Made available in DSpace on 2016-04-26T18:17:09Z (GMT). No. of bitstreams: 1 Marcelo Santos de Moraes.pdf: 1827219 bytes, checksum: 705e64c43f201be3d0a943851ce4ef09 (MD5) Previous issue date: 2008-05-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work takes as a beginning point the conception that image, now days, can be consedered the most important social code. This hipotesis is formulated through a systemic approach, inside the communicational field, attempting to the movements of meaning production, reception and mediation. On one side, there is a technovision making human eyes perceiving up to 80% of everything men receives from outside, and in the other, the increasing conditioning of cognition and psych to visual information; between both, the image itself unavoidably corporeal -, assuming the position of mediator of social representations. As a counterpoint, it have been decided to study blind women, trying to understand how they deal with an environment that claims, especially from females, the corporal adoration - the feminine identity itself -, propagated by publicity, movies, television, it means, the vidoesphere proposed by Debray. Among the results, it was possible to evidence that even without seeing, many blind women cares about the visual universe, trying, somehow, to insert themselves on it for social interaction / O presente estudo parte do pressuposto que, hoje, a imagem tenha se convertido no mais importante código comunicativo dentro da sociedade. Tal hipótese é formulada a partir de uma perspectiva sistêmica, dentro do campo comunicacional, na qual se consideram os movimentos de produção, recepção e mediação de sentidos envolvidos no ato comunicativo. De um lado, uma tecnovisão que delegou aos olhos a responsabilidade por até 80% de tudo percebido pelo homem e, do outro, o crescente condicionamento da cognição e da psique às informações imagéticas; entre ambos, a própria imagem inevitavelmente corporal -, assumindo o papel de mediadora nas representações sociais. Como ponto de inflexão, optou-se por fazer um estudo empírico com mulheres cegas, na tentativa de observar de que forma, privadas de enxergar, elas se relacionam com um ambiente onde se exige, especialmente da mulher, o culto à corporeidade a própria identidade feminina -, propagado através da publicidade, dos filmes, da televisão, enfim, da videosfera sugerida por Debray. Dentre os resultados obtidos, a constatação de que, mesmo sem enxergar, muitas cegas dão grande importância ao plano visual, tentando, de algum modo, nele inserir-se para interagir socialmente

Dans ce travail de thèse, nous avons confronté l’explication du fitness model à celle du stéréotype beautiful is good, afin de mieux saisir l’influence de l’attractivité faciale d’un homme sur les préférences d’une femme. Selon le fitness model, une femme interprèterait l’attractivité faciale d’un homme comme l’indice de sa bonne santé (bonne condition génétique), profitable à la survie et au succès reproducteur de la progéniture. Mais selon des travaux en lien avec l’aisance cognitive (prototype, stéréotype beautiful is good), les traits attractifs et l’attention qu’une femme manifeste pour l’attractivité faciale d’un homme n’auraient pas de valeur reproductive, et s’expliqueraient plutôt en termes de facilité de traitement et d’économie cognitive, qui génèrent des réactions positives. Nous avons eu recours à un logiciel de ‘morphing’ afin de créer des visages artificiels d’hommes dont le genre, la correspondance à une moyenne et la symétrie variaient, et les avons fait évaluer par des femmes françaises et marocaines sur différents points : attractivité faciale, santé, revenus, rencontre, partenaire sur le long terme. Les résultats mettent en évidence que l’influence de l’attractivité faciale sur les préférences des femmes n’aurait pas seulement une valeur reproductive, et que l’économie cognitive permise par le recours au stéréotype beautiful is good expliquerait aussi les préférences. / In this work of thesis, we compared the fitness model explanation with the beautiful is good stereotype point of view to better evaluate the influence of men’s facial attractiveness on women preferences. According to the fitness model, a woman would interpret men’s facial attractiveness as an indicator of their good health (good genetic condition), profitable for the offspring’s survival and reproductive success. But according to studies in the field of cognitive ease (prototype, beautiful is good stereotype), the attractive facial features and the attention that a woman pay to men’s facial attractiveness is explained in terms of easy processing and cognitive economy, which generate positive reactions and would have no reproductive value. We used a software of morphing to create artificial men’s faces among which the masculine vs feminine, the averageness and the symmetry were manipulated. After, we submitted these faces to the evaluation of french and moroccan women on several aspects : facial attractiveness, health, income, meeting, long-term mate. The results suggest that facial attractiveness’s influence on women’s preferences would not only have a reproductive value, and that the cognitive economy allowed by the beautiful is good stereotype would also explain the preferences.

