This essay argues that the depiction of women in Seamus Heaney’s poems “Bog Queen” and “Punishment” results from the male gaze in three ways: the narrative viewpoint, stereotypical characterization, and the objectification of the female body. The following essay analyses the poems through an ecofeminist perspective that enables examination of the female characters as personifications of nature – “Bog Queen” as Mother Earth and the victim of “Punishment” as Nerthus, the fertility goddess. The analysis explores three areas; historical context, ‘The Feminine Principle,’ and Nussbaum’s list of ‘Feminist Perspectives on Objectification’ to answer how the male gaze is present in the three aspects. The male gaze is argued to be attributed to an androcentric narrative that presents a man and country’s sense of revenge, stereotypes that are totems of the male fantasy, and dehumanizing sexual objectification that enables appreciation of the dead bodies of women.

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Abstract The concept of a woman's value, possibilities and visibility within the world being linked to youthfulness and fertility, is widely discussed in various contexts. This thesis seeks to focus on female aging specifically within lesbian communities, and thus in contrast investigate whether heterosexuality, a heteronormative lifestyle and the male gaze are determining factors in women socio-culturally turning "invisible" after middle age. While there is research done on LGBTQ aging, mainly highlighting vulnerabilites and marginalization, there seems to be a lack of explorations on whether there may be socio-cultural advantages to living a queer, older life. Focusing on how the subject positions are fleeting and ever-changing in time and space, I wish to shed light upon the complex lived experience of being woman, old(er) and LGBTQ.  My research indicates that there are indeed several strengths and advantages related to the quality of life in the generation of current older lesbians. The study is based on qualitative, semi-structured interviews with seven lesbian women aged between 53 and 78.  Keywords: ageism, lhbtq, lesbianism, intersectionality, queer ageing, male gaze

The purpose of this essay is to investigate how cultural symbols are influenced during their remediation to social media platforms. As a case to explore this, this study delves into an examination of the remediation of the Femme Fatale archetype from the visual art tradition to the social media platform TikTok. This thesis aims to explore the remediation of the Femme Fatale archetype from the visual arts tradition to the social media platform TikTok. TikTok has rapidly increased in popularity in recent years, boasting over one billion international users. TikTok's short-form video-sharing platform allows users to sample content from various mediums (such as art and film) and adapt it to the platform. This relationship between content curation and user engagement highlights the importance of exploring Femme Fatale's remediation process on TikTok, mainly how content from the visual arts tradition is portrayed on the platform. This will be achieved by utilizing a feminist perspective, exploring how the remediation process impacts gender role stereotypes and power dynamics within the Femme Fatale archetype. The study will employ remediation as a theoretical and analytical framework. Furthermore, to incorporate the feminist perspective, the concepts of male gaze and performativity will be embedded in the analysis. Thirty TikToks were sourced for analysis and explored through the framework of remediation, the concept of male gaze, and the concept of performativity. The study concludes that the remediation of the Femme Fatale results in a loss of original narrative. The research highlights how TikTok’s participatory culture enables the ongoing performance of the Femme Fatale. Moreover, the majority of the content on the platform reveals a narrative of the Femme Fatale through surface-level aesthetics, allowing for its commodification, which emphasizes visual appeal over in-depth narrative, aligning with traditional tropes found in previous mediums. The study contributes to a further understanding of how the remediation process can influence cultural symbols previously embedded in the tradition of visual arts through social media platforms' medium-specific demands on content creation.

Denna uppsats analyserar tre konstverk av konstnären Vilija Vitkute, med fokus på begreppet The male gaze som myntades av den feministiska filmteoretikern Laura Mulvey genom hennes essä Visual Pleasure and Narrative Cinema från (1975). Genom en bildsemiotisk analys, som tillkom 1964 av en publicerad bildanalys av semiotikern Roland Barthes, med beaktning på performativitetsteori av språkfilosofen J. L. Austin, diskuteras hur det subliminala uttrycket tar sin form och den Andres uttryck förmedlas vidare. För att kunna särskilja på vad som är normen för en kvinna och en man lyfts genusteorin, som tillkom på 1970 talet för att behovet ökade om en större medvetenhet kring begreppet genus. Undersökningen problematiserar om den Andre, den förtryckte, undermedvetet upprätthåller och sprider sitt eget förtryck utan kännedom genom det konstnärliga uttrycket. Diskussionen leder till hur ett annat seende skulle kunna ta sin form.

