A emergência da Lei 11.340/06 também conhecida como lei Maria da Penha que regula e criminaliza a violência doméstica aparece como diretriz fundante do Projeto Raabe. Trata-se de um projeto desenvolvido pela Igreja Universal do Reino de Deus (IURD), voltado para o atendimento de mulheres em situação de violência doméstica. Idealizado por Cristiane Cardoso, filha mais velha do Bispo Edir Macedo, o projeto reúne hoje uma equipe de profissionais tais como advogados, psicólogos e assistentes sociais, e visa oferecer assistência jurídica e psicológica a mulheres que procuram o atendimento em delegacias denominadas delegacias da mulher. Pretendo analisar - a partir de um conjunto de materiais produzidos pelo projeto, que compreende desde reuniões temáticas até relatos publicados como livros biográficos -, a produção civil de uma noção de conversão que se baseia no reconhecimento jurídico da condição de sofrimento. Nesse processo a categoria divórcio se desenha como um caminho primeiro para o aprendizado da relação heterossexual saudável, e o degrau necessário rumo a conversão. A concepção de afetividade saudável e o desenvolvimento constante de uma pedagogia que visa o cuidado de si tornam-se linguagens substanciais de produção de um sujeito feminino que deve afasta-se da condição jurídica de sujeito de sofrimento para assumir o relato público como crente civil. Assim, esta pesquisa tem por finalidade mapear e descrever práticas relacionadas à produção de uma performatividade de gênero mimetizada em formas de falar, de se apreender e de experienciar os corpos femininos a partir de programas de incentivo ao relacionamento heterossexual, pensando o papel de tais políticas têm na formação de performatividades, ora por meio de linguagem de gendramento dos gêneros, mediante tecnologias de poder que conformam a sujeição e a subjetivação dos sujeitos. / The emergence of the 11.340/06 law, also known as Maria da Penha law, that regulates and criminalizes domestic violence, appears as a fundamental guideline of the Raabe project. Its a project that has been developed by the Universal Church . Of the Kingdom of God (UCKG) , aimed at supporting women who have undergone domestic violence. Conceived by Cristiane Cardoso, Edir Macedos oldest daughter. The Project encompasses a set of professional such as lawyers , psychologixtx, and social assistents, and aims at offering juridical and psychological assistence for women who look for support at the so called Women Police Stations, which are specialized in domestic violence. I intend to analyze from a set of materials produced by the Project that compreheds theme meetings and also reports which were published as biografical books the civil production of a notion of conversin that is based on the juridical acknowledgement of suffering. In this process, the category divorce is drawn as the first step to the learning process of a healthy heterossexual relationship, and its the necessary step for the conversion.The concept of healthy affectivity and the constant development of a pedagogy of the self become substantial languages of the production of a female subject that should step away from the juridical condition of sufferer to take up the public role of a civilian evangelical . . Therefore this research intends to map and describe practices which are related to the production of gender perfomrnace which is mimetized in the act of speaking, seeing oneself and experience female bodies from programs that stimulate heterossexual relationships , thinking about the role that those policies have, whether by the language of gender gendering or through Technologies of power that forge the subjection and subjectivation of subjects.

Suzanne Collin’s trilogy The Hunger Games has become an international bestseller, and tells the story about Katniss Everdeen, a young citizen of District 12 in Panem. The object of this essay is to demonstrate that nurturing, being a warrior and pursuing beauty are the most idealized behaviors in The Hunger Games trilogy. By analyzing these behaviors from a gender perspective, based on the standpoint of Western society, I demonstrate how nurturing and pursuing beauty are feminine behaviors, and being a warrior is a masculine behavior. Furthermore, I outline how the characters’ behavior reflects their upbringings or the circumstances they are in. I conclude by considering what the popularity of Collins’s series indicates about contemporary perceptions of these behaviors, that are traditionally deemed as feminine or masculine in Western society. The result of the analysis indicates that the characters are being rewarded for both feminine and masculine behaviors. However, the characters showing a combination of both feminine and masculine traits gain more than the characters that possess either feminine or masculine qualities only. The contemporary views on femininity and masculinity are changing in Western society, and The Hunger Games trilogy gives us an indication about today’s view on the gendered behaviors in this essay.

