Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-08-09T20:56:55Z No. of bitstreams: 2 Dissertação - Jaqueline dos Santos Cunha - 2016.pdf: 8823231 bytes, checksum: c2c066d328b463a4799f3ca0f32ff38c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-10T11:13:02Z (GMT) No. of bitstreams: 2 Dissertação - Jaqueline dos Santos Cunha - 2016.pdf: 8823231 bytes, checksum: c2c066d328b463a4799f3ca0f32ff38c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-10T11:13:02Z (GMT). No. of bitstreams: 2 Dissertação - Jaqueline dos Santos Cunha - 2016.pdf: 8823231 bytes, checksum: c2c066d328b463a4799f3ca0f32ff38c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-23 / Since around 1940s it has been debated about the impact of comic books in society. However, it was from no earlier than the 1970s, with the growing interest of scholars, they have come to be regarded as an artistic expression that can inform, criticize, maintain and/or subvert the norm. In an attempt to contribute to this discussion, this master dissertation investigates in a comparative perspective to what extent the comic books Miss Fury by Tarpé Mills and Wonder Woman by William Moultan Marston, both superheroine debuted in 1941, subvert the representation of the models of femininity in the 1940s. Tarpé Mills (1912-1988), throughout the Miss Fury, outlines an independent character, within the text, and an illustration that is coherent with the style of art that aligns the woman stereotypes of beauty and sensuality widespread at the time; she creates a super heroine and secondary characters marked by ruptures and continuity with the patriarchal discourses. In turn, William Moultan Marston (1893-1947) created within the text, a feminist superhero who would work as a new model of women, but like Miss Fury the illustration of Wonder Woman followed in affinity with the idea of promoting visual pleasure of the female body to the characters and readers, especially heterosexual readers. Thus, specifically, this dissertation analyzes the female representations and the ruptures with patriarchal discourse within the contradictory narratives. In order to accomplish my research goals, I have used the theories used in Women’s Studies (BEAUVOIR, 1949; WOLF, 2002) and in Comics Studies (MCCLOUD, 1995, 2006; WOLK, 2007). / Desde a década de 1940 tem se debatido acerca do impacto das histórias em quadrinhos na sociedade. No entanto, foi somente a partir da década de 1970, com o crescente interesse de pesquisadores acadêmicos, que elas passaram a ser analisadas como uma manifestação artística que pode informar, criticar, manter e/ou subverter a norma. Na tentativa de contribuir com essa discussão, esta dissertação investiga numa perspectiva comparada em que medida as produções quadrinísticas Mulher Pantera de Tarpé Mills e Mulher Maravilha de William Moutan Marston, ambas super-heroínas debutadas no ano de 1941, subvertem os modelos de representação da feminilidade na década de 1940. Tarpé Mills (1912-1988), por meio de um texto que delineia o perfil de uma personagem independente e de uma ilustração que coaduna com o estilo de arte que alinha a mulher aos estereótipos de beleza e sensualidade difundidos à época, constrói uma super-heroína e personagens secundárias marcadas pelas ideias de ruptura e continuidade com os discursos patriarcais. Por sua vez, William Moutan Marston (1893-1947) criou, no âmbito do texto, uma super-heroína feminista que serviria como novo modelo as mulheres, mas a exemplo de Mulher Pantera a ilustração seguia em afinidade com a ideia de promoção do prazer visual do corpo feminino para os personagens e para os leitores, especialmente para leitores homens e heterossexuais. Assim, especificamente, o propósito é analisar as representações femininas e perceber as rupturas com o discurso patriarcal no interior das contraditórias narrativas. Para desenvolver a pesquisa a que me propus, lancei mãos dos estudos sobre mulher (BEAUVOIR, 1949; WOLF, 2002) e dos estudos sobre histórias em quadrinhos (MCCLOUD, 1995, 2006; WOLK, 2007).

