En s’emparant de la question ornementale, le cinéma s’inscrit dans une réflexion reliant les territoires balkaniques de l’art, au-delà de l’opposition entre les beaux-arts, les arts décoratifs et le design. La pensée de l’ornement au cinéma ne relève pas de l’évidence, tant il est vrai que l’histoire de la notion est marquée par sa relégation au seuil de la création artistique. Pourtant, il semble bien que l’ornement soit présent partout où il faut combler du vide, décorer un objet, embellir le corps. À quoi tient l’attrait de l’ornement au cinéma ? Quelles sont les relations qu’entretient le cinéma avec la pensée ornementale des images ? Contre le préjugé qui frappe l’ornement d’insignifiance, il semble nécessaire d’éclairer ses implications morales, sociales et politiques. À travers un corpus circonstancié qui se déploie à l’entour du cinéma, de l’histoire de l’art et de la culture visuelle, ce travail de recherche entend cartographier les enjeux critiques, formels et perceptifs du régime visuel de l’ornement. Penser l’ornement aujourd’hui, c’est opérer un basculement dans l’ordre des valeurs dont il se fait l’héritier. Il s’agit non seulement de faire retour sur son histoire et son élaboration conceptuelle, mais également d’emmener l’ornement vers un au-delà du discours de la subsidiarité pour établir une pensée dynamique de l’ornemental au cinéma. À travers différentes propositions théoriques, se formulent autant de constellations articulant les enjeux esthétiques, historiques et politiques de l’ornement : le régime de la dépense et le corps féminin en exercice, le processus de réification de « l’ornement de la masse » dans la modernité, le discours sur la couleur ornementale et la hantise cosmétique, les formes naturelles et abstraites, le paradigme du tapis et la texture des images, les états altérés de la perception. Les questions ornementales adressées au cinéma s’intègrent dans une pensée rénovée du style – point vif de la tension qui anime l’art et la vie – en tant que procédure de qualification des formes. / As it seized the ornamental issue, cinema has become part of a reflection process relating the scattered territories of arts, beyond the opposition between fine arts, decorative arts and design. Thinking the ornament in cinema is far from obvious, since this notion, throughout its evolution, has always been marginalized at the threshold of artistic creation. Yet, it does seem that the ornament is present wherever a void needs to be filled, an object to be adorned or a body to be embellished. What makes the ornament appealing in cinema? What relationships does the cinema hold with the ornamental visual thinking? To counter prejudices confining the ornament within insignificance, it appears necessary to clarify its moral, social and political implications. Through a detailed corpus spreading around cinema, history of art and visual culture, this research paper aims at mapping the critical, formal and perceptual issues of the visual regime of the ornament. Thinking the ornament today means swaying the order of the values it has inherited. It is not only about looking back on its history and its conceptual elaboration, but also about bringing the ornament beyond the subsidiary speech to establish a dynamic thinking of the ornamental in cinema. By way of different theoretical suggestions, many constellations are being elaborated. They connect the aesthetic, historical and political stakes of the ornament: the regime of consumption and the gestures of the feminine body, the process of reifying the “mass ornament” into modernity, the speech on decorative colour and the cosmetic obsessive fear, the natural and abstract forms, the carpet paradigm and the texture of images, the altered states of the perception of ornaments. The ornamental issues, which are addressed to the cinema, blend into a renovated thinking on style – central in the tension that stirs arts and life – as a process of qualifying forms.

This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.