L’œuvre de l’Autrichienne Elfriede Jelinek (Prix Nobel de Littérature en 2004) est ici approchée par la bande, c’est-à-dire par les « petits textes » rédigés tout au long de sa carrière en marge de ses pièces et romans. Textes de circonstance, ces essais reposent sur un paradigme esthétique spécifique que le présent travail se propose d’exposer en revenant à leurs conditions de publication initiales. On s’aperçoit ainsi qu’il s’agit de textes de commande véhiculés par des supports médiatiques différents du livre (revue, tract, programme, internet) et qui impliquent une réception particulière, induite par leur dispersion et leur fugacité. La présentation du corpus se fait sur fond des grandes césures de l’œuvre jelinekienne mais aussi de la littérature autrichienne d’après 1945, recomposant le réseau personnel et professionnel de l’auteur et la réintégrant dans sa génération. Trois chapitres sont consacrés à une analyse détaillée des textes. Celle-ci montre d’abord la genèse progressive de leur thématique centrale, à savoir la possibilité d’une œuvre féminine. Elle s’attache ensuite aux trois principes fondamentaux de leur style que sont l’évidement, le paradoxe et la fluidification. Elle étudie enfin le rapport au lecteur conçu sur le mode du brouillage et de l’interférence, qui permet, pour un temps, de prolonger la vie de textes dont le sens tend à s’obscurcir rapidement. Les notions de relation et de singularité sont placées au cœur de cette thèse, identifiées comme l’enjeu esthétique et politique majeur du corpus mais aussi d’une partie de la tradition du genre dont quelques définitions emblématiques (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek) sont discutées. / This thesis discusses the work of the Austrian writer Elfriede Jelinek (Nobel Prize for Literature 2004) from its margins, from a corpus of “short texts” written from the beginning of her career beside her novels and plays. As occasional prose, these essays are grounded in a specific aesthetic paradigm, which this dissertation seeks to define by examining their original conditions of publication. This method brings to light that these are commissioned works, released on very different media formats than a book (journals, flyers, programs and the internet), which have their own mode of reception due to their volatility in space and time. The corpus is presented against the backdrop of Jelinek’s main work and its major turning-points. It is also set in the context of Austria’s post-1945 literature according to the author’s personal and professional network in order to reintegrate Jelinek in her generation. Three chapters are then dedicated to a detailed analysis of the texts. This thesis highlights the slow genesis of their main theme, the possibility of a feminine work of art. Then it studies three characteristics of their style - hollowing, paradox and liquidity. Lastly, it deals with the relation to the reader, conceived as jamming and interference, both allowing, at least for a time, to prolong the text’s meaning, as it otherwise tends to become more and more obscure. Relation and singularity are key notions of this thesis, considered as the main aesthetic and political issues of its corpus, being also part of the essayistic tradition, discussed through some canonical definitions (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek).