Made available in DSpace on 2017-07-10T17:30:27Z (GMT). No. of bitstreams: 1 ALINE MOTTER.pdf: 5912571 bytes, checksum: 3971e10b116314073fbde6bf06ac5870 (MD5) Previous issue date: 2014-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / On this research it has been analyzed the family farmers women participation on the milky activity. It has been used the patriarch concept for that, which consist in a domination system where there is the man supremacy on the woman. Such system exist as conductor as in social relations as economic and cultural, which the women have a inferior role, as in the public space as private. The Southwest region of Parana, especially the counties of Francisco Beltrão and Salto do Lontra, the objects of research are composed by a family agriculture, colonized from a patriarch and capitalist logic. The agriculture of this region has as base the production of grains from a technological package and the milky production that has become an important income source for the families for the farms since 1990. The milky production, which used to be an activity performed basically by women started being managed by men after the agriculture modernization. The sexual division of work is very intense in a patriarch system and the women are responsible for the daily chores (which demands more time) and the most of the time the work that is not paid ( as the house chores, cooking, taking care of children and elders). Besides to verify the devaluation of women work, it has been realized that the most of the cases are the men who represent the family in public spaces and the decision makings, being as a leader or even as a participant in the courses for technician capacitation. In this sense, although it has been standing out some social and economical advancements, mainly from the women struggles, specifically in the region of Southwest of Parana, through the unions and Women Movements, etc., even so the women were not able to break the patriarchal system of subordination and in the case of farmers they keep on dependents of men, mainly financially, because they are considered the bosses of productive units and most important representative of institutions related to family agriculture. / Nesta pesquisa, procuramos analisar a participação das mulheres agricultoras familiares na atividade leiteira. Para tanto, utilizamos o conceito de patriarcado, o qual consiste em um sistema de dominação, em que há supremacia do homem sobre a mulher. Este sistema vigora como condutor tanto de relações sociais quanto econômicas e culturais, em que as mulheres são relegadas a um papel inferiorizado, tanto no espaço público quanto no privado. A mesorregião Sudoeste Paranaense, em especial os municípios de Francisco Beltrão e Salto do Lontra, objetos de nossa pesquisa, são compostos por uma agricultura familiar, colonizada a partir da lógica capitalista e patriarcal. A agricultura desta mesorregião tem como base a produção de grãos a partir do pacote tecnológico da agricultura e a produção leiteira que se tornou importante fonte de renda para as famílias agricultoras principalmente a partir da década de 1990. A produção leiteira, que era uma atividade desempenhada predominantemente pelas mulheres, após modernização da agricultura e da própria atividade pecuária, passa a ser administrada pelos homens. A divisão sexual do trabalho é intensa no patriarcado e, as mulheres ficam responsáveis pelos trabalhos cotidianos (os quais demandam mais tempo) e pela maior parte do trabalho não remunerado (como na casa, com a alimentação, cuidado de crianças e idosos). Além da onstatação da desvalorização do trabalho da mulher, percebemos que na maioria dos casos são os homens que representam a família nos espaços públicos e de tomadas de decisões, seja como dirigente ou mesmo participantes das entidades representativas. Assim são eles que participam dos cursos de capacitação técnica. Neste sentido, embora destacamos que tenham ocorridos vários avanços sociais e econômicos, principalmente a partir das lutas das mulheres, no caso da mesorregião Sudoeste Paranaense, seja a partir do Movimento Popular de Mulheres, da participação das mulheres no sindicalismo, etc. ainda assim, as mulheres não romperam com o sistema patriarcal de subordinação e, no caso das agricultoras, continuam dependentes dos homens, principalmente financeiramente, pois eles são considerados os chefes das unidades produtivas e os principais representantes das entidades relacionadas a agricultura familiar.

