Tidigare forskning fastställer att medias användning av en sexualiserad kvinna påverkar uppfattningen av hennes kompetens. Det här arbetet har därför undersökt huruvida uppfattningen av en spelhjältinna, baserad på Lara-fenomenet av Jansz & Martis (2007), påverkas av sexualiserade kontra icke-sexualiserade gestaltningar av hennes kläder. Studien har med hjälp av enkäter granskat 4 utländska studenters mediekonsumtion för att se om detta hade ett inflytande på deras tolkningar av hjältinnans kvaliteter. Informanterna fick betrakta 2D bilder på en hjältinna i 4 olika kläd-förhållanden och bedöma hennes kvaliteter under gruppintervjuer. Resultatet visar att mediekonsumtion hade ett inflytande på deltagarnas ideal och att kvaliteterna smart, stark och attraktiv dömdes primärt efter hjältinnans anpassning till spelmiljön. 3 av 4 deltagare valde att spela som karaktären i förhållandet neutral underdel eftersom kläderna visade anpassning till spelmiljön och representerade ett aktuellt skönhetsideal. Framtida arbete bör undvika exponering för spelets klimat eller miljö för att se om andra resonemang förekommer. / Previous research determines that media’s use of a sexualized woman affects the perception of her competence. This work has therefore investigated whether the perception of a game heroine, based on the Lara-phenomenon by Jansz & Martis (2007), is influenced by sexualized versus non-sexualized designs of her clothes. With the help of surveys, the study has examined 4 foreign students' media consumption to see if this had an influence on their interpretations of the heroine's qualities. The informants had to watch 2D images of a heroine in 4 different clothing conditions and assess her qualities during group interviews. The result shows that media consumption had an influence on the participants' ideals and that the qualities smart, strong and attractive were judged primarily by the heroine's adaptation to the gaming environment. 3 out of 4 participants chose to play as the character in the neutral bottom condition because the clothes showed adaptation to the gaming environment and represented a current beauty ideal. Future work should avoid exposure to the game's climate or environment to see if other reasoning occur.

Dans une perspective toute à la fois poétique, rhétorique et juridique, ainsi que générique et intertextuelle, cette étude propose une réflexion sur la mémoire et la parole de l’héroïne ovidienne. Une lettre simple (Médée, Héroïde XII) et une lettre double (Acontius et Cydippe, Héroïdes XX-XXI) sont au cœur de notre recherche. Médée et Cydippe allient le souvenir de l’instant à la parole intime et nous invitent à illustrer la représentation de la femme qui surgit au sein de l’art poétique du pathos, puis à affirmer la légitimation de son statut juridique dans une vraisemblance historique, et à apercevoir, dans un dernier temps, son émancipation, conquise dans une diversité dialogique et tensionnelle des genres et des textes. Les interférences textuelles avec les modèles fondateurs sont bien répertoriées, dans le cadre d’une allusion propre à faire apparaître une réécriture métaphorique de la réflexivité, dans un entrecroisement des instants que favorise particulièrement la figure d’Ariane catullienne (Carmen LXIV). Menée dans cet esprit, l’étude de la réminiscence littéraire est effectuée dans un travail des mots et des notions, pour la recherche d’une véritable mimésis poétique. Cette lecture aboutit à dégager la valeur autoréflexive de l’image du texte : mémoire ingénieuse et parole polysémique participent à un jeu savant où la figure féminine et la poiésis composée sont, à vrai dire, inséparables. Là réside encore l’originalité ovidienne : entre le souvenir de l’écrit et le futur de la lecture se situe la parole mnémonique, défense et message ultime de la femme ovidienne, ainsi récompensée. / In a poetic, rhetorical and juridical perspective, as well as a generic and an intertextual one, this study proposes a reflexion on the ovidian heroine’s memory and speech. A single letter (Medea, Heroine XII) and a double letter (Acontius and Cydippe, Heroines XX-XXI) are at the heart of our research. Combining the memory of the instant with intimate speech, Medea and Cydippe extend an invitation to illustrate the representation of women that emerges from the poetic art of pathos, to affirm the legitimization of her juridical status in a historical plausibility, and to perceive, finally, her emancipation, gained in a dialogical and tensional diversity of genres and texts. The textual interferences with the founder models are well listed in the framework of an allusion that brings out a metaphorical rewriting of reflexivity, in an intersection of moments that particularly privileges the Catullian figure of Ariadne (Carmen LXIV). Carried out in this spirit, the study of literary reminiscence is completed in a work of words and notions for the research of a genuine poetic mimesis. This interpretation leads to highlight the autoreflexive value of the textual image: ingenious memory and polysemous speech participate in a learned play in which the feminine figure and the composed poiesis are, actually, inseparable. Therein can also be found Ovid’s originality: between the written memory and the future reading is set the mnemonic speech, defence and the ultimate message of the ovidian woman, thus rewarded.

