La présente thèse vise à étudier deux différentes modalités de contestation de l'imaginaire dominant, à travers l'analyse des actions directes du mouvement FEMEN et des performances issues de la démarche post-porn. Ces deux démarches contestataires mettent en exergue et questionnent, chacune à leur manière, la sexualisation des corps, inhérente à certains schèmes de l'imaginaire dominant : les FEMEN la refusent ; la démarche post-porn propose d'autres façons de sexualiser les corps. Une comparaison approfondie de modes d'action des FEMEN et des acteur-ice-s de la scène post-porn implique de s'intéresser à deux façons différentes de retravailler les imaginaires sexuels dominants et de re-signifier les corps féminins, trans et/ou non hétérosexuels. A partir de la sexualisation des corps, je montre comment le regard sur les corps est verrouillé, structuré par un imaginaire traversé par les rapports de pouvoir : il y a des façons hégémoniques de raconter les corps des dominant.e.s et des dominé.e.s. En essaimant dans le monde social, les scripts corporels, ces fictions forgées par les logiques de domination, structurent le regard sur les corps, les pratiques corporelles et les interactions sociales. Mais ce verrouillage du regard contient en lui-même les conditions de son déverrouillage. Ce sont des modalités de ce déverrouillage qui seront interrogées, à travers les actions des FEMEN et des activistes post-porn. Proposer des narrations alternatives de corps déverrouille-t-il le regard sur les corps ? Quel rapport ces démarches contestataires entretiennent-elles aux fictions hégémoniques ? / This thesis aims to study two different approaches which dissent from the dominant imaginary, through the analysis of the FEMEN movement’s direct actions and performances derived from the post-porn approach. Both dissenting approaches highlight and question, each in their own way, the sexualization of bodies, which is inherent to certain schema of the dominant imaginary: the FEMEN movement refuses it, while the post-porn approach offers other ways of sexualizing the body. An in-depth comparison of FEMEN's modes of action with those of the actors and actresses of the post-porn scene entails engagement with two different ways of re-working the notion of dominant sexual imaginaries, and also the re-signification of trans and/or non-heterosexual female bodies. Starting from the sexualization of bodies, I show how the way we look at bodies is locked in, structured by an imaginary shaped by power relationships: there are hegemonic ways to narrate the bodies of the dominant and the dominated. By disseminating themselves into the social world, corporal scripts – these fictions created through logics of domination – shape the way we look at bodies, corporal practices and social interactions. However, this locking in of the gaze contains in itself the conditions of its own unlocking. These modes of unlocking will be questioned through the prism of actions by FEMEN and post-porn activists. Does suggesting alternative body narrations unlock the gaze brought to bear on the body? What relation do these dissenting approaches have with hegemonic fictions?

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Les différents tabous dans le contact entre sexes dans la culture musulmane, conduisent à questionner la relation entre les fondements moraux et institutionnels, et la représentation de la sensualité à l'écran. L'évolution de l'expression de la sensualité dans le cinéma tunisien est atypique : elle est passée d'un régime de permissivité au cours des années 1960-1970 à un régime de restrictions et d'interdits. Les paradoxes de l'évolution sont que le discours libéral a disparu. Le problème central est le rapport de possession de l'homme au nu féminin, et de manière annexe, son approche de la sensualité, de l'érotisme, et de tout ce qui touche, de près ou de loin; le contact. La séparation des sexes est comblée par le voyeurisme, qui prend pour objet un monde féminin fantasmé et parfois menaçant. L'axe dramatique qui conditionne le traitement cinématographique de la sensualité, est la séparation spatiale et sociale des sexes.Qu'entend-on par sensualité dans un système de séparation des sexes ? La sensualité est le plaisir même, en passant par le regard, le toucher et par l'apparence. Comment cette sensualité est-elle permise ou non permise ? Le phénomène de la séparation des sexes relatif à la société tunisienne, est marqué dans le corps lui-même par le moyen de la distinction et des types de comportements requis de part et d'autre. L'entre soi du genre peut glisser vers des thématiques homosexuelles fortement allusives. / The various taboos in the contact between the sexes in Muslim culture lead to questioning the relationship between the moral and institutional foundations and the representation of sensuality on the screen. The evolution of the expression of sensuality in Tunisian cinema is atypical: it evolved from a permissive regime in the 1960s to a regime of restrictions and prohibitions. The paradoxes of this evolution are that the liberal discourse has disappeared. The central problem is the relation of man's possession to the feminine nude, and, in an ancillary manner, his approach to sensuality, eroticism, and ail that touches, near or far; the contact. The separation of the sexes is filled by voyeurism, which takes as its object a feminine world fantasized and sometimes menacing. The dramatic axis that determines the cinematographic treatment of sensuality is the spatial and social separation of the sexes. What is meant by sensuality in a system of separation of the sexes? Sensuality is the pleasure itself, passing by the look, the touch and by the appearance. How is this sensuality allowed or not allowed? The phenomenon of the separation of the sexes relative to the Tunisian society is marked in the body itself by means of the distinction and the types of behaviors required on both sides. The inter-self of the gender can slip towards heavily allusive homosexual themes.

