Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações. / Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.

Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações. / Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.

Glamour is an ideal that permeates our highly visual culture, yet the concept still remains indefinite. Despite its highly ideological function, it has been included in the academic discourse only in the recent years. The aim of this study is to broaden the understanding of glamour as a modern phenomenon and elaborate it as an analytical concept. This is achieved by examining the advertising imagery of Chanel No. 5, the legendary French perfume from the influential haute-couturier and socialite Gabrielle "Coco" Chanel. The theoretical frame consists of the history of glamour as well as the semiology of advertising. Semiology is also used as a method for analysing the adverts. The journey with Chanel No. 5 starts from the year of its creation, 1921, and one advert from every decade is chosen to a closer interrogation. Based on eight semiological analyses of Chanel No. 5's adverts, I argue that glamour is a media myth that becomes activated through a system of signs. The glamour of Chanel No. 5 depends on the use of celebrity personas, on skillful and exclusive media treatment, and on the circulation of signs which connote luxury and feminine sexuality, yet always with a fresh, contemporary touch. In the end, glamour is a highly manufactured, unattainable ideal which entices and invites for consumption.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-09-20T14:17:59Z No. of bitstreams: 1 gabrielasoarescabral.pdf: 4093019 bytes, checksum: 3d39df127dce8fa5c53481eff8420201 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-10-01T19:07:13Z (GMT) No. of bitstreams: 1 gabrielasoarescabral.pdf: 4093019 bytes, checksum: 3d39df127dce8fa5c53481eff8420201 (MD5) / Made available in DSpace on 2018-10-01T19:07:13Z (GMT). No. of bitstreams: 1 gabrielasoarescabral.pdf: 4093019 bytes, checksum: 3d39df127dce8fa5c53481eff8420201 (MD5) Previous issue date: 2018-06-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho analisa as representações da atriz Tônia Carrero (1922-2018) enquanto estrela cinematográfica brasileira nas revistas O Cruzeiro e Scena Muda, publicadas no Rio de Janeiro e que circularam em território nacional, respectivamente entre as datas de 1928 e 1985 e 1921 e 1955. A pesquisa abrange o recorte temporal referente ao período de 1947 e 1955, momento em que Tônia Carrero emergia como estrela de cinema e foi impulsionada pela imprensa, geral e específica, como nome do estrelismo brasileiro. Assim, de modo a embasar nossa análise, traçamos um histórico das representações femininas no star system a fim de compreender as principais características e tipificações das estrelas desde o estabelecimento de Hollywood enquanto indústria cinematográfica. Também relatamos um histórico do surgimento do sistema de estrelas no Brasil, compreendendo as influências norte-americanas neste processo. Partindo para as fontes primárias, observamos como a atriz teve sua imagem construída e identificamos como sua tipificação a good-bad girl. Suas fotografias mostravam uma estrela cercada de códigos estabelecidos pela cinematografia do que era ser bela, glamourosa e sedutora. Ao entender os processos da constituição da consagração de Tônia enquanto estrela, pretende-se contribuir para ampliar a discussão sobre o fenômeno do star system no contexto brasileiro, bem como auxiliar futuros trabalhos sobre a atriz. / The present work analyses Tônia Carrero (1922-2018) representations as brasilian cinematrographic star at O Cruzeiro and Scena Muda magazines, published in Rio de Janeiro and circulated in national territory, respectively between the years of 1928 and 1985 and 1921 and 1955. The research embrace the period that refers to the temporal gap among 1947 and 1955, moment wich Tônia Carrero emerged as cinema star and was promoted by the press, general and specific, as a name of brasilian star system. Therefore, ir order to give basis to our analysis, we will trace the history of female representation at star system to comprehend the stars main characteristics and typifications since Hollywood settlement as cinematographic industry. We also relate the history of brasilian star system emergence, understanding the north-american influences at this process. Heading to primary sources, we could observe how the actress had her image composed and indentified her tipification as good-bad girl. Her photographs showed a star surrounded by codes establhiesed by the cinema about what was beeing beautiful, glamourous and seductive. By understanting the processo of Tônias constitution as consagrated star, we aim to contribute at the discussions about the star system fenomenum at brasilian contexto, and help in future researchs about the actress.

