No description available.

No description available.

No description available.

This thesis, consisting of four chapters, explores female alienation and subjectivity as described by post-war French women writers. The first chapter will focus on critical and theoretical approaches to female alienation. Through feminist and Marxist criticism, I explore the condition of women as a dominated class. The second chapter examines literary strategies such as irony, humor, parody and satire used by the authors of my corpus to undermine and question gender stereotypes which they inherited from the tradition of the French novel. The third chapter is devoted to the issue of women novelists' uses of the figure of the naive female narrator. Through their reworking of this stereotype, they perform a political act of providing agency to a figure who was traditionally deprived of all agency. The fourth chapter analyzes the question of the female body. By playing with the concept of the grotesque female body and its representation, the novelists whom I study, attempt to liberate their female narrators from the status of an object and the influence of the beauty myth. What interests me most is the potential of feminist literature to create alternative representations of women in French literature. In the novels studied here, narrators move from a position of naivety and alienation to an unexpected sense of agency and subjectivity. / Thesis / Doctor of Philosophy (PhD) / This thesis examines the evolution of the representation of female alienation and female identity in the postwar French novel, as well as the textual strategies of resistance used by three postwar French women novelists to subvert and rework the trope of the naive female narrator. My research project highlights the emergence of female agency in the French novel in recent decades through the examples of novels by Christiane Rochefort, Marie Redonnet and Marie Darrieussecq. The novels studied in this dissertation feature the point of view of female narrators who move beyond their initial naivety and passivity to discover unexpected forms of agency.

Matryoshka is a poetry collection that inhabits the space between danger and desire. The poems are largely voice-driven and confessional, sprouting from a speaker who is somehow ruthlessly honest and deceptively evasive at the same time. She covets the domestic only to set it on fire. She runs for comfort and greets the comfortable with a knife. In the beginning of the collection, we see a speaker navigating her relationships with others. The poems in section one are seeped with intense longing and physical desire. In section two, we see the speaker turn her gaze inward and are met with a raw exploration of the self; a revelry of bad decision making, self-deception, and complicated sexuality. The collection leaves the reader curious and comfort-seeking. / Master of Fine Arts

This thesis intends to answers these questions: What did “curiosity” mean in the nineteenth century, and how do Charlotte Brontë's four major works represent such curiosity? How were women looked at, formulated, and situated under the nineteenth-century curious gaze? In order to answer these questions, this thesis examines Brontë's works by juxtaposing them with nineteenth-century exhibitions. Four chapters are thus dedicated to this study: in each a type of exhibition is contemplated, and in each the definition of “curiosity” is defined through the discussions of boundary-breaking. The first chapter discusses the metaphors of “cabinets of curiosities” throughout Brontë's texts. The most intimate and enclosed spaces occupied by women and / or their objects—attics, desks, drawers, lockets—are searched in order to reveal the secret relationship between Brontë's heroines and the objects they have hidden away, especially the souvenirs. From cabinets of curiosities the thesis moves to another space in which the mechanism of curiosity and display takes place—the garden. The second chapter thus discusses the supposed antithesis between the innocent and the experienced, between the Power of Nature and the Power of Man, by reading the garden imagery in Brontë's works along with nineteenth-century pleasure gardens and the Wardian case. The imagery of Eve is also taken into consideration to discuss the concept of innocence. In the third chapter, metaphors of waxworks and the Pygmalion myth are applied to discuss the image of women's bodies in Brontë's texts, and the boundary between the living body and the non-living statue is seen as blurred. In the final chapter, dolls' houses and their metaphors in Brontë's works are examined in order to explicate Brontë's concept of “home,” and the dolls' house thus poses a question on the relationships between the interior and the exterior, the gigantic and the miniature, and the domestic and the public spaces.

