic text or reflection), as socio-material practice, in its collective, relational, performative, situated contexts of use - as rock musicking. As such, there are socio-material processes that constrain and enable women (as a minority group) doing and being in a masculinist rock music world. Taking a ‘mutual shaping’ approach to genre and gender, this research also takes into account how people use aesthetic materials in the processes of performative gendered identity making and relationship with others, as well as world building. The data consists of sixty in-depth interviews with Portuguese rockers (between 2012 and 2014), and supplementary field observations and follow-up interviews. The research found that girls and women’s musical opportunities are more restricted, but that they are also actively negotiated. Parental support and the presence of rock fathers in early years, as well as participation in male networks – whether or not a woman is romantically involved with ‘one of the boys’ – throughout the life course are pathways into rock musicking, as documented in other studies. Adding to the literature, this research highlights how not only in early years, but throughout the life course, rock musicking practices are dependent upon specific aesthetic (musical and visual) gender performances. From female masculinity to alternative femininities, rock music and its visual and material cultures are ‘active ingredients’ in doing and undoing gender. In Portugal, the absence of a strong riot grrrl movement and the lack of female/feminist networks, turns membership in male bands the norm. Consequently, either the “girl in the band’ or girl/female bands have to deal with their ‘novelty’ value. These rockers negotiate the labels of riot grrrl, feminist and grunge within a ‘girl power’ discourse, but mostly, struggling not to let their musical skills and value be obscured by their sex/ualization – developing high standards of musicianship, managing on-stage bodily disclosure, naming and praising their peers, aligning with an Anglo-Saxon rock female canon, but also othering female fans. In male bands, due to male skill ascription, women are segregated into traditional female musical roles, the singer, the bass player. On the other hand, women drummers get token value. At the expenses of instrument specialization, women undertake multi-instrumental pathways. Becoming musical agile selves and re-valuing (traditionally female) musical roles, playing conventions and body techniques. Women also appropriate mixers to spread their love for rock music. These women creatively expand rock music’s material culture, crafting it with clothes, acessories and even food. For rockers who are mothers, rock musicking becomes a technology of mothering. Taking Portuguese women rockers and their socio-musical practices, at both the everyday level and on the “spectacular” rock stage, this research adds to the international and growing body of work on gender and (rock) music across different disciplinary fields (sociology, popular music studies, feminist studies). It extends the traditional focus within popular music scholarship on Anglo-American rock culture, feminist mo(ve)ments, and subcultures, to place emphasis instead on an age group and place that has otherwise been overlooked.

The Appalachian studies tradition ascertains that Appalachian people politically, socially, and academically represent a heterogeneous minority group of our own. In post-capitalistic America, however, the Appalachian region serves as a hotspot for media misrepresentation and tourism that perpetuate through works of fiction, nonfiction, and scholarship both negative and positive stereotypes in the overall American consciousness. Twenty-first-century Appalachian authors, I contend, are reinventing Appalachia from its postmodern rubble through fictionalized reconceptualizations of our region’s history, shifts in our collective consciousness from anthropocentric to ecocentric, and subversions of the heteronormative discourse of our internal colony through explorations of the psychosexual. The contemporary Appalachian texts that exemplify these abilities are Ron Rash’s The Cove, Barbara Kingsolver’s Prodigal Summer and Jeff Mann’s Loving Mountains, Loving Men because each represents a paradigm shift within their own aesthetic metanarratives in Appalachian literary history.

No description available.