La notion d'identité implique certains présupposés de droit privé dont latendance est marquée par certains «généricismes». L'on peut entendre par là lesconceptions qui limitent la définition du genre humain à des traits catégoriels etabstraits, sans suffisamment prendre en compte des particularités sexuellementdifférenciées. Pourtant, le sujet de droit lorsqu'il est féminin doit impliquer la prise enconsidération de singularités liées à son sexe, qui ne peuvent être les mêmes quecelles d'un sujet de droit masculin.Sous couvert de l'égalité des sexes, le droit engage alors la société à uneuniformisation des intérêts cependant divergents et propres à chaque sexe. Il s'agitalors de montrer à la fois l'apport de ces conceptions, mais aussi leurs limites et doncla nécessité de s'ouvrir à l'exigence de conceptions plus «universalistes». En effet, ildoit être démontré que seule une universalité peut garantir la reconnaissance desparticularités et des différences féminines, telle qu'une identité juridique fémininel'admettrait. Si cette étude fera face à divers courants et auteurs de philosophie dudroit, elle prendra pour point de départ le droit positif établi dans ses différentesdisciplines, du droit pénal à certains aspects du droit du travail ou du droit desassurances.L'intérêt de la question est de permettre une évaluation plus précise desqualifications autour de la femme comme sujet de droit singulier, et en intégrant lescritiques contemporaines, qui ont pu montrer l'insuffisance d'une pensée simplementgénérique pour traiter de questions aussi graves que la différenciation sexuelle quece soit en droit civil ou en droit social- critiques qui, néanmoins, n'ont guère assuméla voie épistémologique de la philosophie du droit dans sa spécificité. / The notion of identity involves the presuppositions of private law withwhich the trend is marked by some «genericisms». That means conceptions who limitthe human gender's definition in specific and abstract features and withoutconsidering the sexually differentiated peculiarities. Nevertheless, the subject of rightwhen it's a feminine subject implies the considering of sexual characteristics, whichcannot be the same that those of the male subject.On the pretext of the gender equality, the right submits then the society to astandardization of the divergent interests and peculiar to every sex. It is then aquestion of showing at the same time the contribution of these conceptions, but alsotheir limits and thus the necessity of opening to the requirement of more«universalist» conceptions. Indeed, it must be demonstrated that only a universalitycan guarantee the recognition of the peculiarities and the feminine differences, suchas a feminine legal identity would admit it. If this study will face diverse currents andauthors of philosophy of the right, it will take for starting point the substantive lawestablished in its various disciplines, the criminal law with certain aspects of the laborlaw or the insurance law.The interest of the question is to allow a more precise evaluation of thequalifications around the woman as the subject of singular right, and by integratingthe contemporary criticisms, who were able to show the insufficiency of a simplygeneric thought to deal with questions so grave as the sexual differentiation in thecivil or labor law- criticisms who, however, hardly accepted the epistemological wayof the philosophy of the right in its specificity.

<p>Uppsatsen syftar till att undersöka huruvida begrepp som maskulint och feminint kan uppfattas i den nonfigurativa bilden. Med exempel ur den abstrakta expressionismen studeras detta utifrån genus och semiotisk teori. Även konstvärldens roll i producerandet av genus undersöks. En mindre enkätundersökning och bildanalys ingår i studien.</p> / <p>This thesis purpose is to examine whether notions as masculine and feminine can be understood in a nonfigurative picture. Thru gender theories and semiotics some examples from the Abstract Expressionist movement are studied. The art world’s participation in construction of gender is also examined. A picture analysis supported by a small survey is also included in the study.</p>

The way towards an equal society, where both women and men has the same possibilities both private and in professional life, has been a long and still ongoing process. During my practical studies to become a recreation instructor I have noticed a difference between the children I have met in my workplace. What I saw was that girls and boys had a different approach towards their future, plus that the pedagogues at the school had different roles depending if they were men or women. In this study I have investigated which dreams and visions a group of after-school children has, plus how these distinguish between the genders. I have through group interviews, first three boys and then three girls, investigated how children look at their future focusing on career, spare time and familysituation. The questions have also focused on how children look at the schools pedagogues with gender as a premiss. My result shows that the children's vision on their future tends to look different between the genders. The boy’s focus more on a career in either rescue work or on a career were an academic education is required, with an active life on the side. Where the girls focus on working either as a model or a make-up artist, and building a family on the side. The children's answers also show that they see a difference between the female and male pedagogues, where the men are more playful and fun, whilst the women are more helpful and experienced in craftsmanship and likewise. This means that the female and male pedagogues at the school assume different roles that in the long run probably affect the children and their views on feminine and masculine. The study´s result also grounds in different theories about gender plus earlier research in the subject.