Jag har i mitt examensarbete gjort en kollektion kläder till den fiktiva Madame Brilliant, baserad på färgstarka personligheter som bl. a Anna Piaggi och Elsa Schiaparelli. Slår man upp ”glamourös” i en svensk-fransk ordbok finner man glamourös heta brilliant och det är just glamour mitt examensarbete handlar om, vardagsglamour.Jag har till Madame Brilliant skapat drömgarderoben. De plagg den excentriska kvinnan alltid drömmer om men aldrig hittar ute i butikerna; Färgstarka feminina kappor, klänningar och hattar att bära till vardags.Jag har i mitt arbete lagt stor vikt på färgkombinationerna, därför är stylingen och de små detaljerna mycket viktiga. Liksom färgerna i en tavla förhöjer varandra, förhöjer kläderna i min kollektion varandra och ger varandra karaktär.Färgsprakande kläder upplevs ofta som billiga, ofta för att de är gjorda i dåliga kvalitéer till tonåringar eller så är de tantiga och gjorda i linne för kulturtanten. Jag har därför gjort en kollektion till kvinnan som varken vill vara tonåring eller tant, kvinnan utan ålder, mina plagg har ingen ålder, bara personlighet. Jag har valt att använda mig av lyxiga material som man oftast inte använder till färgstarka kläder; siden, ull, sammet, viscosecrepe, fjädrar och hårfilt. Jag har även använt mig utav enklare material som bomull och syntetmaterial, men då just för att det ska ge en viss känsla åt plagget. Tygerna har jag gjort mer personliga genom applikationer och att blanda olika mönster och färger i plaggen.För att ge kollektionen en tidlös känsla har jag använt mig av klassiska feminina siluetter, timglasformen, prinsess-skärningen, fodralklänningen. Kläderna i min kollektion ska hålla i flera säsonger och vara bärarinnans favoritplagg. De plagg man aldrig slänger för att de är unika, tidlösa och gjorda i material av bra kvalité.Kollektionen är inspirerad av den kvinnliga kurviga kroppen, d v s kvinnor med midja , byst och rumpa. Mycket av modet ute i butikerna är gjorda till pojkflickan. Mitt mål är att framhäva kurviga kvinnors skönhet, men även personlighet hos var och en, att det inte handlar så mycket om kropp och ett vackert ansikte, med mina kläder spelar det ingen roll hur man ser ut, allt handlar om personlighet. Jag vill med min kollektion sprida färg, glamour, energi, humor och glädje. Säga nej till vardagstristessen och ja till vardagsglamouren!I have in my degree collection made a wardrobe for the fictive lady Madame Brilliant based on colourful women like Anna Piaggi and Elsa Schiaparelli. I have been working with everyday glamour and bright colours. I have created for Madame Brilliant the dream wardrobe. I have made the clothes the colourful women dream of, but never find in stores, feminine coats, dresses and hats, glamorous clothes for everyday life in exclusive fabrics.In my design process I’ve been working with the combination of colours, that’s why the styling and the small details are very important. Just like the colours in a painting give each other life, the clothes in my collection give each other life with the colours and pattern in the fabric.Many people experience brave colour as cheap, often because they’re made in cheap fabrics and are made for teenagers or old ladies without any sense of style and fashion. I have made my collection for the woman/girl without any age who likes clothes with a lot of personality and in exclusive fabrics. I have made my clothes in materials such as wool, silk, velvet, viscosecrepe, feathers to give them a more exclusive look that colourful clothes mostly don’t have.With my collection I want to spread colour, glamour, energy, humour and happiness. / Program: Modedesignutbildningen

In this study, I examine whether the pricing of book-tax differences reflects mispricing or a priced risk factor. I provide new evidence that temporary book-tax differences are mispriced by developing portfolios that trade on the information in book-tax differences for future accruals and cash flows. I develop and test predictions on whether book-tax difference mispricing is the value-glamour anomaly in disguise. Both signals of mispricing relate to firm growth and, thus, both may capture mispricing due to over-extrapolation of realized growth to future growth. I find that the book-tax difference pricing anomaly is subsumed by the value-glamour anomaly. Specifically, trading on the information in book-tax differences does not yield incremental returns relative to a value-glamour trading strategy. Hence, mispricing associated with book-tax differences relates more generally to the mispricing of expected growth as extrapolated from past growth.

