Våldsutsatta kvinnor som tagit steget att lämna en destruktiv relation befinner sig i en ständig utvecklingsprocess i relation till sin självbild. Våldets negativa effekter på en individ kan vara mångfaldiga. En våldsutsatt person bär dock ofta en stark tro på en positiv förändring. Våld i nära relationer är ett etablerat samhällsproblem och i flertal fall krävs professionell hjälp för att bearbeta de traumatiska upplevelser som kvinnorna genomlevt. De sociala nätverk som i många fall blivit begränsade har också visat sig ha en stor betydande del i utvecklingsprocessen som kvinnorna går igenom. Syftet med denna kvalitativa intervjustudie var att ta reda på hur personal på skyddat boende upplever de våldsutsatta kvinnornas utvecklingsprocess i fråga om deras självkänsla och självbild under deras tid på det skyddade boendet. Genom de socialpsykologiska ansatser som studien grundas på kunde teorier och begrepp såsom identitet och självbild, spegeljaget, självbilden i relation till makt och kontroll samt normaliseringsprocessen studeras i relation till resultatet. 10 semistrukturerade intervjuer genomfördes med kuratorer på skyddade boenden vilka genererade resultat som påvisade att våldets effekter har en oundviklig påverkan på våldsutsattas självbild. Effekterna innefattar även nedbruten självbild, minskat självvärde, identitetsförvirring och psykosomatiska bekymmer. / Victims of domestic violence who have taken the step of leaving a destructive relationship are in a constant process of development in relation to their self-image. The effects of violence on an individual can be manifold and include a strong belief that the situation will change and it's often based on feelings of hope. Domestic violence is an established social problem and, in most cases, professional help is required to deal with the traumatic experiences that abused women have lived through. The social network that in many cases has been limited has also been shown to have a large impact on the development process that abused women go through. The purpose of this qualitative interview study was to find out how staff experience the development process of abused women in terms of their self-esteem and self-image during their time in sheltered housing. Through the social psychology approach that the study is based on, theories and concepts such as identity and self-image, the looking-glass self,self-image in relation to power and control and the normalization process could be studied in relation to the results. 10 semi-structured interviews were conducted with curators in sheltered housing. The interviews generated results that showed that the effects of domestic violence have an inevitable effect on the self-image of victims of violence and may include a degraded self-image, reduced self-esteem, identity confusion and psychosomatic problems.

The fairy tale of Cinderella is known for its romance, but she seeks independence while being confused by her identity in a new version by Marissa Meyer called Cinder. This essay will present how Meyer’s Cinderella, Cinder, confuses the gender roles by taking on both feminine and masculine ones. This blend makes Cinder not entirely compatible with the norms, and her identity confusion makes it even harder, which results in her losing her conception of self. While she is trying to conform to the gender norms and receive recognition from others (be accepted by society), she denies her heritage and cyborg self to the point of creating a false identity. However, her cybernetics and abuse prevent her from being recognized – she even loses her only source of recognition, which indicates that a norm breaker is not worthy of having it. Nevertheless, Cinder shows signs of what a queer cyborg would do if forced into an identity; as queer, Cinder is not meant to be embodied or forced into an identity and should also have the ability to be free and change her identity as she pleases. Regardless of being queer, the abuse and society’s views prevent her from escaping her identity confusion.

Afin d'explorer la transition du genre Gothique vers le Policier dans la fiction de Dickens, notre étude suivra un plan général en trois grandes parties, divisées elles-mêmes en trois chapitres chacune. Il s'agira tout d'abord de présenter le contexte sociétal qui a conduit à la collision de deux genres littéraires, le Gothique et le Policier. Pour cela nous définirons les caractéristiques du Gothique dickensien. Dickens met en scène un univers doublement familier – un univers qui appartient au passé, un monde réel connu de ses lecteurs, mais également un univers qui appartient à l'histoire de la fiction, qui relève d'une intertextualité forte, que l'on pourrait qualifier de typique, aisément partagée par ses lecteurs. En second lieu, nous nous tournerons vers les effets de cette transition violente sur la mémoire des personnages, en définissant d'abord l'expression du trauma dans la fiction de Dickens. Nous verrons que le trauma repose en particulier sur le trouble identitaire que créent le sentiment d'une faillite de l'appartenance, ainsi que la disparition des repères que les Victoriens, et les personnages que Dickens met en scène, pensaient immuables. Dans un troisième temps, nous montrerons comment le Gothique et le Policier interagissent dans la fiction de Dickens, en analysant les éléments de société qui expliquent, à notre avis, cette rencontre presque contre nature – puisqu'on pourrait supposer que l'explication rationnelle obtenue au terme d'une fiction policière résolve les tensions gothiques. Nous verrons qu'il n'en est rien, et que la résolution des enquêtes ne libère pas complètement la fiction d'un après-coup gothique. Afin d'illustrer cette ligne d'analyse, nous étudierons la passation des pouvoirs entre les hommes de loi et les détectives, une passation des pouvoirs visible à la fois dans la société victorienne et dans le texte dickensien, et enfin la rémanence du Gothique qui fait des détectives les antiquaires d'un nouveau genre. / In order to investigate the transition from the Gothic genre to the detective fiction in Charles Dickens's works, our study will first concentrate on the Victorian social context that led to the collision of two literary genres, the Gothic and the detective fiction. We will define Dickensian Gothic. Actually, Dickens stages a twofold familiar universe. One universe belongs to the past – a real world that is well known to the readers. The second universe shows an insertion in literary history of an intertextual fabric – described as typical and easily shared by his readers. We will then deal with the effects of this violent collision upon the characters' memories and will define the expression of trauma in Dickens's fiction. Trauma primarily rests upon identity confusion. It originates from a sense of failure of identity belonging together with a sense of loss of society bearings that Dickens's characters experience and thought to be immutable. Finally, we will show how Gothic and Detective fictions interact in Dickens's fiction. We will analyse the societal elements that explain this almost against nature meeting for we could assume that the rational explanation that comes at the end of the detective novel should solve the Gothic tensions. But in fact, the solving of the inquests doesn't free the fiction from a Gothic aftermath. We will then study the transfer of powers from lawyers to detective police officers. This transfer of powers is noticeable both in Victorian society and the Dickensian text. We will then conclude with the persistence of Gothic in Dickens's fiction that makes detective police officers some sort of antiquarians of a new genre.