傅敖斯的《法國中尉的女人》是否為一女性主義文本一直是批評家爭議的焦點;絕大多數的女性主義批評家都認為傅氏挑戰父權偏見不成而自陷 於其迷宮中。本論文旨在探討傅氏小說中女性主義議題,剖析小說人物的三 角關係與性別政治。 本論文共分四章:首章討論拉岡和李維史托從亂倫禁忌的情慾三角論 述;藉由女性主義家依希葛萊對拉岡和李維史托的批判和挪用,闡釋父權文化如何使女性在心裡和社會層面皆化為第二性。 第二章結合李維史托和依 希葛萊的理論,從查爾斯和提娜的婚盟以及查爾斯的紳士俱樂部集體嫖妓行 為,討論傅氏小說女性淪為男性的交換物,形成依希葛萊所謂父權社會的底 層結構--男(同)性(戀)經濟。 第三章融和拉岡和依希葛萊的精神分析理論 ,討論在查爾斯與提娜, 莎拉的三角戀情呈現的性別政治。第四章討論激 進女性主義和莎拉,蜜莉,克莉絲迪納三人的同性戀:在簡述女同志愛與女性 主義之契合後,由依希葛萊,維蒂格等人的分離主義指出莎柆如何在女人之間的情慾三角糾葛,逾越父權社會定義下的男女性別界限,並且建立獨立男性之外的女性主體。 / Fowles's The French Lieutenant's Woman~U1;'s feminism has been a point of contentions among feminist critics; most feminist critics argue that Fowles is not a feminist but a phallocratic wolf clothed in feminist clothes. This thesis intends to readdress the feminist issues in Fowles's novel by probing onto the multiple layers of triangular relationships and sexual politics among the characters. This thesis consists of four chapters. A theorectical base of this thesis, Chapter one is a discussion on the "the discourse of erotic triangle" posited repectively by Lacan and Levi-Strauss through the idea of incest taboo. Through French feminist Luce Irigaray's critigue and appropriation of Lacan and Levi-Strauss, this chapter lays bare the subordination of women in patriarchal society, psychological or social. Chapter Two is concentrated on what Irigaray calls the foundational structure of patriarchal society--"hom(m)osexual economy". The matrimonial alliance between Ernestina and Charles and the sexual escapade of Charles' gentlemen club are singled out to illustrate how women are exchanged as objects between men. Chapter Three focuses on the sexual politics in Charles' s love triangle with Ernestaina and Sarah. Chapter Four deals with radical feminism and Sarah's lesbianism with Millie and Christina. Irigaray's and Wittig' separatist politics are deployed to show how Sarah transgresses the patriarchally-defined boundary between the sexes, destroys the Victorians' mythologization of women as asexual--yet produtive--Madonna, and then forges an subjectivity independent of the male sex.

This thesis examines six trans feminine informants in New York City's experiences of oppression, trans-misogyny, femi-negativity, racism, and classism, as well as their experiences of community support, conflicts and resistance practices through the lens of the term sisterhood and the practice of sisterhooding. Focus has also been placed on the informant's views on allyship and coalition, and their relationship to other communities, such as the trans masculine community. The research has been conducted through in-depth, semi-structured, qualitative interviews with six trans feminine activists in New York City. The informant group was heterogenous in regards to age, race/ethnicity, as well as in regards to where in the city they resided and which parts of the movement they were engaged in. My findings follow Jenny Gunnarsson Payne's (2006) theory on sisterhood as an empty signifier, as my informants had different definition's of the term and concept of sisterhood, and while all of them expressed ambivalences towards the term and concept, they also all used the term to varying degrees. Several saw advantages in using the term to describe kinship and solidarity between trans feminine people. The participating informants in the study listed several different conflicts within trans feminine movements. Many of them were generally skeptical to conflicts, especially to those related to cattiness, competition, language and terminology – sentiment's which I agree with, albeit with the addition, which some of my informant's also stressed, that certain conflict's regarding differences in oppressions related to intersectional hierarchies, may be necessary. In the concluding chapter I argue for an understanding of trans-sisterhood based both on an understanding of similarities and difference's in experience and an understanding of solidarity that prioritizes the voices, perspectives and leadership of the most marginalized. My informant's described grave street harassment, employment discrimination and experiences of desexualization from gay/queer men and hypersexualization from so-called tranny chasers. Because of the lack of previous research on trans femininities from the perspective of an understanding of the specific oppressions of trans-misogyny and femi-negativity, this thesis has had a broad, rather then detailed, perspective and following in the foot steps of Julia Serano (2007) argues for an analysis on the position of trans women and other trans femininities beyond the gender neutral category of transgender. A majority of my informants sharp statements on the subordination of trans femininity to trans masculinity supports my argument for the need of more research in the field of trans femininity studies with perspectives from both