The aim for this essay is, along with the four included case studies, is to examine the social media platform, Instagram's strict guidelines when it comes to showing nudity.  On the platform there is a certain double standard, artists as well as art institutions are censored, that is, they get pictures removed or their accounts blocked when they try to show works that have nudity depicted, but at the same time nudity exists on the platform, this essay wants to highlight the double standard by setting the example that images from accounts of celebrities, which show as much nudity as a work of art, if not more, are allowed to be available on the social platform. This essay then also wants to emphasize that why it is this way is because fundamentally it is a social problem, it is the structures and norms that exist around us that are the contributing factors. How we see the ideal body and beauty and how the male gaze is the gaze that is precisely the dominant gaze. Another factor that this essay will analyse is the difference between art and pornography, and how it affects censorship among a number of artists. With the support of interviews and the theoretical frameworks, this essay will examine Instagram as a modern place to display art, while the platform is mostly double standards and bias. In addition, this essay will highlight that in the game of nudity celebrities have different and easier rules of the game, compared to artists, they are instead dealt with the strict rules of the game. / Målet med denna uppsats är tillsammans med de fyra inkluderade fall studierna, undersöka den sociala media plattformen, Instagrams strikta riktlinjer när det kommer till att visa nakenhet. På plattformen förekommer det en viss dubbelmoral, konstnärer samt konstinstitutioner blir censurerade, det vill säga, de får bilder borttagna eller deras konton blockerade när de försöker visa verk som har nakenhet avbildat, men samtidigt existerar det nakenhet på plattformen, denna uppsats vill framhäva den dubbelmoral genom att ge exempel på att bilder från kända personers konton, som visar lika mycket nakenhet som ett konstverk, om inte mer, får vara tillgängligt på den sociala plattformen. Denna uppsats vill då även framhäva att varför det är på detta sätt är för i grunden är det ett samhällsproblem, det är strukturer och normer som existerar runt omkring oss som är de bidragande faktorerna. Hur vi ser den ideala kroppen samt skönhet och hur den manliga blicken är den blicken som är just den dominanta blicken. En annan faktor som denna uppsats kommer analysera är skillnaden på konst och pornografi, och hur det påverkar censuren bland ett antal konstnärer.  Med stöd av intervjuer och de teoretiska ramverken kommer denna uppsats undersöka Instagram som en modern plats för att visa konst, samtidigt som plattformen är till mesta del dubbelmoralisk och bias. Dessutom kommer denna uppsats att framhäva att i spelet om nakenhet har kända personer andra och enklare spelregler, jämfört med konstnärer, de blir i stället utdelade de stränga spelreglerna.

