[ES] La fotografía, no sólo ha favorecido, que en la era de la imagen los contenidos visuales se expandan e involucren en todas las áreas de la vida; sino que ha posibilitado la hibridación de lenguajes pertenecientes a diversas esferas culturales. La consideración de la fotografía como soporte artístico, supuso tan sólo el inicio de un proceso que ha terminado copando casi todas las áreas conceptuales de la imagen. La fotografía artística fue pionera en desacralizar las realidades silenciadas, en volcar sobre papel los tabúes sociales, y dotar de consideración estética a las verdades incómodas. El surgimiento de la tecnología digital, la expansión de Internet y la industrialización de la cultura, han sido determinantes para que el retrato de lo outsider sea visto como un elemento clave para favorecer el consumo cultural. En los albores del siglo XXI, arte y medios de masas han ido de la mano, para convenir productos visuales que parten de premisas análogas. La banalización de la violencia, la sexualidad, la enfermedad o la muerte, son tan sólo algunas de las áreas conceptuales más tratadas. / [CA] La fotografia, no sols ha afavorit, que en l'era de la imatge els continguts visuals s'expandisquen i involucren en totes les àrees de la vida; sinó que ha possibilitat la hibridació de llenguatges pertanyents a diverses esferes culturals. La consideració de la fotografia com a suport artístic, va suposar tan sols l'inici d'un procés que ha acabat copant quasi totes les àrees conceptuals de la imatge. La fotografia artística va ser pionera a dessacralitzar les realitats silenciades, a bolcar sobre paper els tabús socials, i dotar de consideració estètica a les veritats incòmodes. El sorgiment de la tecnologia digital, l'expansió d'Internet i la industrialització de la cultura, han sigut determinants perquè el retrat de l¿outsider siga vist com un element clau per a afavorir el consum cultural. En les albors del segle XXI, art i mitjans de masses han anat de bracet, per a convindre productes visuals que parteixen de premisses anàlogues. La banalització de la violència, la sexualitat, la malaltia o la mort, són tan sols algunes de les àrees conceptuals més tractades. / [EN] Photography has not only favored the expansion and involvement of visual content in all areas of life in the image era; rather, it has enabled the hybridization of languages belonging from various cultural spheres. The consideration of photography as an artistic medium was only the beginning of a process that has embraced almost all the conceptual areas of the image. Artistic photography was a pioneer demystifying silenced realities, turning social taboos onto paper, and giving to uncomfortable truths an aesthetic consideration. The emergence of digital technology, the expansion of the Internet and the industrialization of culture, were decisive for the portrayal of the outsider to be seen as a key element in favoring cultural consumption. At the dawn of the 21st century, art and the mass media have gone hand in hand, to agree on visual products that start from similar premises. The trivialization of violence, sexuality, disease or death, are just some of the most treated conceptual areas. / Esparza Parra, V. (2024). Asimilación de elementos outsider en la cultura de masas. La fotografía como catalizador de la banalización del tabú en el retrato de consumo [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202802

No description available.

published_or_final_version / abstract / English Studies / Master / Master of Arts

Ett grafiskt designprojekt, en booklet med fokus på PMS och PMDS. Innehållet i bookleten är objektivt och subjektivt i form av information samt visualiseringar. Personer med PMS eller PMDS har kommit till uttryck genom sina berättelser och självporträtt. / A graphic design project, a booklet that focuses on PMS and PMDD. The content of the booklet is objective and subjective with information and visualizations. Persons with PMS or PMDD has manifested through their stories and self-portraits.

The topic of this thesis is "Child and childhood in Vietnam". It focuses on the prenatal and the early period of childhood. The thesis uses a cultural anthropological point of view which emphasizes superstitious or taboo behaviour associated with the time of birth - pregnancy, childbirth, puerperium and child care. For the purposes of the thesis, the research was conducted in the north-east urban areas of Northern Vietnam. Since the myths, taboos and rituals tends to change, develop or even perish, it was necessary to limit the topic in terms of time. Therefore the work studies only three generations of Vietnamese women over a sixty-year period. The thesis is based not only on relevant literature but also on the field research conducted in Vietnam. The interviews and unobtrusive observation carried out among involved women extend the information gained from literature and also provide the women's personal point of view on childbirth and early childcare issues. The main objective is to answer how much the so-called "child's world" has changed in the three-generation period and to what extent the rituals, myths and taboos are still relevant to current issues in contemporary Vietnam. Key words: Vietnam, children, childhood, Vietnamese family, birth, child care, taboo, rituals, superstitions.