Uppsatsen syftar till att undersöka huruvida begrepp som maskulint och feminint kan uppfattas i den nonfigurativa bilden. Med exempel ur den abstrakta expressionismen studeras detta utifrån genus och semiotisk teori. Även konstvärldens roll i producerandet av genus undersöks. En mindre enkätundersökning och bildanalys ingår i studien. / This thesis purpose is to examine whether notions as masculine and feminine can be understood in a nonfigurative picture. Thru gender theories and semiotics some examples from the Abstract Expressionist movement are studied. The art world’s participation in construction of gender is also examined. A picture analysis supported by a small survey is also included in the study.

This thesis discusses the relationship between the experiences particular to the female body, namely pregnancy and childbirth, and the language employed to voice these experiences. This thesis is set up to reflect the physical cycle of pregnancy and birth. It is divided into three chapters. The first chapter discusses the desire for and the conception of a new use of language, a language equipped to carry the messages, creations, and voices of women. The conception of an expansion of language and the physical conception of a child are paralleled. In this chapter, poetry about wanting to write, wanting to become pregnant, and conception are used as examples of the emergence of the expanded language. In Chapter Two, the incubation of this new language is discussed, its many components and characteristics are described, and the discussion of the possible existence of a womens language is continued, by again analyzing a selection of poetry written by women. In this chapter, poetry about pregnancy and childbirth are used to exemplify the use of this language. The discussion of the gestation and birth of the expanded language with the physical gestation and birth of a child are paralleled. In Chapter Three, this notion of a womens language is further discussed, using poetry about new motherhood to demonstrate the effectiveness and existence of new ways to employ our given language. The discussion of what comes after the birth of a new, expanded language is paralleled with the experiences of a mother after the birth of her child. The ultimate conclusion of this thesis is that there is no one language that women do or should employ when writing, but a movement toward writing through the body when writing about the body, about experiences solely experienced by women.

University of Macau / Faculty of Business Administration / Department of Management and Marketing

In a heteronormative society where hegemonic masculinity prevails, beauty is often synonymous with, and presented as, feminine. For example, pictures of tall, thin women with perfect teeth and perfect skin gloss the covers of magazines and other forms of media as representative of some beauty ideal. This “ideal” is the barometer by which, on many levels, all women are judged. While some women may choose to ignore these messages, few women can always escape comparison. Our society constantly informs us that appearance matters. More specifically for women, a feminine physical appearance is often considered “ideal.” But what exactly does this construct, feminine, signify? Fundamentally, femininity is not static. To speak of it as a logical, simple construct is problematic for it means different things and is expressed in different ways in different environments. Furthermore, to assert one definition by which all others will be measured is difficult in that it presumes a homogenous population and/or idealizes one specific representation. In this research project I conducted in-depth interviews with 43 non-heterosexual women to discern how they constructed “femininity.” What did it look like? What meanings did it connote? When was it important and how was it negotiated? Applying a cognitive sociological lens and using grounded theory methods, I describe what femininity, or arguably femininities, look(s) like within this subpopulation. This project contributes to and extends the literature on gender, sexuality, and appearance. It does this by demonstrating the importance of analyzing non-heterosexual women’s experiences and understandings of femininity within a patriarchal society that valorizes hegemonic masculinity. Most literature contemplating appearance and related misogynistic messages emphasizes a heteronormative perspective. However, feminine and femininity uniquely impact non-heteronormative women. Non-heterosexual women must negotiate both misogynistic and heterosexist messages concurrently. By simultaneously addressing this “double” subordination or marginalization, this research endeavors to provide a more comprehensive overview of meanings and ramifications of appearance choices.