<p>I denna uppsats analyseras de två tidningarna Glamour och King Magazine för att se till hurgenusrepresentationen syns på dess omslag och om det finns några eventuella likheter ochskillnader mellan en tidning riktad till kvinnor (Glamour) och en tidning riktad till män(King).Syftet med analysen är att se till de olika budskapen för genusrepresentation samtidigt somsyftet är att undersöka de olika stereotyper som finns kring män och kvinnor i dagenssamhälle och jämföra dessa mot omslagen för tidningarna.Studien innehåller teorier från bland annat R.W Connell och hans föreställningar kring blandannat den hegemoniska maskuliniteten, men också övriga teorier kring genusrepresentationfrån personer som bland annat Gunilla Jarlbro, Eva-Lena Hedvall och David Gauntlett.Studien bygger i sin analys på en retorisk modell med fokus på omslagens kompositionmellan bland annat text och bild.Resultatet visar på en stereotypifiering av män och kvinnor för tidningsomslagen, där kvinnorförefaller som underordnade i sin representation medan männen besitter stor makt vilket visarsig i form av en jämförelse. Detta överensstämmer med teorierna kring de olika ideal somförekommer kring män och kvinnor.</p>

I denna uppsats analyseras de två tidningarna Glamour och King Magazine för att se till hurgenusrepresentationen syns på dess omslag och om det finns några eventuella likheter ochskillnader mellan en tidning riktad till kvinnor (Glamour) och en tidning riktad till män(King).Syftet med analysen är att se till de olika budskapen för genusrepresentation samtidigt somsyftet är att undersöka de olika stereotyper som finns kring män och kvinnor i dagenssamhälle och jämföra dessa mot omslagen för tidningarna.Studien innehåller teorier från bland annat R.W Connell och hans föreställningar kring blandannat den hegemoniska maskuliniteten, men också övriga teorier kring genusrepresentationfrån personer som bland annat Gunilla Jarlbro, Eva-Lena Hedvall och David Gauntlett.Studien bygger i sin analys på en retorisk modell med fokus på omslagens kompositionmellan bland annat text och bild.Resultatet visar på en stereotypifiering av män och kvinnor för tidningsomslagen, där kvinnorförefaller som underordnade i sin representation medan männen besitter stor makt vilket visarsig i form av en jämförelse. Detta överensstämmer med teorierna kring de olika ideal somförekommer kring män och kvinnor.

Female solo aerialists of the 1920s and early 1930s were internationally popular performers in the largest live mass entertainment of the period in the UK and USA. Yet these aerialists and this period in circus history have been largely forgotten by scholars. I address this omission by arguing these stars should be remembered for how they contributed to strength being incorporated into some stereotypes of femininity. Analysing in detail Lillian Leitzel, Luisita Leers and, to a lesser extent the Flying Codonas, I employ a cross-disciplinary methodology unique to aerial scholarship that uses embodied understanding to reinvigorate archival resources. This approach allows me to build on the wider scholarly histories of Peta Tait, drawing important conclusions about the form including how weightlessness is constructed and risk is performed. In the introduction I re-evaluate the nostalgic histories of circus to establish circus’ and aerialists’ popularity in this period, before exploring how engagements shaped careers. Chapter 1 considers the difference in experiencing aerialists in the USA and UK by bringing together previously unrelated data on circus, variety and vaudeville venues. Aerialists made good celebrities because their acts, located above audience members’ heads, challenged the conventional relationship between ticket prices and sightlines. Chapter 2 explores how the kinaesthetic fantasy evoked by experiencing aerial action created glamour and how glamour had the power to reframe femininity in the 1920s. Glamour and celebrity have often been confused and Chapter 3 distinguishes the two before considering what characterises aerial celebrity. Reconfiguring Joseph Roach’s public intimacy as skilful vulnerability allows me to analyse how risk was gendered and performed in relationship to skill. The gendering of risk leads me to consider what in society contributed to aerial stardom by drawing upon Richard Dyer’s argument that celebrities embody a cultural ambiguity. Female aerialists reframed their femininity in a similar way to women who aspired to the modern girl stereotype in wider society. In the final chapter I expand on the activity of the modern girl, comparing strategies used by young exercising women to female aerialists. This enables me to draw conclusions about how witnessing these stars tapped into national ideas of citizenship, and to designate aerialists as the first to use the power of glamour to make muscular femininity acceptable.

Магистерская диссертация посвящена исследованию реализации гендерных установок текущего времени в речевой практике носителей культуры гламура. Отмечается, что массовая словесность, в том числе глянцевая и гламурная, характеризуется установкой на тиражирование ценностей, которые являются фундаментальными для целевой аудитории. / The master's thesis is devoted to the study of gender settings of the current time in speech media culture of glamour. It is noted that mass literature, including glossy and glamorous, characterized by installing, copying of values which are fundamental to the target audience.