Travesti show - in other words men's dressing as women (especially famous singers) in order to create a parody - has become a legitimate part of the Czech cultural events for the last twenty years. Moreover, in comparison with a foreign production of that kind it is very specific as regards terminology and content. Although travesti show theme has penetrated into the Czech academic ground too, it is still understood only from the perspective of gender performativity and is focused on performers themselves. On the contrary, this paper tries to grasp spectators' perspectives regarding not only the audience perception of the performers, but also a wide range of spectators' characteristics related to their general degree of tolerance towards gender roles in the society as well as LGBT issues in comparison with common population.

In this bachelor’s thesis I have studied portraits from the 18th century where the person portrayed is named and in the guise of an antique goddess. I have used a gender perspective through out the paper and have used Judith Butler´s ideas about gender performativity. I have also used Carolina Brown’s Liksom en herdinna. Litterära teman i svenska kvinnoporträtt under 1700-talet and Anna Lena Lindberg’s En mamsell i akademien – Ulrica Fredrica Pasch och 1700-talets konstvärld which both has a gender perspective when they examine portraits and the art world during the 18th century. I have used iconological and iconographical analyses to study what it means to be portrayed as an antique goddess, what the portraits communicate and how they create gender identities. I have also done literature studies to understand and explain the society that created the portraits I’m analysing. My study has shown that it was more common for women to be portrayed as antique goddesses than it was for men to be portrayed as antique gods, and that class was more important than gender but that gender performativity still had an important role.

This essay explores how adolescent girls in two pieces of children’s fiction are portrayed in children’s literature from the start and end of the 20th century to examine how they perform their gender in relation to expectations as informed by the Angel in the House discourse. Anne of Green Gables and the Harry Potter series were published at the start and end of the twentieth century, and both texts engage with the discourse. Using Judith Butler’s theory of Gender Performativity, this essay demonstrates that the Angel in the House discourse continues to influence expectations of how adolescent girls should behave, particularly with regards to being responsible for upholding the moral code to ensure the social standing of their family. However, they differ in regard to other aspects of the discourse, indicating that parts of the discourse appear to have lessened over the course of the 20th century.

This study examines the complex relationship between gender, virtual reality (VR), and social interaction within the context of full-body tracking (FBT) technology in social VR platforms. As VR technology advances and becomes increasingly integrated into users’ lives, understanding the implications of gender expression and perception in these immersive environments is crucial. Utilizing unobtrusive observations and interviews within the VRChat platform, this research explores avatar choices, interactions, and FBT technology utilization as they relate to users’ expressions and perceptions of gender. The findings reveal that cultural background plays a significant role in shaping users’ gender expressions and perceptions in social VR. The study also demonstrates the fluidity of gender expression in virtual environments, highlighting how users can challenge and subvert traditional gender norms, and the potential of virtual reality as a tool for experiential learning, fostering cross-cultural understanding, and promoting inclusive and diverse gender expressions. This study contributes to the emerging body of literature on virtual reality and gender, providing insights that can inform future research and technology development in the field.

Gender performativity, detailed by Judith Butler and accepted by most contemporary queer theorists, rests on an agentive model of gender wherein “genders are appropriated, theatricalized, worn, and done” (“Imitation and Gender Insubordination” 716). This academic orthodoxy is challenged, however, by the increasing presence of transgender persons joining the theoretical discourse, many of whom experience an essential gender as a central facet of their identity. I respond to Katie R. Horowitz’s recent modification of Butler’s theories—a theory of omniperformance to dissolve the distinction between performance and performativity, and thereby between artifice and “real life.” I argue that gender-as-art, a schema that acknowledges both the intention and the intuition of gender, is a more fruitful foundation than omniperformance. I use, as my model, Elisabeth Bergner’s performance as Rosalind in Paul Czinner’s 1936 As You Like It and Bryce Dallas Howard’s 2007 Rosalind in Kenneth Branagh’s film adaptation of the same play. In Bergner and Howard’s androgynous gender performances, I argue, a body—a transgender body, an androgynous body, a genderqueer body, a cisgender body—represents an aesthetic ideal, the product of the human drive to create, to beget, to beautify.

This study examines sexual violence against women in armed conflict settings as a form of discrimination within the framework of CEDAW. Informed by Judith Butler's theory of Gender Performativity emphasizes that gender is socially constructed. This study utilizes existing literature reviews and reports; the analysis focuses on gender-based violence, revealing its structural nature. Using the Democratic Republic of Congo as a case study, it highlights the interplay of ethnic, political, and economic factors leading to extreme violence. The study emphasizes the authority of the CEDAW committee to propose an inclusive and understandable protocol, protecting women's rights universally. Overcoming barriers like structural discrimination is crucial to strengthening CEDAW's response. The study acknowledges the need to avoid generalizations and underscores the urgency of enhancing the existing framework to protect women during armed conflicts. It contributes to human rights discourse by emphasizing the inherent nature of human rights and equal protection for all individuals.

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Gaming is still commonly assumed to be a male activity, making gender differences prevalent in many areas of gaming. This research focuses on investigating how gender assumptions affect teammates’ responses in regard to strategic calls in the competitive online multiplayer game League of Legends. In order to explore this topic, A/B testing is utilized through playing highly competitive “ranked” games, alternating the gender of the in-game character played, and making strategic calls and requests to the other players on the team. Our results indicate that the strategic calls made with the female presenting character had a slightly higher follow-rate as compared to the male character. The female character also received a friend request, which was not the case for the male character. These findings are then discussed in relation to the hegemonic masculinity theory and the gender performativity theory, as well as a comparison with previous research.

Denna studie undersöker relationen mellan hår, kön, kropp och rum. Specifikt undersöks hur relationen mellan maskulinitet och hår i form av skägg framträder på tre raksalonger i Stockholm våren 2019. Detta analyseras främst med Sara Ahmeds (2006) begrepp orienteringar och linjer, som beskriver hur vi kroppsligt erfar omvärlden. Judith Butlers (2007) performativa genus är också tolkningsgrundande. Intervjuer med en barberare och kund från var observerad raksalong, har synliggjort informanters strävan efter svåruppnåeliga maskulina ideal, som ett fylligt skägg. Studien berör även nutida historiebruk. Två av tre raksalongers miljö har bidragit till maskulina gestaltningar, orienterade mot nostalgisk känsla av brittisk herrklubb från förra sekelskiftet. Raksalongernas genuina kvalitetsupplevelse, har kontrasterats mot damsalongers sämre service och expertis. Två barberare och kunder eftersträvar dock känslomässig öppenhet, vilket kan sägas ta spjärn från stereotypa maskuliniteter. Detta har möjliggjort omorienteringar mot maskuliniteter med traditionellt sett mer mjuka, feminina värden. / This research examines the relation between hair, body and place. Specifically, it investigates how the relation between masculinity and hair such as beard takes shape in three different barbershops in Stockholm spring 2019. This is foremost being analysed with Sara Ahmed's (2006) use of orientations and lines, which describe how we bodily experience our surroundings. Judith Butler's (2007) gender performativity is also at the foundation of the analysis. Interviews with one barber and customer from each observed barbershop, has shed light on informants' strivings to reach elusive masculine ideals, such as a full beard. Two of the three barbershop milieus have contributed to masculine formations, orientated towards nostalgic sense of brittish men's club from the turn of last century. The barbershops' genuine luxury treatments have by some informants been contrastated against lady hair salons' poorer service and expertise. However, two barbers and customers seek emotional openness, which can be said to deviate from stereotypical masculinities. This has enabled reorientations towards masculinities with traditionally more soft, feminine values.