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This study explores the latent operation of Western gender norms in popular female-centred Young Adult (YA) dystopian texts. By examining adolescent female protagonists and the nature of their social havoc-making, this study investigates how reconstructed and recalibrated definitions of femininity ultimately re-inscribe a patriarchal status quo. The five havoc-making heroines under consideration are: Katniss Everdeen of Suzanne Collins’ “Hunger Games” trilogy, Saba in Moira Young’s “Dustlands” trilogy, Deuce in Ann Aguirre’s “Razorland” trilogy, Tris Prior in Veronica Roth’s “Divergent” series, and finally, Cassie Sullivan in Rick Yancey’s THE 5TH WAVE. Although these YA havoc-making heroines rebel against oppressive governmental regimes, I recognize the implicit and explicit construction of their bodies and their behaviours through male-influence. Their male counterparts play a large role in shaping how these heroines look and behave—they perform and appear as masculinized warriors and as feminized delicate beauties in accordance with the political and personal desires of male characters. Through such constructions, these contemporary havoc-makers demonstrate a collision of heroisms: they look and act as conventional action heroines and romance heroines. Including theoretical texts from the 1990s and onward that feature feminist scholarly writing on the textual and filmic representations of women—such as Dawn Heinecken’s THE WARRIOR WOMEN OF TELEVISION and Sherrie A. Inness’ TOUGH GIRLS—I investigate how these young heroines are shaped as per the genres of Action/Adventure and Romance fiction. / Thesis / Master of Arts (MA) / This study looks at depictions of Young Adult heroines in popular YA dystopian fictions. Works under consideration: Collins' THE HUNGER GAMES trilogy, Young's "Dustlands" series, Aguirre's ENCLAVE, Roth's DIVERGENT and Yancey's THE 5TH WAVE.

In this dissertation I attempt an evaluation of Barbara Pym as a feminist writer. I study the central protagonists in Pym's twelve novels in the context of British society in the 1950s, 1960s and 1970s. I have drawn on feminist critical paradigms in my reading of Pym's novels in order to highlight my insights into her women characters. Chapter One examines Pym 's use of comedy and subversion in relation to her main protagonists. Chapter Two explores the 'Excellent Woman' figure in Pym's fiction and the issue of spinsterhood. Chapter Three scrutinises Pym's use of satire and tragedy in relation to her heroines. Chapter Four investigates the emergence of the 'fallen' and 'formidable' women figures in Pym's novels, and analyses the ageing spinster figure. My conclusion is that Barbara Pym is a humanist feminist of some importance, who succeeds in illuminating her heroines' struggles against patriarchy in the context of a changing British society. / English Studies / M.A. (English)

This work deals with novel heroines and their waking dreaming in the novels of th 20th centrury form central Europe. Methodology is inspired by Gaston Bachelard's water and dreams. This methodology analyzes categories of waking dreams which occur the most often in selected novels. Considering Bachelard's texts about places there appear other places for dreaming, which bind to content topics of the dream. The work is enhancement by phenomenology of perecption, which proves in the end as the most important criterion of the attitude to waking dreams.