Syfte och frågeställningar Målet med denna studie var att undersöka hur elever upplever omklädningsrummet och omklädningssituationeni skolan samt vad som påverkar upplevelsen. Syftet med studien var således att problematisera tidigareforskningsresultat kring upplevelsen av omklädningssituationen kopplad till prestation inom ämnet samt attutifrån den förståelse som dessa resultat genererar kunna föreslå åtgärder. Utifrån detta syfte formuleradesforskningsfrågorna “Hur upplever högpresterande respektive lågpresterande elever omklädningssituationen?” samt “Vilka faktorer anser högpresterande respektive lågpresterande elever påverkar situationen?” Teori och metod Studien utfördes i form av en komparativ undersökning med sex respondenter från en gymnasieskola iStockholms innerstad. Dessa var indelade i två elevgrupper utifrån hög/låg närvaro, höga/låga betyg samttidigare idrottsbakgrund. Materialet skapades genom kvalitativa intervjuer av reflexiv och semistruktureradkaraktär, transkriberades sedan med orthographic och analyserades slutligen med inspiration från kvalitativ ochtematisk meningsinnehållsanalys. Det teoretiska ramverket för analysen bottnade i strukturalistisk,poststrukturalistisk och poststrukturalistisk feministisk teoribildning inspirerad av bland annat Pierre Bourdieu, Michel Foucault, Jean-Paul Sartre och Jean Baudrillard. Resultat Gemensamt för eleverna i båda grupperna är att de inte använder skolans duschar och även till viss del undvikerskolans omklädningsrum. Sammanhanget kring både dusch och ombyte upplevs som mer eller mindreobekvämt, onormalt och exponerande. Det sociala sammanhanget, nakenhet i grupp och den egna kroppen iandras ögon ses som centrala faktorer. Även tidsbrist, schemaläggning och behovet att ta med sig en handdukmenas påverka. De två elevgruppernas upplevelser verkar enbart skilja sig i viss mån från varandra. Dehögpresterande eleverna ser skolämnet som något positivt, ser det fysiska rummet som bristfälligt och önskarförändringar i schemat i högre grad. De lågpresterande eleverna verkar i högre grad se handduken som ett problem. Slutsatser Den vanligaste orsaken till att undvika dusch eller ombyte verkar handla om vad som anses normalt, snarare änupplevt obehag på grund av nakenhet. De elever som har större erfarenhet av idrottsverksamhet utanför skolanverkar dock vara mer bekväma med både ombyte och nakenhet i grupp, något som förklaras genom habitus ochsymboliskt kapital. Nakenhet och exponering är dock centrala faktorer för vissa elever. Upplevelsen av att kroppen som både objekt och subjekt inte lever upp till de förväntade kraven skapar tillsammans med en upplevelse av övervakning och dömande blickar ett beläggande av skuld- och skam på sig själv. Ett samband mellan hög frånvaro, låga betyg, en negativ inställning till ämnet och obehag kopplat till omklädningsrummet motsägs delvis av denna studie. Det är snarare upplevelsen av normalitet i sammanhanget som påverkar valet attanvända dusch- och omklädningsrum eller inte, oavsett närvaro, betyg eller inställning. / Aim and research questions The aim of this study was to investigate how students experience their school’s changing room and whatinfluences this experience. The purpose of the study was thus to problematize previous research results regarding the experience of the changing situation linked to performance within the school subject and to beable to propose measures based on the understanding these results generate. Based on this aim, the following research questions were formulated: "How do high-achieving and low-achieving students experience the changing situation?" and "Which factors do high-achieving and low-achieving students think influence thesituation?". Theory and method The study was carried out in the form of a comparative survey with six respondents from an upper secondaryschool in inner city Stockholm. These were divided into two student groups based on high/low attendance,high/low grades and previous sports background. The material was created through qualitative interviews of areflexive and semi-structured nature, then transcribed using orthographic and finally analyzed with inspirationfrom qualitative and thematic content analysis. The theoretical framework for the analysis was rooted instructuralist, poststructuralist and poststructuralist feminist theorizing inspired by, among others, Pierre Bourdieu, Michel Foucault, Jean-Paul Sartre and Jean Baudrillard. Results Common to the students in both groups is that they do not use the school's showers and also to some extentavoid the school's changing rooms. The context surrounding both showering and changing is experienced asmore or less uncomfortable, abnormal and exposing. The social context, group nudity and one's own body in theeyes of others are seen as central factors. Lack of time, scheduling and the need to bring a towel are also said tohave an effect. The experiences of the two student groups only seem to differ from each other to a certain extent. The high-achieving students see the school subject as something positive, see the physical space as deficient anddesire changes in the schedule to a greater degree. The low-achieving students seem to see the towel as aproblem to a greater extent. Conclusions The most common reason for avoiding showering or changing appears to be about what is considered normal, rather than perceived discomfort due to nudity. However, the students who have more experience of sportsactivities outside school seem to be more comfortable with both changing and nudity in a group, something thatis explained by habitus and symbolic capital. However, nudity and exposure are central factors for somestudents. The experience that the body as both object and subject does not live up to the expected requirements,together with an experience of surveillance and judgmental looks, creates a coating of guilt and shame ononeself. An association between high absenteeism, low grades, a negative attitude towards the school subjectand discomfort linked to the changing room is partially contradicted by this study. Rather, it is the experience ofnormality in the context that influences the choice to use the shower and changing rooms or not, regardless of attendance, grade or attitude.

This study unveils the perceptions, real-life experiences and thought-processes of contract workers who dedicate their lives to the Christian faith, values and belief-system, but simultaneously endeavour to establish and follow a successful career in the volatile, cut-throat, non-Christian-based (“hedonistic”) occupational entertainment commerce. The researcher embarked on this study with a qualitative, interpretivist research approach. Data was gathered through in-depth, unstructured, face-to-face interviews with a sample of nine research participants. The sample consists of student entertainers; entertainers in the public eye, but not yet established; as well as entertainers who have successful established careers with loyal national and international audiences in the Entertainment Industry. The researcher explores and seeks to understand the core values and belief systems of the research participants with regards to their Christian religious orientation, which is statistically verified to be the most prevalent religious practise in South Africa (Nation Master, 2013; Religious affiliation by country, 2010). Hence, the research findings with regards to Christians’ approach and attitude towards their careers will contribute to a better understanding and management of the majority of the workforce in South Africa. Moreover, the expected norms, values and work ethic of the Entertainment Industry in South Africa are exposed in this study. Although existing literature upholds that the Entertainment Industry is an exceptionally unstable work environment compared to other corporate industries, this research study adds significantly to current literature as viable causes for the unstable occupational environment are also investigated and presented. Previous research only addressed several aspects of the effect on one’s career advancement if an individual’s core value system differs from the accepted norms in an organisation or industry in general. This study subsequently reveals the personal- and occupational challenges that Christian entertainers encounter in an Entertainment Industry in South Africa and how they subsequently aim to decrease the cognitive dissonance that they experience due to continuous role conflict between moral obligation and the vital necessity for employment and career advancement. The findings of this study correlate with previous research as it indicates that the research participants will generally choose and prioritise their personal core values- and moral belief system above contradictory social and professional career demands and expectations. / Dissertation (MCom)--University of Pretoria, 2014. / gm2014 / Human Resource Management / unrestricted

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