transgender studies and critical femininity studies. / Genom djupintervjuer undersöker uppsatsen sex olika transfeminina informanter i New Yorks erfarenheter av förtryck, trans-misogyni, femi-negativitet, rasism och klassism, såväl som deras erfarenheter av stöd, konflikter och motståndspraktiker, vilket sker genom ett undersökande av deras inställning till termen systerskap och den systerskapande praktiken. Fokus har också legat på informanternas syn på allierade, koalitioner och deras relation till andra grupper, som till exempel transmaskulina personer. För att fånga in en intersektionell bredd av erfarenheter var informantgruppen heterogen i förhållande till ålder, “ras”/etnicitet, samt i förhållande till var de bodde i staden och vilka delar av rörelsen de var engagerade i. Informanterna beskrev grova erfarenheter av trakasserier på gatorna och diskriminering på arbetsmarknaden, samt erfarenheter av hypersexualisering från så kallade tranny chaser's och avsexualisering från homosexuella och queera män. I linje med Jenny Gunnarsson Payne's (2006) teori om systerskap som tom signifikant, hade mina informanter många olika definitioner av begreppet systerskap, och medan många av dem uttryckte ambivalenser i förhållande till termen, använde sig alla av begreppet i varierande grad. Flera av dem såg stora fördelar i att använda termen för att beskriva samhörighet och solidaritet mellan transfeminina. Mina informanter listade flera olika konflikter inom de transfeminina rörelsen och var allmänt skeptiska till konflikter, framförallt till de som handlade om elaka attityder, tävlande, språk och terminologi – vilket jag håller med dem om, med tillägget, som en del informanter också tydliggjorde, att visa konflikter gällande intersektionella hierarkier kan vara nödvändiga. Jag argumenterar  för en förståelse av trans-systerskap som baseras både i en förståelse av likheter och skillnader i erfarenheter sam i en förståelse av solidaritet som prioriterar perspektiven och ledarskapet av de mest marginaliserade rösterna. Uppsatsen har ett brett perspektiv eftersom det tidigare gjorts väldigt lite forskning om transfemininiter utifrån den specifika förståelsen av trans-misogyni och femi-negativitet. I likhet med Julia Serano (2007) argumenterar jag för ett analyserande av transkvinnors och andra transfemininas situation bortanför trans som könsneutral kategori och får stöd i majoriteten av mina informanters skarpa uttalanden om den hierarkiska underordningen av transfemininitet gentemot transmaskulinitet. Slutligen menar jag att det behövs mer forskning inom fältet transfemininitetsstudier med perspektiv både från kritiska femininitetsstudier och transstudier.

Forskning visar att flera faktorer i individens miljö och karaktär har mycket stor betydelse när det gäller att sluta med missbruk. Syftet med denna studie är att undersöka hur f.d. missbrukande kvinnor agerade för att ta sig ur tungt missbruk och hur de upplevde det sociala stödet ur ett genusperspektiv. För att fokusera på detta har författaren intervjuat personal om stödet som erbjuds inom frivård, socialtjänst och behandlingshem. Dessutom har författaren studerat vilken sorts stöd som personalen och kvinnorna i studien anser vara viktigast och hur samverkan mellan olika delar av den sociala sektorn fungerar. I arbetet har den kvalitativa metoden och narrativt och fenomenologiskt perspektiv använts. Studien har grundats på de f.d. missbrukande kvinnornas livshistorier. Undersökningen baseras på sex intervjuer och underlaget tolkades och jämfördes med tidigare forskning. Resultatet visar att det finns olika positiva faktorer som gjorde att kvinnorna lämnade sitt missbruk. Goda relationer till betydelsefulla människor i nätverket var en mycket viktig faktor för att de f.d. missbrukande kvinnorna skulle ta sig ur missbruket, liksom deras egen vilja. De har fått ett nytt synsätt på livet som bidrog till en inre förändring som var essentiell. / Research shows that several factors in an individual's environment and character are very important in the process of quitting and overcoming addiction. The study focuses on the former addicted women's life stories. The purpose of this study is to examine how previous addicted women managed to survive and overcome heavy addictions and as well as how they perceived social support from a gender perspective. The author of this thesis interviewed employees working within the probation office, social services and rehabilitation institution on the kind of support is offered to addicted women. In addition, the author also studied what kind of support was found most appropriate and important for women with substance of drug abuse problems and how effective the support treatment helps these women and as well as the interaction between different parts of the social sector works. This research