The thesis presents a typology of characters in short prosaic works of Jaroslav Durych. In the introduction the readers get acquainted with contemporary approaches of the theory of literature towards the characters and with the ways to make typologies of characters. The author's opinions about art and man are quoted too because Durych's fiction is influenced by his artistic and religious opinions. Next, Durych's prosaic works are characterised in relation to trends in literature. Information about previous works concerning characters in prosaic works of Jaroslav Durych is also given in the introduction. The central part of the thesis is focused on the analysis of characters in short prosaic works. Both female and male characters are analysed by means of the same criteria: character-definition v. character-hypothesis, character-subject v. character- object, name, appearance, soul, death, love to God and their human partner. Within each section, e.g. Appearance, short prosaic works are analysed in chronological order to show how the characters were altered and how they were influenced by various trends in literature, etc. Eventually, differences between female and male characters are named, and two basic types of female characters and two basic types of male characters which can be found in Durych's...

Made available in DSpace on 2016-04-28T20:40:16Z (GMT). No. of bitstreams: 1 Fernanda Aprile Bilotta.pdf: 1326053 bytes, checksum: 98de608df38d6857349892bee4b3d88c (MD5) Previous issue date: 2010-05-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this dissertation is to examine the trajectory of some heroines of children s films produced by the animation studios Walt Disney Pictures and Dreamworks Pictures from 1937 to 2007. Therefore, the films Snow White and the Seven Dwarfs (Walt Disney Pictures, 1937), Cinderella (Walt Disney Pictures, 1950), Sleeping Beauty (Walt Disney Pictures, 1959), The Little Mermaid (Walt Disney Pictures, 1989), Beauty and the Beast (Walt Disney Pictures, 1991), Shrek! (DreamWorks Pictures, 2001), Shrek 2 (DreamWorks Pictures, 2004) and Shrek the Third (DreamWorks Pictures, 2007) were watched, summarized and analyzed in order to identify target behaviors and themes propagated by their protagonists. The elaboration was based on images, events and sequences which were significant in the composition of the characters and their development in the narratives. The theme seems closely related to the hero s archetype, which drives the process of development of consciousness, and is activated mainly in adolescence when girls and boys begin their passage to adulthood. The analysis is based on analytical psychology concepts and on the interpretation criteria suggested by Von Franz for fairy tales. The heroines shown on the film screen help to understand how the archetypes currently manifest themselves and also how they cooperate in facing and coping with many different situations. Thus, through imaginary and symbolic support provided during the process of individuation they enrich the psychic organization in adolescence, allowing behaviors and banishing others / Esta dissertação tem como objetivo analisar a trajetória de algumas heroínas dos filmes infantis de animação produzidos pelos estúdios Walt Disney Pictures e Dreamworks Pictures no período de 1937 a 2007. Busca-se, portanto, identificar quais são os comportamentos e temas propagados pelas protagonistas dos filmes: Branca de Neve e os Sete Anões (Walt Disney Pictures, 1937) Cinderela (Walt Disney Pictures, 1950), A Bela Adormecida (Walt Disney Pictures, 1959), A Pequena Sereia (Walt Disney Pictures, 1989), A Bela e a Fera (Walt Disney Pictures, 1991), Shrek! (DreamWorks Pictures, 2001), Shrek 2 (DreamWorks Pictures, 2004) e Shrek Terceiro (DreamWorks Pictures, 2007). Os oito filmes foram assistidos e mapeados para a realização de sinopses e elaboração das análises. Essas foram baseadas nas imagens, eventos e sequencias significativas quanto à composição das personagens e seu desenvolvimento nas narrativas. A aproximação desse tema remete ao arquétipo do herói, o qual impulsiona o processo de desenvolvimento da consciência e é ativado, principalmente, na adolescência quando moças e rapazes iniciam sua passagem para a vida adulta. A análise está referenciada nos conceitos da psicologia analítica e nos critérios de interpretação sugeridos por Von Franz para contos de fadas. As heroínas transportadas às telas do cinema ajudam a compreender como os arquétipos se manifestam na atualidade e colaboram no enfrentamento e elaboração das mais diversas situações. Enriquecerem, desse modo, a organização psíquica na adolescência, autorizando comportamentos, vetando outros, ao oferecer suporte imaginário e simbólico no processo de elaboração e individuação

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Thesis (M.S.)--Florida State University, 2004. / Advisor: Dr. Arthur A. Raney, Florida State University, College of Communication, Dept. of Communication. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.