Encadré par la théorie et la méthodologie de la sémiologie des indices proposée par Anne-Marie Houdebine, ce travail analyse les relations homme/femme, sous le coup de la censure, dans le cinéma iranien postrévolutionnaire. L’analyse systémique permet de dégager d’abord les strates iconique, scénique, sonore et technique à l’intérieur du corpus des scènes de films. Ensuite, il met en évidence des éléments explicités qui montrent qu’au plan formel existe un certain nombre de récurrences dans toutes les scènes analysées quel que soit le film travaillé. Au plan de l’expression, une grammaire formelle de la relation homme/femme dans le cinéma iranien a été dégagée. Au plan du contenu, des illusions de proximité et de rapprochement, des déclarations d’amour, des propositions sexuelles, de l’érotisme ainsi que des relations amoureuses et sexuelles surgissent à travers différentes configurations syntagmatiques des indices tels que le regard, le geste avorté, la scène de retour, l’enfant, l’objet symbolique, l’extérieur, l’intérieur, la voiture, la cour, le hors champ, la transition et la musique. En construisant son espace comme l’architecture iranienne traditionnelle entre l’externe (espace réservé aux invités et aux étrangers à la famille) et l’interne (espace privé) mais également en s’emparant des figures de styles à l’instar de la poésie iranienne classique, le cinéma iranien parle pudiquement de l’amour et créé ainsi sa propre iranité concernant les relations homme/femme. / Using Anne-Marie Houdebine’s theory and methodology of semiology of indices, this work analyses the relationships between man and woman in the censured post-revolution Iranian cinema. The systemic analysis highlights the iconic, scenic, auditory and technical stratums within the movie scenes. It also shows explicit elements, which reveals the existence of a certain amount of repetitions on a formal scale in any analyzed film. We can see there is a formal grammar respected when it comes to the expression of man and woman relationships in Iranian cinema. Illusions of closeness, love declarations, sexual propositions, erotism, love and sexual relationships are suggested through various phrasal configurations of the indices, such as glances, abortive gestures, turn around scenes, images of the child, symbolic objects, outside and inside, car, courtyard, off screens, direct transitions and music. Iranian cinema chastely explores love, expressing its own Iranianity regarding relationships between man and woman, by constructing space in the way that traditional Iranian architecture does (external space for guests and internal for family and privacy), but also by using stylistic devices, as in classical Iranian poetry.

Cette étude traite des représentations littéraires du « démon de la fornication » et des notions avoisinantes du tabou et de la transgression dans la société tardo-antique de l’Orient chrétien à travers la lecture des Vies de saints. Elle focalise sur les « Vies de saintes prostituées » et celles « de saintes adultères », qui concrétisent les perceptions de l’homme tardo-antique autour de la question de la transgression des tabous sexuels. Mais à côté de la représentation littéraire de la transgression réelle (d’ordre principalement sexuelle) de normes sociales, nous serons étonnés de trouver d’autres formes de transgression, tantôt imaginaire tantôt réelle. Pour cette raison nous avons examiné d’autres cas « marginaux » de saints, dont les Vies nous fournissent des indices précieux sur toute la gamme de normes sociales et de prescriptions taboues de la société tardo-antique : la fuite du mariage, le refus du travail, l’homosexualité, la contestation du pouvoir (paternel et politique), la mendicité, le vagabondage, la folie et le rire n’étant que les plus importants. Pourtant, la seule énumération de ces sujets pose un autre problème éminemment plus important que la représentation littéraire, celui de la place des marginaux dans cette société. Quelle était la place, alors, de tous ceux qui étaient considérés comme des « rejetés » sociaux dans la société de l’Antiquité tardive, quelle était la place des prostituées, des adultères, des homosexuels, des fous, des clochards, des chômeurs, des vagabonds et quelles étaient les attitudes vis-à-vis d’eux et quelles répercussions sociales et psychologiques affrontaient-ils ? En essayant de répondre, nous avons essayé de mettre en avant l’hypothèse de l’existence d’une catégorie particulière de Vies de saints qui traiterait toutes ces questions taboues : les « Vies de saints populaires » dont les principales caractéristiques nous avons essayé d’établir et d’interpréter dans une synthèse historique qui conclue cette étude. / This study treats the literary representations of the “demon of fornication” and the adjacent notions of taboo and transgression in the late-antique society of Christian East through a close reading of the Lives of Saints. It focuses on the “Lives of Holy Harlots” and those of “Holy Adulteresses”, which materialize the late-antique man’s perceptions about the question of the transgression of the sexual taboos. But just along with the literary representations of social norms’ real transgression, mostly sexual, we can also find other forms of transgression, either real or imaginary. For this reason we have examined other cases of “border-line” saints, whose Lives provide us with precious indications about the whole range of social norms and the taboo limitations of the late-antique society: the denial of marriage and work, the homosexuality, the contesting of the paternal and political power, the begging, the wandering, the madness and the laughter, only being the most important. However, the simple enumeration of such subjects evokes the question of the position of the outcasts in this society. Which was the place of all those who were considered as social “rejections” in the late-antique society, which was the place of prostitutes, of adulteresses, of homosexuals, of foolish people, of the wandering or begging workless people, and which were the attitudes towards them or the social and psychological repercussions that they were obliged to confront? Upon trying to answer to these questions, we’ve stumbled upon the existence of a distinct category of Lives of Saints which treats all those taboo subjects: the “Lives of popular Saints” (or the “Popular Lives of Saints”), whose main characteristics we have tried to establish and to interpret in an historical synthesis that concludes this study.