Made available in DSpace on 2017-05-12T14:42:03Z (GMT). No. of bitstreams: 1 ALINE MOTTER.pdf: 5912571 bytes, checksum: 3971e10b116314073fbde6bf06ac5870 (MD5) Previous issue date: 2014-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / On this research it has been analyzed the family farmers women participation on the milky activity. It has been used the patriarch concept for that, which consist in a domination system where there is the man supremacy on the woman. Such system exist as conductor as in social relations as economic and cultural, which the women have a inferior role, as in the public space as private. The Southwest region of Parana, especially the counties of Francisco Beltrão and Salto do Lontra, the objects of research are composed by a family agriculture, colonized from a patriarch and capitalist logic. The agriculture of this region has as base the production of grains from a technological package and the milky production that has become an important income source for the families for the farms since 1990. The milky production, which used to be an activity performed basically by women started being managed by men after the agriculture modernization. The sexual division of work is very intense in a patriarch system and the women are responsible for the daily chores (which demands more time) and the most of the time the work that is not paid ( as the house chores, cooking, taking care of children and elders). Besides to verify the devaluation of women work, it has been realized that the most of the cases are the men who represent the family in public spaces and the decision makings, being as a leader or even as a participant in the courses for technician capacitation. In this sense, although it has been standing out some social and economical advancements, mainly from the women struggles, specifically in the region of Southwest of Parana, through the unions and Women Movements, etc., even so the women were not able to break the patriarchal system of subordination and in the case of farmers they keep on dependents of men, mainly financially, because they are considered the bosses of productive units and most important representative of institutions related to family agriculture. / Nesta pesquisa, procuramos analisar a participação das mulheres agricultoras familiares na atividade leiteira. Para tanto, utilizamos o conceito de patriarcado, o qual consiste em um sistema de dominação, em que há supremacia do homem sobre a mulher. Este sistema vigora como condutor tanto de relações sociais quanto econômicas e culturais, em que as mulheres são relegadas a um papel inferiorizado, tanto no espaço público quanto no privado. A mesorregião Sudoeste Paranaense, em especial os municípios de Francisco Beltrão e Salto do Lontra, objetos de nossa pesquisa, são compostos por uma agricultura familiar, colonizada a partir da lógica capitalista e patriarcal. A agricultura desta mesorregião tem como base a produção de grãos a partir do pacote tecnológico da agricultura e a produção leiteira que se tornou importante fonte de renda para as famílias agricultoras principalmente a partir da década de 1990. A produção leiteira, que era uma atividade desempenhada predominantemente pelas mulheres, após modernização da agricultura e da própria atividade pecuária, passa a ser administrada pelos homens. A divisão sexual do trabalho é intensa no patriarcado e, as mulheres ficam responsáveis pelos trabalhos cotidianos (os quais demandam mais tempo) e pela maior parte do trabalho não remunerado (como na casa, com a alimentação, cuidado de crianças e idosos). Além da onstatação da desvalorização do trabalho da mulher, percebemos que na maioria dos casos são os homens que representam a família nos espaços públicos e de tomadas de decisões, seja como dirigente ou mesmo participantes das entidades representativas. Assim são eles que participam dos cursos de capacitação técnica. Neste sentido, embora destacamos que tenham ocorridos vários avanços sociais e econômicos, principalmente a partir das lutas das mulheres, no caso da mesorregião Sudoeste Paranaense, seja a partir do Movimento Popular de Mulheres, da participação das mulheres no sindicalismo, etc. ainda assim, as mulheres não romperam com o sistema patriarcal de subordinação e, no caso das agricultoras, continuam dependentes dos homens, principalmente financeiramente, pois eles são considerados os chefes das unidades produtivas e os principais representantes das entidades relacionadas a agricultura familiar.

This paper addresses the collusion with and contradiction to patriarchal power structures of race and femininity in Yamada Eimi's Bedtime Eyes and Trash. In moments of Bedtime Eyes, particularly the final novella "Jesse," and Trash, Yamada contradicts her irresponsible portrayals of Japanese female and black male identity often found in her fiction. This paper will discuss ideological shifts in Yamada's narratives through a textual analysis of Bedtime Eyes and Trash, arguing that through changes in narrative that affect character development, "Jesse" and Trash begin to deconstruct some of the detrimental power structures that shape much Yamada's fictional works.