Elisabetta Sirani (1638-1665), a Bolognese artist, significantly contributed to the Italian protofeminist tradition through her three depictions of the classical figure Iole. These images are drastically different than other depictions of the time period because Sirani shows Iole as an isolated figure removed from her turbulent relationship with Hercules. By focusing on Iole as an individual, Sirani allowed Iole to be seen away from the male gaze; in doing so, Iole encompassed masculine characteristics while maintaining her sovereignty and femininity. Sirani's paintings of the strong and confident Iole are clear evidence that not only was Sirani inspired by the receptive environment in which she was raised, but she was also actively empowering women through her art and advancing the protofeminist tradition in early modern Italy.

In both Mexico and the U.S., abortion rights protests have been taking place in recent years, but while Mexico is moving forward with the legalization of abortion, the U.S. is going in the opposite direction with the overturning of Roe v. Wade. Through framing, journalists select salient information, shaping audiences' understandings of social movements. The protest paradigm suggests that due to journalistic norms and routines, journalists tend to focus on disruptive acts, which can stigmatize the protest. Additionally, scholars have stated that men and women photojournalists have different approaches to covering certain topics. This cross-national research combined a content analysis of photographs in U.S. and Mexican media with in-depth interviews with photojournalists to determine if photojournalists in each country are reproducing the protest paradigm and if there are gendered differences in how they photograph abortion rights protests. The results revealed that women and men photograph differently, with women capturing more intimate photos; however, photojournalists' gendered experiences are also influenced by how protesters perceive them. Furthermore, the study suggests that photojournalists from both countries are questioning objectivity and are attempting to move away from the protest paradigm. This research provides valuable insights into visual framing theory, protest news coverage, and gendered norms in photojournalism.

L'ampleur des séries ne fait qu'augmenter, à l'ère où l'image s'érige en maître de la communication. Par l'analyse de trois « focus groups » et au moyen d'une méthodologie « bricolée », empruntant des concepts issus de la théorisation ancrée et de la démarche hypothético-déductive, l'auteure tente de mettre en lumière les différents mécanismes qui expliquent le succès de la série Euphoria malgré la violence de ses images. À la lumière de différents concepts issus de la criminologie culturelle visuelle, des théories féministes et des réflexions sociologiques autour du concept de déni, cinq thèmes émergent des discussions de groupe. Depuis le male gaze appuyant l'hégémonie patriarcale et la Loi du silence; par le queerbaiting, le pinkwashing et l'idéologie transactiviste, ou comment des idées "progressistes" permettent d'obtenir l'assentiment du public pour maintenir les représentations sexistes dans l'ombre; avec la forme de la série, qui par sa mise en scène et son esthétique contribue à maintenir le spectateur dans une forme de déni; ainsi que la création d'un fossé cognitif et des narrations qui entravent l'identification et l'empathie; pour finir par l'éducation au cinéma, ou comment les réflexions collectives offrent une perspective de changement des représentations.

This study explores the (hetero)sexualized online space that is the category “Pools, Hot Tubsand Beaches” on the streaming platform Twitch.tv. The aim of the study is to gain a further understanding of how gender and sexuality is performed under the specific conditions offered by the space. Interactions between livestreamer and chat in three livestreams have been transcribed and analyzed using reflexive thematic analysis. I find that the space is characterized by the logic of the heterosexual matrix as defined by Judith Butler, as well by two foundational asymmetries that inform the way that gender and sexuality is performed in the spaces studied: the asymmetry of perspective and the asymmetry of performativity. These conditions are actively negotiated with by the subjects that interact in the space. Furthermore, relying on the work of Raewyn Connell, I find that the subjects conduct a labor of positionality with regards to notions of good and bad masculinity, basing their sense ofcommunity on the abjectification of “other men” in order to construct their own masculinity.

Uppsatsen betraktar och analyserar kvinnliga karaktärer i fyra olika slasher-skräckfilmer utifrån metodvalen: Jens Eders karaktärsklocka, karaktärsanalys och bildsemiotisk analys. Filmerna, Alla helgons blodiga natt, Scream, Evil Dead och X, är specifikt utvalda utifrån fyra olika decennier där den grundläggande faktorn som följs är utveckling av kvinnliga karaktärer. Uppsatsens fokus ligger på Final Girl-karaktärerna som analyseras i samband med sina sociala kretsar och miljöer. De kvinnliga karaktärerna jämförs med varandra för att förhoppningsvis finna en insikt om vem den moderna Final Girl är och en utveckling i kvinnlig karaktärsbyggnad. Som ett resultat har analysen åstadkommit kunskap om den klassiska gentemot moderna Final Girl utifrån en utveckling baserat på relation till sex, sexualitet och självständighet. Den moderna Final Girl bryter mot den gamla tropen och anpassar sig till dagens samhälle. Dock, samtidigt, så får Final Girls som The Dumb Blonde, inte lika stor utveckling i den moderna slasher-filmen men fortsätter att förbli sanna till sina gammalmodiga troper, något som förhoppningsvis också kommer att förändras med tiden.