[pt] O presente trabalho pretende enfocar algumas questões acerca do abuso sexual infantil. Informado pela teoria psicanalítica, estará buscando entendê-lo historicamente, dialogando, em alguns momentos, com a antropologia. Optamos por uma perspectiva que busque ver o sujeito que sofreu abuso sexual como alguém que pode se reconstruir, saindo da condição de vítima da sexualidade. Esse fenômeno está sempre envolto num muro de silêncio, que rouba a palavra das crianças e dos adolescentes, mantendo-os em -estado de sítio- . Foram feitas algumas ilustrações clínicas para que, entrando em contato com a crueza da questão, possamos melhor nos posicionarmos junto ao fenômeno do abuso sexual infantil. Trata-se de um trabalho sobre o silêncio em suas múltiplas acepções e sobre a possibilidade de escapar do lugar de vítima. Para isto recorremos ao conceito de resiliência e percorremos as relações existentes entre mito, tabu e lei, buscando sempre investigar e compreender os meandros onde se insere o abuso sexual infantil. / [en] This essay intends to show the issue of some questions about infant sexual abuse. Duly supported by the psychoanalytic theory shall seek to clarify it historically with close dialogue, in some parts of the essay, with the anthropology theory. We focused studies taking into consideration that person who has suffered from sexual abuse can rebuilt himself out of being merely a victim of the sexuality. Such phenomena is always wrapped in a wall of silence, that steals the word from children and teenagers, keeping them in a - state of siege - . Some clinical reports have been inserted in order to make immediate reference to this hard issue, to allow all interested parties a better understanding in connection with the childhood sexual abuse phenomena. Our work is about the silence in it s multiple meanings in order to scape the victim s role. To achieve that purpose we have recoursed to the resilience concept and went through the relations in myth, taboo and common law, trying to investigate and understand all the details about the infant sexual abuse.

<p>In this essay, I have investigated whether players of World of Warcraft change their language to suit the gender of the character they play. I have researched if there are gender differences that correspond to what is defined as male and female language in mixed-sex conversations. Chat-logs, collected during four participant observations, were used for making an analysis based primarily on research by Coates (1993) and Yale (2007). Seven features were selected for analysis: amount of participation, hedges, questions, directives and commands, taboo language, compliments and grammar. It was possible to discover gender differences, but these were not consistent in all areas of research. For example, female characters had a higher contribution than males, as well as a higher use of hedges and tag-questions among males, which contradicts previous research. The lack of consistency might be due to the fact that the participants do not specifically consider all areas as typically female or male, or their unawareness of these tendencies. We also need to consider disagreement in previous gender studies as well as folklinguistic belief. The explanation of the lack of consistent differences may be a more equal relationship between males and females in this context, or due to thepossibility that the participants, who are usually male, make use of their normal male language.</p>

<p>This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels <i>Muriel at Metropolita</i>n (1975) and <i>Amandla!</i> (1980), and several short stories from <i>Mihloti</i> (1984) and <i>Footprints in the Quag</i> (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.”</p><p>Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in <i>Muriel</i> which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in <i>Amandla!</i>. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from <i>Amandla!</i> to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.</p>