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This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies. / Art History, Visual Arts & Musicology / D. Litt. et Phil. (Art History)

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<p>In this essay, Kate Chopin's portraits of women in three short stories, 'The Story of an Hour', 'A Respectable Woman', Athénaïse and the novel <em>The Awakening</em> are studied. It is argued that the outcomes depicted can be seen as increasingly provocative and extreme and that the main conflict and ending of <em>The Awakening </em>is a development and combination of the conflicts and resolutions in the three short stories.</p> / <p>I uppsatsen studeras Kate Chopins kvinnoporträtt i tre noveller, 'The Story of an Hour', 'A Respectable Woman', Athénaïse och i romanen <em>The Awakening.</em> Syftet är att visa att huvudhandlingen och slutet på <em>The Awakening</em> är en utveckling och kombination av de alltmer provokativa och extrema handlingarna och upplösningarna i novellerna.</p>

No description available.

In this essay, Kate Chopin's portraits of women in three short stories, 'The Story of an Hour', 'A Respectable Woman', Athénaïse and the novel The Awakening are studied. It is argued that the outcomes depicted can be seen as increasingly provocative and extreme and that the main conflict and ending of The Awakening is a development and combination of the conflicts and resolutions in the three short stories. / I uppsatsen studeras Kate Chopins kvinnoporträtt i tre noveller, 'The Story of an Hour', 'A Respectable Woman', Athénaïse och i romanen The Awakening. Syftet är att visa att huvudhandlingen och slutet på The Awakening är en utveckling och kombination av de alltmer provokativa och extrema handlingarna och upplösningarna i novellerna.

This dissertation investigates the way that feminist resistance is expressed in two Swedish and two German so-called New Woman novels from the turn of the twentieth century: Elin Wägner’s Pennskaftet (1910, Penwoman), Gabriele Reuter’s Aus guter Familie (1895, From a Good Family), Hilma Angered-Strandberg’s Lydia Vik (1904), and Grete Meisel-Hess’s Die Intellektuellen (1911). The theoretical apparatus is comprised by the work of Michel Foucault, Judith Butler, Jacques Lacan, and Jessica Benjamin. By introducing a psychoanalytic and feminist perspective, this dissertation seeks to develop the possibilities for agency and resistance within the framework of Foucault’s theories. It investigates four textual and contextually grounded strategies of resistance that are prominent in these novels: individuality, openness, desire, and eugenics. This study demonstrates how Gabriele Reuter, Grete Meisel-Hess, and  Hilma Angered-Strandberg, inspired by the ideas of Friedrich Nietzsche and Ellen Key, depict feminine individuality in relation to a scientific and philosophical discourse that specifically denied women individuality. The authors anchor individuality in a corporality that was similarly denied to women by a bourgeois and dogmatic Christian discourse. Openness and wit function as resistance strategies in Elin Wägner’s Pennskaftet. Humorous rejoinders and narrative comments can disarm a conservative. An open attitude towards the emancipation project could also help to resolve the conflicts between different feminist positions and between different women. Desire functions as an important resistance strategy in each of the novels examined. It is variously represented as a vital instinct, a desire for knowledge, and a sexual desire, as in Gabriele Reuter’s Aus guter Familie – or as a desire for suffrage, as in Pennskaftet, or for maternity legislation, as in Grete Meisel-Hess’s Die Intellektuellen. By formulating a notion of feminine desire, turn-of-the-century feminists were able both to seize control of sexuality from the church and to wrest morality from the grasp of the bourgeoisie. These resistance strategies could also have a biopolitical character: in Grete Meisel-Hess’s Die Intellektuellen, woman is placed at the service of humanity on eugenicist grounds, and her good qualities are seen as capable of promoting humanity’s progress. This dissertation shows that in these novels desire at the individual level serves to reinforce feminine subjectivity. Love is seen as associated with an intensified sense of life and as a precondition of creativity. At the social level, desire also functions as the basis for a feeling of solidarity among women that instils in them courage and an urge to persevere in the suffrage struggle, this latter a highly protracted process. In this way desire acquires political potential. A framing chapter on context provides the intellectual and philosophical backgrounds of the various strategies of resistance. It is followed by four analytical chapters, each of which addresses one novel.

(anglický) The presented master's thesis focuses on the visual representation of the natural and cultivated female body, responding to the hygienic, eugenic and aesthetic requirements of the newly created state. In addition to strengthening the modern national identity, it was to form and represent a positive image of the new womanhood that resulted in the project of a civilized woman in the late 1920s. The new social arrangement required a new type of modern man, and therefore also of a woman. Within it, two seemingly unrelated areas merged - science and visual culture, which pursued to define the ideal of the modern female body: beautiful, healthy, morally and aesthetically appealing. The image of a woman doing sports became the emblem of the newly formed republic. The female body gained added aesthetic value, it became a new ornament and communicative sign, infiltrating into the visual culture beginning with advertising and culminating in fine arts. We focus on the role of modern dance and the personality of Milča Mayerová, a prominent First Republic dancer and symbol of a modern woman, who reflected the changing requirements of the time with her visual representation and publishing activities. Key words (anglický) Body, modernity, womanhood, new woman, visual culture, visual representation,...

This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)