Cette thèse a une double vocation: elle présente une lecture des Divers portraits de Mademoiselle de Montpensier et fournit la première édition critique complète de ce recueil de portraits littéraires publié à un tirage limité en 1659. Notre étude porte sur l'ambiguïté fondatrice des Divers portraits: oeuvre témoin d'une mode du portrait littéraire qui dura moins de trois ans (1656-1659) et livre d'apparat à prétention historique dédié à la mémoire d'Anne-Marie-Louise de Montpensier. De la genèse des Divers portraits jusqu'à l'histoire de sa réception, les enjeux du recueil sont évalués sous l'angle de ce double statut de production mondaine et d'archive aristocratique. Afin de retracer les lignes de force qui accusent de la singularité des Divers portraits, notre enquête fait dialoguer l'histoire littéraire et l'histoire du livre. Aussi accorde-t-elle une place centrale à l'histoire de la représentation de Mademoiselle de Montpensier dont la place est déterminante dans la constitution du recueil. L'appartenance des Divers portraits à la mode du portrait. littéraire ayant déjà été attestée, nous consacrons une bonne part de notre recherche à l'analyse de son statut de galerie aristocratique dans sa dimension autant symbolique que matérielle. La genèse du recueil est d'abord éclairée par les portraits d'hommes illustres de cette période. L'examen spécifique du recueil s'établit ensuite à partir d'une typologie de.1a société représentée dans l'ouvrage collectif, ce qui nous permet de témoigner de la position d'autorité de la princesse de Montpensier dans l'économie d'ensemble de l'oeuvre. La réception des Divers portraits comme objet patrimonial boucle notre enquête : nous montrons que les prétentions mémorielles à l'origine de la création du livre coïncident avec la fortune des Divers portraits que consacrent les historiens et bibliophiles au XIXe siècle. L'édition critique des Divers portraits complète notre étude à plus d'un titre. Les nombreuses notes historiques, littéraires et linguistiques ancrent l'ouvrage dans son contexte social et culturel. Quant aux notices annexées à chaque portrait, elles fournissent non seulement un éclairage biographique sur la communauté représentée dans le volume, mais apportent également des précisions sur l'architecture et la cohérence symbolique de l' oeuvre collective.

This essay is about how lesbian love is being portrayed in two Swedish novels. The material consists of Karin Boye’s Crisis (1934) and Louise Boije af Gennäs’ Stars without Vertigo (1996). By using theories of heteronormativity, discourse analysis and a historical perspective, the essay aims to explain the similarities and differences in the way that lesbian love is being portrayed in these books. The results are organised through themes by using the methods close reading and comparative method.               The heteronormative discourse is ruled by norms and assumptions about normality in relation to sexuality and gender. The protagonists in both Crisis and Stars without Vertigo are in different ways being confronted with the heteronormative discourse in the Swedish society, Christianity and amongst their family and friends. In Crisis, the main character, Malin struggles to handle her non-heterosexual feelings in relation to her faith, and not to expose her emotions. In 1934 homosexuality was considered a crime in Sweden and at the same time homosexuality was looked upon as a disease, which controls how Malin looks upon her non-heterosexual feelings and keeps her from telling anyone about them. For Sophie, the main character in Stars without Vertigo the society’s values and norms are present, but the social climate for homosexuals is different in comparison to Crisis. The heteronormative discourse concerns her private life, her choice in a spouse/partner and her ability to start a family, since the homosexual community was being considered as something different from the universal heterosexuality and therefore should not have the same rights.               Although the novels where published more than 60 years apart there are some similarities in what kind of words Malin and Sophie are using about non-heterosexuality. Both women choose not to name their non-heterosexuality because any type of word or category is limiting. Thus both Malin and Sophie create their own identity through their sexuality.

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Through his Bollywood film, Dedh Ishqiya, Abhishek Chaubey addresses matters of comfort and discomfort through the use of typically heteronormative conventions in film. The Bollywood film Dedh Ishqiya, tells the story of a wealthy widow’s search for a new poet husband in the setting of an Urdu poetry gathering (mushaira). She is accompanied and supported by her female friend and handmaiden, Munniya. Their two supposed lovers, Khalujaan and Baban, are thieves, out to steal the love and wealth of these women. However, unbeknownst to these men, the women are lovers themselves and they too are out to steal the love and wealth of a suitor so that they may run away together. Director and co-writer, Abhishek Chaubey, uses conventions drawn from the Sufi, Urdu, and bhakti poetic and literary aesthetic worlds. He builds up an aura of comfort through the use of these conventions. But, he focuses on the complex, but platonic female (sakhi) -bond. Chaubey uses the sakhi bond, as well as other conventions, to draw the viewer into a seemingly heteronormative and conventional (therefore, comfortable) film. But this viewer is then brutally let down when the film subverts those conventional tropes in favor of a non-heteronormative romance. Chaubey does this by referencing Ismat Chughtai’s short story, Lihaaf, and Ridley Scott’s film, Thelma and Louise in his film. Both story and film take the female-bond and complicate it in a way that forces the viewer to examine their own conceptions of comfort, especially those related to sexuality and romance. This thesis focuses on the process of building up comfort through a heteronormative-use of conventions, and then the breaking down of that comfort by referencing Lihaaf and Thelma and Louise. / text

This thesis discusses the intersections of exposure therapy and art therapy in the works and careers of Deborah Orloff, Tracey Emin, and Louise Bourgeois, as well as in my own work. Artists use their practice as a form of mental healing, subconsciously utilizing essential theories of exposure and art therapies.