This thesis project is centered on the female body, specifically body image, in relation to Western, cultural images of women. This is a problem that has been around, essentially, since the beginning of Western art. While different scholars argue whether or not this problem has become worse, it is nonetheless problematic that we are still, in 2018, fighting patriarchy’s control of our bodies via body image. Grounding my project in Susan Bordo’s 1993 text Unbearable Weight: Feminism, Western Culture, and the Body, this thesis explores Bordo’s argument that the female body is culturally produced through the lens of Jean Baudrillard’s theory of simulation and simulacra. Reading Bordo via Baudrillard allows us to explore this age-old problem at a new angle, giving us new reasons that explain why we are still stuck in patriarchy’s chains. Through this lens, I demonstrate how and why Third-wave feminist activism (I focus specifically on the Body Positive Movement) is failing in their attempts to reclaim the female body: the issue lies within Third-wave activism’s desire to portray othered bodies as beautiful and desirable. This becomes problematic in the era of simulacra: abject bodies do not resemble the (un)real ideal so they become “unreal” in the eyes of society. This attempt to represent abject bodies (obese, racialized, trans, disabled) as beautiful results in stigmatization and disgust towards said bodies, and thus the Body Positive Movement leaves out abject bodies because these abject bodies cannot be seen as beautiful in a society that deems them unreal. I argue that in order to reclaim the female body, we must first reclaim the mind side of the mind/body dualism before we can successfully reclaim our bodies. To demonstrate how this is possible, I use Margaret Atwood’s novel Lady Oracle as a case study that not only shows how the female body is culturally produced in the era of simulacra, but also allows us to see how reclaiming the mind side of the binary does allow the protagonist, Joan, to reclaim her past and body as her own, without shame. It is through fiction that reality is represented, and I conclude my thesis with my own personal anecdotes, showing how resistance via fiction can transcend into real life and point to a new, hopeful future.

Este trabalho tem por objetivo analisar as representações sociais das Rainhas de Bateria das escolas de samba do grupo especial do Rio de Janeiro por meio das matérias publicadas no jornal popular O Dia. Também realizaremos a discussão acerca da ascensão e popularização do personagem diante da mídia. Como metodologia, utilizaremos a análise qualitativa de discurso, promovendo uma correlação entre as notas e reportagens publicadas no periódico, com o pensamento de autores que abordam comunicação, corpo e representações sociais. Também utilizaremos a análise quantitativa, que nos indicará, de maneira prática, se houve algum aumento das matérias produzidas sobre as Rainhas de Bateria na mídia popular carioca. Tal contribuição norteará nossa questão central, ou seja, a forma que o personagem Rainha de Bateria aparece no jornal O Dia, e, de que maneira esta mídia vem atribuindo, ao longo dos anos, destaque a essas mulheres. Assim, poderemos analisar se a popularização da imagem destas Rainhas, ultrapassa, no contexto atual, a imagem das próprias escolas de samba do grupo especial no Rio de Janeiro / This paper proposes a study on social representations of the Rainhas de Bateria of the principal groups of the samba schools of Rio de Janeiro, in the popular newspaper O Dia, since the appearance of the character until today. Among our main objectives, we can highlight the review about the rise of the character in the media and its popularity in carnival. As methodology, we will use a qualitative analysis and discourse analysis of the newspaper O Dia, correlating the facts published in the journal with the thought of authors who study social representations, body and communication. We will also make a quantitative survey in order to check the rise in the number of material produced about the character. This contribution will guide our central question, in other words, how the character Rainha de Bateria appears in the newspaper O Dia, and how this media gives prominence to the character in the contemporary world

Este trabalho tem por objetivo analisar as representações sociais das Rainhas de Bateria das escolas de samba do grupo especial do Rio de Janeiro por meio das matérias publicadas no jornal popular O Dia. Também realizaremos a discussão acerca da ascensão e popularização do personagem diante da mídia. Como metodologia, utilizaremos a análise qualitativa de discurso, promovendo uma correlação entre as notas e reportagens publicadas no periódico, com o pensamento de autores que abordam comunicação, corpo e representações sociais. Também utilizaremos a análise quantitativa, que nos indicará, de maneira prática, se houve algum aumento das matérias produzidas sobre as Rainhas de Bateria na mídia popular carioca. Tal contribuição norteará nossa questão central, ou seja, a forma que o personagem Rainha de Bateria aparece no jornal O Dia, e, de que maneira esta mídia vem atribuindo, ao longo dos anos, destaque a essas mulheres. Assim, poderemos analisar se a popularização da imagem destas Rainhas, ultrapassa, no contexto atual, a imagem das próprias escolas de samba do grupo especial no Rio de Janeiro / This paper proposes a study on social representations of the Rainhas de Bateria of the principal groups of the samba schools of Rio de Janeiro, in the popular newspaper O Dia, since the appearance of the character until today. Among our main objectives, we can highlight the review about the rise of the character in the media and its popularity in carnival. As methodology, we will use a qualitative analysis and discourse analysis of the newspaper O Dia, correlating the facts published in the journal with the thought of authors who study social representations, body and communication. We will also make a quantitative survey in order to check the rise in the number of material produced about the character. This contribution will guide our central question, in other words, how the character Rainha de Bateria appears in the newspaper O Dia, and how this media gives prominence to the character in the contemporary world