The Role of Religion in Ancient Civilizations: Select Readings addresses the importance of religion in ancient civilizations and encourages readers to evaluate these civilizations both historically and critically. The selected readings help readers understand civilizations as whole systems with not only social and political characteristics, but also religious ones. Topics include the establishment of patriarchal civilizations, Mesopotamian and Egyptian religion, and the early civilizations of Northwest India. Students also learn about the religions of ancient China and Japan, traditional African religions and belief systems, religion and burial in Roman Britain, and the great temples of Meso-American religions. The final selections are devoted to early Christianity, the Byzantine Empire, and Islam. Original introductions place the readings in context. Taken as a whole, these carefully curated articles demonstrate both the uniqueness of each religion and the traditions and practices that, over time, became interconnected and sometimes even fused to form new religions. The Role of Religion in Ancient Civilizations is well-suited to survey courses in world and ancient religions, as well as classes on religious history and the history of the ancient world. Kim Woodring earned her M.A. in history at East Tennessee State University and her M.L.I.S. in library and information science at the University of Tennessee. She is now a faculty member at East Tennessee State University where she teaches courses in American and world history and digital history. In addition to teaching, Professor Woodring also serves as the history department's webpage administrator and social media editor. Her professional writing has appeared in The Social Science of War Encyclopedia and Historical Archaeology. / https://dc.etsu.edu/etsu_books/1162/thumbnail.jpg

<p>Throughout history women have been subject to oppression by patriarchal society. </p><p>However, there have always been those who have tried to rise against it. This study will shed light upon one example: a female artist who personally defies the patriarchal norms at the same time as her music encourages others to do the same. The musician in question is Christina Aguilera, and the album studied is Stripped. </p><p>What this study shows is that Stripped can be read as a feminist statement. The lyrics deal with two main themes: patriarchal society’s objectification and oppression of women, and the struggles of love and relationships. What these two themes have in common is that they both encourage women to stand their ground and believe in themselves. </p><p>However, the lyrics on the album also suggest that Aguilera is aware of the fact that her message will not suit everyone. She knows that she works within an industry whose goal is to make money out of its artists, and therefore she has to keep repeating like a mantra to herself and to others that she, and her music, is not just a product of this industry. The message her music brings actually matters. </p><p>To come to this conclusion I have examined Aguilera’s lyrics in terms of what messages they bring and who their narratees might be, all in accordance with feminist narratology. Secondary sources from the fields of popular music studies, media studies and gender studies as well as interviews with and about Aguilera and biographies have been consulted.</p>

Throughout history women have been subject to oppression by patriarchal society. However, there have always been those who have tried to rise against it. This study will shed light upon one example: a female artist who personally defies the patriarchal norms at the same time as her music encourages others to do the same. The musician in question is Christina Aguilera, and the album studied is Stripped. What this study shows is that Stripped can be read as a feminist statement. The lyrics deal with two main themes: patriarchal society’s objectification and oppression of women, and the struggles of love and relationships. What these two themes have in common is that they both encourage women to stand their ground and believe in themselves. However, the lyrics on the album also suggest that Aguilera is aware of the fact that her message will not suit everyone. She knows that she works within an industry whose goal is to make money out of its artists, and therefore she has to keep repeating like a mantra to herself and to others that she, and her music, is not just a product of this industry. The message her music brings actually matters. To come to this conclusion I have examined Aguilera’s lyrics in terms of what messages they bring and who their narratees might be, all in accordance with feminist narratology. Secondary sources from the fields of popular music studies, media studies and gender studies as well as interviews with and about Aguilera and biographies have been consulted.