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Made available in DSpace on 2017-07-10T19:07:34Z (GMT). No. of bitstreams: 1 Dissert Thayna Davilla Savio2.pdf: 2651873 bytes, checksum: e70439a3e1b991557cbb5fce33204228 (MD5) Previous issue date: 2016-03-21 / This dissertation s main objective is to analyze street harassment as a violation of social rules, and also its negative effects in the life of harassed women. Despite changes in relationships between men and women and the conquest rights directed to women, street harassment remains a common practice. Street harassment is studied from women s perspective as an undesirable interaction in public spaces, that shows the different ways men and women occupy this space. The argument presented is the glamorization of street harassment, the reinforcement of masculinity and the relationships between harasser and the harassed female that coexist with incresing critics from the media and from women. Street harassment is, therefore, analyzed as a tension between the reputed juridical equality and gender performativity, which is experimented through ambiguities. Synthetizing, street harassment is, at the same time, a violation of civil inattention rules e and an intensification of gender performativity. The data for the research was obtained through bibliographic sources, questionnaires applied in 97 students from a superior education institution and other sources obtained in the internet and social networks like facebook. / Esta dissertação tem como objetivo analisar o assédio de rua enquanto modalidade de violação das normas sociais, bem como seu efeito negativo na vida das mulheres assediadas. Em que se pese as mudanças nas relações entre homens e mulheres e a conquista de direitos específicos às mulheres, o assédio de rua permanece uma prática presente. O assédio de rua é estudado do ponto das mulheres como interação não desejada no espaço público, o que evidencia modos diferentes pelos quais homens e mulheres ocupam esse espaço. O argumento apresentado é a glamourização do assédio, o reforço da masculinidade e as relações entre o assediador e a mulher assediada na rua convivem com crescentes críticas da mídia e das mulheres. O assédio de rua é, então, analisado como uma tensão entre o suposto da igualdade jurídica e da performatividade de gênero, tensão experimentada por ambiguidades. Sintetizando, o assédio de rua é, ao mesmo tempo, uma violação das regras sociais da desatenção civil e uma intensificação da performatividade de gênero. Os dados para a pesquisa foram obtidos de fontes bibliográficas, questionários aplicados a 97 estudantes universitárias e outras fontes obtidas em sites da internet e redes sociais como o facebook.

The aim of this study is to examine how the word manly was used during the 19thcentury. Using the Corpus of Historical American English (COHA) it looks atcollocates, the spread across registers and semantic meaning, in order to gain a betterunderstanding of the word and its usage. Due to this term’s connotations with gender,the findings will finally be discussed in relation to Gender Performativity andMasculinity Theory.

The Swedish Armed Forces can be considered a hegemonic masculine organisation with deeply embedded patterns of patriarchy, as well as fratriarchy represented by notions of homogeneity and the male soldier. Women are highly underrepresented and face multiple double standards related to their performance of gender and more precisely performance of femininity. However, the Swedish Armed Forces claim to be an inclusive organisation and advertise this through different recruiting strategies, which display women in uniforms. This thesis uses the methodology of qualitative research by combining the methods of critical discourse analysis and critical visual analysis to analyse the representation and the performativity of gender in a recruiting advertisement for inclusivity by the Swedish Armed Forces. I argue that this advertisement led to a certain form of reproducing stereotypical notions of femininity by representing women who embody certain requirements connected to beauty standards. At the same time, notions of hegemonic masculinity and patriarchy are challenged through the representation of women in military uniforms.