Orientador: Ernesto Giovanni Boccara / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T23:03:03Z (GMT). No. of bitstreams: 1 Ximenes_MariaAlice_D.pdf: 2735860 bytes, checksum: 3d3895755e9f44181b86c5416a3848bc (MD5) Previous issue date: 2009 / Resumo: A presente pesquisa tem como objetivo fazer uma homenagem à forma. A forma que forma e deforma, que reforma e transforma, que transcende e que tem vida. Que faz e desfaz, que nasce e morre. A forma que desenha o espaço, o corpo e o movimento. A forma pesquisada é a forma da saia na dança flamenca e seu movimento helicoidal. Movimento semelhante ao das galáxias, ao da cadeia de DNA, semelhante também à anatomia humana, o desenho dos ossos e músculos. Na capacidade de ser efêmera e jamais apreendida é que reside seu encanto. Também há uma forte razão em pesquisar a saia e a Espanha, terra dos meus precedentes, cultura em que cresci, além da paixão pelo vestuário, especialmente os de Andaluzia. O percurso nos mistérios e representatividade da vestimenta espanhola permitiu-me mergulhar nas mais incríveis histórias, desde as reais até as mitificadas no tempo. Conhecer a construção do país e entender como ele se formou permitiram-me desdobramentos de possíveis intersecções no resultado dos trajes. O mosaico de culturas trouxe descobertas incríveis na representação da mulher espanhola principalmente através de registros dos pintores dos séculos XVIII e XIX. Há uma natureza histórica na busca de identificar a formação da composição da roupa feminina espanhola, que, desde publicações vindas da Espanha, bibliografias de história da dança e do traje, até a profunda observação do corpo em movimento esculpindo formas delirantes que parecem um ciclone a desenhar os desenhos da dança. Palavras-chave: Corpo Feminino, História da Arte, História da Moda, Dança, Artes Plásticas, Espanha / Abstract: The present research aims to pay tribute to the shape. The shape that forms and becomes deformed, that reforms and transforms, that transcends and which has life. That does and undoes, that is born and dies. The shape that draws the space, the body and the movement. The shape of the present study is the shape of the skirt in the flamenco dance and its helicoidal movement. This movement is similar of those of the galaxies, the DNA chains, also similar to the human anatomy, the design of bones and muscles. It's in the capacity of being ephemeral and never understood that lies its charm. There's also a strong reason to research the skirt and Spain, home of my ancestors, culture in which I grew up, as well as the passion for the costume, especially from Andaluzia. The route in the mysteries and representativity of the Spanish costume, allowed me to immerse in the most incredible histories, from the real to the mythical ones of time. Knowing the construction of the country and understand how it was formed, enabled me to see the developments of possible intersections in the result of the costumes. The mosaic of cultures brought amazing discoveries in the Spanish woman's representation mainly through the records of the painters in the 18th and 19th centuries. There's a historical nature in the search of identifying the formation of composition of the Spanish woman's clothes, that from publications came from Spain, bibliographies of the history of dance and of the costume, to the profound observation of the body in movement sculpting delirious shapes that look like a cyclone drawing the designs of dance. Key Words - Female body; History of Art ; History of Costume ; Dance ; Fine art ; Spain / Doutorado / Artes / Doutor em Artes