The aim of this study is to describe and to interpret how fathers are concieved by their children. Various aspects of the male parent and the relationship between the child and his or her father are beeing investigated from the childs point of view. Forming an understanding of the fathers significance from the childs perspective is of particular importance for the study. This perspective is being formulated from a position that looks upon the childs socialization and the identityshaping processes as primarily a matter of "what children do with what is done to children".The empirical data in the study was obtained by interviewing one hundred children, seven and ten year old girls and boys, partly from Umeå and partly from some small villages a few swedish miles away from the town. The semistructured interviews were made with children from five different schools and from eighteen different school-classes.Data show that a vast majority describe a fairly close relationship to a father with clearly anti-patriarchal characteristics. The middle-class father is seen as a more family-oriented parent, more equal to his spouse than the working-class father who is more likely of beeing described in traditional terms. Some gender-related patterns are shown that concerns different orientations towards the father. While the boys tend to view their fathers in direct relation to themselves - him and me - the girls are more likely to describe their male parents as familyfathers and from a perspective that sees him as a partner to the mother.From the characterization the children made of their fathers from the family-drawings, four different cateogories, representing various perspectives on the father, were identified: The Positive, the Ambigous, the Disappointed and the Neutral.The symbolic interactionism, based on the works of George H. Mead, is argued to be a fruitful theoretical framework for understanding the socializationprocess in which the childs concepts of its father are being shaped. From a perspective on the cultural modernization and its impacts on parenting and the relationship between fathers and children, it is also claimed that there are reasons to beleive that the tendencies of release from a traditional determination not only put new burdons on parents and children in modern society, but also provide a widening of possibilities and a powerful potential for forming more "normalized", non-authoritarian and non-oppressive, interaction-based relations betweenchildren and their fathers. / digitalisering@umu

The Female Voices of Islam is arguing for feminism to be regarded as a theory instead of an ideology so that the voices of contemporary female Muslims can be heard. This paper reviews the arguments of four such women: Amina Wadud, Fatima Mernissi, Asra Q. Nomani, and finally Zainab al-Ghazali. Collectively their discourses support equality for men and women within the Islamic tradition, while their individual ways of approaching the subject differ dramatically. Wadud and Nomani support the theory that an egalitarian ethic can be found in the roots of the Islamic tradition, in both text and ritual. Mernissi investigates how economic evolution of Islamic society stimulates a shift in spatial boundaries for Muslim women. Al-Ghazali does not address female inequality within the tradition, but advocates an egalitarian ethic through the example she sets in Egyptian society. She is concerned with a world wide observance of “true” Islam.

This thesis aims to read James Baldwin¡¦s Another Country to examine why and how he uses this novel to interrogate black nationalist discourses that inform the sexist and heterosexist biases in mid-century America. I would argue that Baldwin, in writing this novel, adopts an ambivalent narrative strategy both to ostensibly compromise on the heterosexual matrix politically and culturally scripted by black activists, and to critique the black hyperbolic masculinism endorsed and performed by them as itself a tragic consequence of white racism. Whereas black nationalists carry the Black Macho agenda into practice to redeem their manliness, Baldwin suspects that the heterosexist imperative of black machismo may end up infringing the rights of gender and sexual minorities. I thus argue, in Chapter One, that Baldwin writes Another Country to negotiate an oblique response to the conundrum he feels as both an artist and a black leader. To explain how his conundrum takes shape, I attempt in Chapter Two to lay bare the hegemonic masculinist ideologies embedded in anti-racist discourses. Drawing on this historical and theoretical investigation as my interpretive scaffold, I would in the following three chapters elaborate on how the novelist exemplifies his narrative technique via his male figures in Another Country. In doing so, Baldwin can, I would propose, assert that racial justice and sexual freedom must concur to effectuate blacks¡¦ autonomy. As such, I conclude my thesis by suggesting that Baldwin never intends ¡§another country¡¨ to be an idyllic landscape wherein Eric ostensibly plays out as a ¡§sexual savior¡¨ and betters other characters¡¦ self-recognition. Another Country instead illustrates a contested site where discourses on black nationalism, black male sexuality, and black masculinity come into a productive dialogism. Another Country, that is, can be best interpreted as Baldwin¡¦s investigation into the intersection of race, gender, and sexuality in the sixties, and his consistent reformulation of individual identity as fluid, labile, and multiple.