Följande studie syftar till att kvalitativt undersöka reklamfilmer av varumärket Gillette Venus, genom en multimodal kritisk diskursanalys. Det valda materialet analyseras på två nivåer: denotation och konnotation. Syftet med studien är att diskursivt analysera hur kvinnors kroppsbehåring konstrueras diskursivt, samt om diskurserna har utvecklats med tiden. Avsikten med studien är att bidra med kunskap om hur kvinnors kroppsbehåring konstrueras i reklamfilmer och att belysa den bakomliggande ideologin bakom skildringen. Studien kommer att undersöka fyra reklamfilmer av Gillette Venus: "Gillette Venus Disposable Razor" (2005), "Venus Embrace" (2010), "#UseYourAnd" (2015) och "My Skin. My Way. Stories: Ofey” (2021). För att uppnå syftet med studien, använder analysen sig av det teoretiska ramverket av genusperformativitet, könsnormer och genus i reklam. Resultaten av studien visar att sättet som Gillette Venus konstruerar kvinnors kroppsbehåring har förändrats delvis till följd av förändringen från tredje vågen av feminism till fjärde vågen av feminism i början av 2010-talet. Utöver detta drar studien slutsatsen att Gillette Venus fortsätter att skildra en traditionell syn på kvinnors kroppshår, genom att de inte visar det eller nämner det i sina respektive reklamfilmer. Den skildrade kontextualiseringen av varför kvinnor bör raka sig förändras dock. Därför är den primära slutsatsen av studien att kvinnors kroppshår fortsätter att porträtteras i Gillette Venus reklamfilmer som något kvinnor måste bli av med, även om resonemanget varför förändras med tiden. / The following study aims to qualitatively examine commercials by the brand Gillette Venus, through a multimodal critical discourse analysis. The chosen material is analysed on two levels: denotation and connotation. The purpose of the study is to discursively analyse how women's body hair is discursively constructed and if the discourses have evolved over time. The intention of the study is to contribute with knowledge regarding how women’s body hair is portrayed in commercials and highlight the underlying ideology behind the portrayal. The study will examine four commercials by Gillette Venus: “Gillette Venus Disposable Razor” (2005), “Venus Embrace” (2010), “#UseYourAnd” (2015) and “My Skin. My Way. Stories: Ofey” (2021). In order to achieve the purpose of the study, the analysis uses the theoretical framework of gender performativity, gender norms and gender in advertising. The results of the study show that the way in which Gillette Venus constructs women's body hair has changed partly, as a result of the change from third wave feminism to the fourth wave of feminism in the early 2010s. Furthermore, the study also concludes that Gillette Venus continues to portray a traditional view on women's body hair, in that they do not show it nor mention it in their respective commercials. However, the portrayed contextualisation as to why women should shave does change. Thus, the prominent conclusion of the study is that women’s body hair continues to be portrayed in Gillette Venus commercials as something women must get rid of, although the reasoning behind it does change with time.

This thesis analyzes the role of performativity within the domestic novel during antebellum America; specifically, the ways in which E.D.E.N. Southworth’s The Hidden Hand and Louisa May Alcott’s Behind a Mask subverted cultural and societal norms by exploring the performative nature of class and gender. Through their respective protagonists, the two authors sought to question the power dynamics of an overwhelmingly patriarchal society. By granting their protagonists agency through performance, Southworth and Alcott explored the ways in which women might alter existing power structures to reject the restrictions gender essentialism placed upon antebellum women, and to advocate for women’s rights, such as economic stability and class mobility.

The erotic website SuicideGirls.com can be viewed in the context of striptease culture. The term was coined by the sociologist Brian McNair in 2002 in order to describe the tendency to openly theme the human sexuality within media content. Simultaneously with the metaphorical and literal exposing, the intimacy is being constructed within the discourse as an expression of true self and, as Feona Attwood develops McNair's claims speaking about sexualization of culture, the representation becomes the selfrepresentation. The SuicideGirls present themselves especially on soft-pornographic photographs through a significant alternative stylization, mostly tattoos and piercing. While for example Megan Jean Harlow (2009), a feminist critique representative, considers the style-creating elements of tattoo as an expression of distinctive practices, according to Shoshana Magnet (2007) the soft-pornographic mode of representation reduces the distinctiveness of SuicideGirls to a certain form of standard pornography. The semiotic and psychoanalytical interpretation of SuicideGirls.com focuses on softpornographic symbolic of the distinctiveness perceived by the community. Jacques Lacan's mirror stage concept explains the principles of subject's identification with his or her specular image. It is also important to...

“From Brecht to Butler: An Analysis of Dirty Grrrls” is a production centered thesis focusing on the image of the mudflap girl. The study examines the graduate production Dirty Grrrls as a form of praxis intersecting the mudflap girl, the theory of gender performativity, and Brechtian methodology. As a common yet unexplored symbol of hypersexual visual culture in U.S. American society, the mudflap girl acts as a relevant subject matter for both the performance and written portion of the study. Through the production, mudflap girl materializes at the meeting point of the terms performance and performativity. The written portion of this project examines this intersection and discusses the productive cultural work accomplished on the page and on the stage via live embodiment of performativity.