This is a study of the early work of the American artist Louise Lawler and her collaborators, including Christopher D’Arcangelo, Sherrie Levine, and Jenny Holzer. It centers on the New York art world between 1978 and 1983—a moment hailed as the end of avant-gardism and the birth of postmodernism—and examines the legacy and transformation of conceptual art and institutional critique by a new generation of artists during this period. Lawler’s practice is analyzed in relation to her Pictures Generation peers, so named for their affiliation with the non-profit space Artists Space (which mounted the influential exhibition "Pictures," curated by Douglas Crimp, in 1977) and the commercial gallery Metro Pictures, founded in 1980. The work of Pictures artists is united by its appropriation of images and texts that were culled from everyday life and modified through photographic strategies such as cropping, captioning, and juxtaposition. These artists, many of them women, developed a critique of representation—in Gayatri Spivak’s words, of "standing-for" and "speaking-for"—located at the crossroads of feminism and postmodernism. Though Lawler’s practice was understood as institutional critique at the moment of its emergence, she has since been historicized as a Pictures artist. This study understands her as a double agent who deliberately operates between and across spheres usually kept separate. In so doing, she refigures the practice of critique as a subtle form of maneuvering that I, following the artist, term finesse. The key contribution of Lawler’s work is a new understanding of power, informed by the politics of identity and difference, which accounts for the crucial importance of subjectivity and positioning in the act of critique.

The purpose of this essay is to explore how students in secondary school seek out and use information. More specifically, the essay examines how the search and use of information differs between students working in groups and students working independently. The essay draws on in-depth interviews with six students. Two different theories are used to analyse the transcripts from the interviews. The first theory consists of Carol Kuhlthau’s six different stages showing how the students’ feelings, emotions and actions change during the information seeking process. The second theory is Louise Limberg’s category describing the different approaches to information seeking among students in secondary school. The analysis of the results shows that the interviewed can be contained in Limberg’s category A. This means that the students lack knowledge when they search for and use information. Even students who are working together lack knowledge in this. However, the students are rather good at evaluating the information. At the same time, many of the interviewed did not feel confident during the process of information seeking. To obtain help in searching for information, the students use their supervisor (teacher) rather than the librarian. The conclusion is that the method of working in groups should be changed and students can learn to work together in groups if the teacher takes a more active role during the process and help the students to work together. They also need more help from their teachers in processing and evaluating information and the students also need more help from the librarian in searching for information.

The aim of this doctoral thesis is to show how the Jungian process of individuation — the psychological development of a unique individual — is depicted in the fairy tales of the twentieth-century Spanish writer, Carmen Martín Gaite. The three shorter tales — El castillo de las tres murallas, El pastel del diablo and Caperucita en Manhattan — are explored here along with the novel, La reina de las nieves. Individuation, as well as being the means by which an individual person develops, also implies a new way of relating between human beings. Jung described the outcome of individuation as ‘objective cognition’ which, this thesis argues, is equivalent to love and conscious relatedness between persons. Dreams play a crucial role in the individuation process — as they do in the work of Martín Gaite — guiding the dreamer on his/her journey. Dreams facilitate encounters with aspects of the personal and collective unconscious, which appear in symbolic form. The protagonist of the story by Martín Gaite which is closest to a traditional fairy tale (El castillo de las tres murallas) and the novel which takes a traditional tale as its reference point (La reina de las nieves) illustrate the importance of dreams in the development of the protagonists. At the heart of each of the other two tales — El pastel del diablo and Caperucita en Manhattan — is an imagined text which illustrates, in symbolic form, aspects of the individuation process. Connections have been made in Jungian thinking between individuation and the development of Christianity into a third age, the Age of the Holy Spirit, because of the major shift in consciousness (akin to the change which occurred 2000 years ago with the birth of Christ). Alongside the exploration of individuation in the fairy tales, this thesis also considers parallels with the Christian story and indications of its development or renewal.

In her novel Tracks, Louise Erdrich tells the story of a band of Anishinaabe early in the twentieth century. Through the two narrators, one a tribal elder and the other a mixedblood who eventually abandons the traditions of the tribe, the novel offers two divergent perspectives of the events that take place as the government divests the tribe of its land. The conflicting perceptions of these occurrences, which are magical realist in nature, underscore the conflict within the tribe to maintain tradition in the face of the ever-increasing influence of European settlers. The purpose of this thesis is to explore the perceptions at odds with one another in order to shed new light on the significance of Erdrich’s use of magical realism in the text. Highlighting Erdrich’s engagement with magical realism, a largely postcolonial literary device, will hopefully expand notions of identity and authenticity within the Native American literary tradition.

Gilbert Stuart completed the portrait of the new bride, Elizabeth Patterson Bonaparte, as well as portraits of 15 other women during his Washington period from late 1803 to early 1805. Scholars have often discounted this period in Stuart's work for its "compositional simplicity" and repeat choice of a stock white dress for the portraits of many of these women. But to dismiss this period is Stuart's work is to dismiss a period when Stuart positioned himself in the center of the "first circle" in Washington, a circle that included Dolley Madison and her most ambitious friends. Women, in this era after the American and French revolutions, had the freedom to enter into the public discourse. They were liberated from many of the more conservative principals of the early colonial period, shedding their restrictive clothing in the process. Stuart's salon, a highly visible public venue, as well as his ability to portray the strength of character and a direct, forthright gaze of the American woman, all made him extremely popular with women. Stuart, a critical force within the construction of a new image for this Nation, based on Jeffersonian ideas of republicanism, based his practice on simple, natural design influences. My goal is to more thoroughly examine Stuart's decisions in composing Betsy Bonaparte's portrait, as well as the facts surrounding her marriage to Napoleon Bonaparte's youngest brother. I will then consider why Elizabeth Bonaparte's wedding portrait represents the chef d'ouvre of his work during this period and how the young bride served as his muse, influencing his Washington style, and the women who followed her into the painter's studio. / text