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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.

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

<p>Koreodrama je jedan od oblika pozori&scaron;ne igre u kojoj se insistira na sintezi različitih oblika ispoljavanja: pokretom, muzikom, rečju. Ne postoji jedna definicija koreodrame s obzirom na vreme kada se pojavila i na umetničke i dru&scaron;tvene prilike u kojima su pojedine snažne koreografske ličnosti stvarale do danas u svetu i Srbiji. Istražuju se praktične i teorijske dimenzije koreodrame kao zasebnog pozori&scaron;nog žanra sa stanovi&scaron;ta forme koja doprinosi razvoju rodnih studija, pre svega diskusijom o emancipaciji ženskog tela.<br />Cilj ovoga rada je da prikupi, sistematizuje i interpretira podatke o razvoju koreodrame u Srbiji tokom 20. veka i njenom vidljivom prodoru u pozori&scaron;noj umetnosti 21. veka - kako bi se jasno pokazale zasluge žena u afirmaciji ovog pozori&scaron;nog usmerenja.<br />Hipoteza je da je koreodrama izmenila odnos prema igri, odnos prema drami i odnos prema ženskom telu.<br />Savremene teorija roda vode računa o osobinama identiteta žena (i mu&scaron;karaca) i tumače ga kao promenljivu pojavu kompleksnog sadržaja, sastavljenu od vi&scaron;e različitih komponenata (Duhaček, 2011; 2014). U tumačenju osobina identiteta četiri odabrane umetnice koristimo holistički teorijski pristup savremenih teorija (poststrukturalni, postmoderni i interkulturalni feminizam), a metodom analize diskursa takav teorijski pristup proveravamo. Takav teorijski pristup uzima u obzir ne samo verbalnu poruku, nego podjednako i kontekst u kojem se verbalni i neverbalni događaj ispoljava i same sagovornike.<br />Promenljivost identiteta je osnova ovakvog teorijskog pristupa, dokumentovana na empirijskom materijalu života i stvarala&scaron;tva umetnica u Srbiji u 20. veku.<br />Metod istraživanja se oslanja na analizu teksta, odnosno dva su osnovna metoda (Savić, 1993): analiza tekstova i analiza razgovora (diskursa).<br />Rezultati pokazuju da su se u Srbiji koreodramom bavile uglavnom umetnice izrazite individualnosti i obrazovanja, o kojima je samo delimično pisano u domaćoj literaturi kada je u pitanju odnos roda i koreodramskog postupka stvaranja, odabiranja sadržaja i afirmisanja u javnom prostoru: Maga Magazinović, Smiljana Mandukić, Nada Kokotović i Sonja Vukićević.<br />1.Vlastitim umetničkim i pedago&scaron;kim delovanjem na&scaron;e četri umetnice doprinele su &scaron;irenju znanja o igri u Srbiji uop&scaron;te, posebno novom poimanju oslobođenog tela (i to ne samo u igri);<br />2 Njihov doprinos se ogleda u ukupnoj emancipaciji žena (u profesiji, u porodici i dr.);<br />3. Sada je poznato da je uporedo tekla borba za ravnopravnost žena u dru&scaron;tvu sa afirmacijom moderne igre i koreodrame u Srbiji.<br />4. Rad četiri umetnice je uticao na formiranje stvarateljki nove generacije koreografkinja u Srbiji u 21. veku.<br />Zaključujem da postoji kontinuitet u afirmisanju žanra koreodrame u pozori&scaron;nom životu Srbije od periferije ka centru umetničkog događanja.<br />Podaci iz ovog istraživanja se mogu neposredno uključiti u postojeće kurikulume o savremenoj igri na Akademiji umetnosti, s jedne strane, i u obrazovni program iz muzičke i pozori&scaron;ne umetnosti u srednjim &scaron;kolama, s druge strane.</p> / <p>Choreodrama is a form of theatrical dance which insists on the synthesis of different forms of expression: movement, music, word. There is not a unique definition of choreodrama given the time when it appeared on the artistic and social situation in which some strong choreographic personalities have created to this date in the world and Serbia as well. The practical and theoretical dimensions of choreodrama as a separate genre are examined from the standpoint of form which contributes the development of gender studies, especially the discussion on the emancipation of the female body.<br />The aim of this study is to gather, systematize and interpret information on the development of choreodrama in Serbia during the 20th century and its visible breakthrough in the art of theatre of the 21st century - in order to clearly show the merits of women in the promotion of this theatrical direction.<br />The hypothesis is that choreodrama has changed attitude towards dance, the attitude towards drama and relationship to the female body.<br />Contemporary theories of gender pay special attention on the characteristics of women&#39; identity (and men&#39; as well) and interpret it as the emergence of a complex variable content made up of several different components (Duhacek, 2011; 2014). In identity characterics interpreting of four selected artists we use a holistic theoretical approach to contemporary theories (poststructural, postmodern feminism and intercultural feminism) and this theoretical approach can be checked by method of discourse analysis. Such an approach takes into account not only the verbal message, but also the context in which the verbal and non-verbal situations are manifested, as well as interlocutors themselves. Variability of identity is the basis of this theoretical approach, documented in the empirical material of the female artists&#39; lives and work in Serbia in the 20th century.<br />The research method relies on the analysis of the text or, to be precise, two basic methods (Savić, 1993): analysis of texts and conversation analysis (discourse). The results show that in Serbia mainly female artists of great individuality and education dealt with choreodrama and they were only partly written about in our literature concerning the relationship of gender and choreodrama process of creation, selection of content and affirmation in the public area: Maga Magazinović, Smiljana Mandukić, Nada Kokotović and Sonja Vukicevic.<br />1.With their personal artistic and pedagogical functioning, our four women artists have contributed to spreading the knowledge about dance in Serbia in general, especially the new understanding of the liberated body (and not only in dance);<br />2. Their contribution is reflected in the total emancipation of women (in their profession, family, etc.);<br />3Now it is known that the struggle for women&#39;s equality in society was lead simultaneously with the affirmation of the modern dance and choreodrama in Serbia.<br />4. The work of these four female artists has influenced the work of the creators of a new generation of choreographers in Serbia in the 21st century.<br />I conclude that there is continuity in the promotion of the choreodrama genre in Serbian theatrical life from the periphery to the center of artistic events.<br />The research information can be directly incorporated into existing curricula of contemporary art at the Academies of Arts, on the one hand, and in the educational programme of music and theatrical art in secondary schools, on the other hand.</p>