is qualitative and it includes primary as well as secondary data applied from narrative and phenomenological perspective. The study is based on six interviews and documents were interpreted and compared with previous research. The results show that there were several positive factors that made the women leave their abusive addiction. A good relation with important people in their lives and network was a major factor for these former addicted women. Their contribution has helped them in many ways to overcome abusive addiction. They have also achieved a new outlook on life which in a way has contributed to an inner change. / La recherche prouve qu´il y a plusieurs éléments très importants dans l´environnement et le caractère d´un individu pour qu´il quitte son abus des stupéfiants. Le but de cette étude est d´examiner comment les anciennes toxicomanes ont agi pour terminer son abus des drogues dures et comment elles ont éprouvé le soutien social d´une perspective feminine. L´écrivain a interviewé le personnel de la mise à l´épreuve, du service d´aide sociale et de la maison du traitement sur leur avis et aussi les avis qu´avaient les anciennes toxicomanes du soutien offert. En outre, l´écrivain a étudié quelle espèce de soutien qu´était la plus importante pour les femmes, et comment a fonctionné la cooperation entre les différentes parties du secteur social. Dans cette étude, l´écrivain s´est servi de la méthode qualitative, d´une perspective narrative et phénoménologique. L´étude est basée sur les experience de la vie des anciennes toxicomanes. L´examen s´appuie sur six interviews, et la documentation a été interprétée et comparée avec la recherche déjà existante. Le resultat montre qu´il y avait des differents facteurs positifs qui ont invité aux femmes droguées de quitter son abus des stupéfiants. Des bonnes relations avec des gens importants dans le réseau, comme la volonté des femmes droguées, étaient des éléments trés essentiels pour que les anciennes toxicomanes puissent se libérer de la toxicomanie. Ells onts obtenu une nouvelle conception de vie qui leur a donner une change essentielle dans leur for intérieur. / <p>2013-10-01</p>

Cette thèse sur l’oeuvre de Christian Bobin (1951-) porte aussi et avant tout sur le lyrisme et le désenchantement contemporains. En posant pour horizon ces deux objets de discours, j’interprète le discours éthique et poétique sur l’« enchantement simple » chez l’auteur français. Dans une perspective herméneutique, il s'agit d'éprouver l'hypothèse selon laquelle les oeuvres de Bobin véhiculent un discours poétique « répliquant » (Ricoeur) à un certain discours intellectuel dominant, s'énonçant contre lui, mais aussi en réitérant plusieurs de ses credo. La première partie annonce la posture théorique et la méthode (comparatiste), puis définit le lyrisme et le désenchantement comme horizon d’interprétation. La seconde partie, qui interroge l’identité « poéthique » (Pinson) de l’auteur (entendu comme catégorie du texte), dévoile la manière dont l’auteur prend acte du désenchantement et du nihilisme : en masculinisant le désenchantement, le reliant au logos, et en féminisant l’enchantement, l’associant au muthos. Le parti pris du temps authentique est soutenu par la valorisation de conduites et d’attitudes temporelles relevant de l’éthique de l’authenticité (Rousseau), alors que le parti pris du féminin correspond à la valorisation d’attitudes relevant de l’éthique de la bonté (Levinas). Puisque la première éthique mise sur le temps du sujet et que la seconde favorise le temps de l’autre, un premier paradoxe émerge au coeur des messages spéculatifs véhiculés, dont on prend la mesure grâce au discours de l’auteur sur le temps, les hommes, les femmes et la bonté. Dans la troisième partie, je mets au jour le grand projet éthique dont l’auteur investit son oeuvre : écrire pour prendre soin, soigner. Après avoir défini ce que j’appelle « l’écriture du care » chez Bobin, je m’attarde aux figures féminines fondatrices de l’oeuvre et constate que l’ambition est triple chez l’auteur : premièrement, prendre soin du présent, deuxièmement, protéger les femmes de la misogynie et troisièmement, revaloriser les attitudes care qui leur sont traditionnellement reconnues et comprendre, dédramatiser, esthétiser leur « folie ». Apparaît alors un second paradoxe : la valorisation simultanée de figures charnelles inscrites dans la temporalité (maternité) et de figures atemporelles, hors temps (extase). Enfin, un regard sur les « femmes à venir » bobiniennes montrera trois figures promises à la pratique du soin promue par l’auteur. Au final, c’est non seulement la poéthique bobinienne qui est mise en lumière, mais aussi des postures éthiques et poétiques centrales en Occident, que plusieurs poètes lyriques adoptent « en temps de détresse » (Hölderlin). / This thesis on the work of Christian Bobin (1951-) is first and foremost a study of lyricism and contemporary disenchantment. Within the frame of these two modes of discourse, I interpret the French author’s ethical and poetic discourse of “simple enchantment”. From a hermeneutical perspective, I test the hypothesis according to which Bobin’s works convey a poetic discourse by “replying” (Ricoeur) to a certain dominant intellectual discourse directed against him, but also by reiterating many of his credos. The first part of this thesis presents the theoretical frame and method (comparatist), and defines lyricism and disenchantment as an interpretive horizon. The second part, which questions the author’s “poethic” (Pinson) identity (understood as category of the text), unveils the manner in which Bobin sees disenchantment and nihilism: by masculinizing disenchantment, linking it to logos, and by feminizing enchantment, associating it with muthos. The belief in authentic time is maintained by valorizing behaviours and temporal attitudes in accordance with the ethic of authenticity (Rousseau), whereas the bias of the feminine corresponds to the valorization of attitudes in accordance with the ethic of kindness (Levinas). Because the first ethic relies on the subject’s time and the second favours the other’s time, an initial paradox emerges at the heart of the conveyed speculative messages, which are freighted with the author’s discourse on time, men, women and kindness. In the third part, I illuminate the author’s grand ethical project: writing to care for, to nurse. After defining Bobin’s “writing of care”, I look at the founding feminine figures of his work and note that the author’s ambition is threefold: first, to care for the present; second, to protect women from misogyny and to reassert the value of care attitudes for which they are traditionally recognized; and third, to comprehend, defuse, and beautify their “madness”. Hence, a second paradox emerges: the simultaneous valorization of carnal figures inscribed in temporality (maternity) and those outside time (ecstasy). A look at Bobinian “women still to come” will reveal three anticipated figures committed to the practice of caregiving. Finally, not only is Bobinian poethic illuminated, but a light is also shed on central poetic and ethical postures in the West, which many lyrical poets adopt “in times of distress” (Hölderlin).

No description available.

O presente trabalho é um estudo da construção discursiva/perceptiva da personagem feminina nas obras ficcionais Cien años de soledad (1967) e El amor en los tiempos del cólera (1985), e na obra memorialística Vivir para contarla (2002), de Gabriel García Márquez. O estudo pretende demonstrar a tese de que o gênero se constitui como uma ficção que resulta da performance da linguagem, mediante a qual se engendra o feminino. Trata-se de um processo que se assenta na matéria e no verbo, constituída a primeira pela nomeação dos corpos, e o segundo, pela performatividade, que resulta da instituição do verbo no discurso. A ficcionalização do gênero como uma estratégia de dominação e coerção, que aproxima a mulher da natureza, do primitivo e da casa, e lhe nega o espaço da cultura, do racional e do mundo, configura-se como produto dessa linguagem. Nossa metodologia de trabalho se assenta na análise do discurso, compreendido este como um espaço que se dispõe entre o espaço textual e o espaço representativo. A análise se concentrou nas relações possíveis entre espaço discursivo e espaço representativo. / This research is a study of female characters embodied in the discursive/perceptive construction of the ficcional works A Hundred Years of Solitude (1967) and Love in the Time of Cholera (1985), and also in the autobiographic work Living to Tell the Tale (2002) by Gabriel García Márquez. The objective of this thesis is to demonstrate that gender as ficcion results from the performance of the language through which the feminine is created. It is a process that is founded on tangible substance and on language. The first is named after the existing real bodies and the second by performativity, which is instituted after language and discourse. The ficcionalization of gender as a strategy of domination and coertion links women to nature, to the primitive world and to the household. At same time, this strategy, as a result of language, denies the women character the spaces of culture, of the rational and of the lifeworld. The metodology of this study is based on the analysis of discourse, which is a space in between the text and the representative space. The resulting analysis was focused mainly on the posible relations that exist between discursive space and representative space.

This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other. / English Studies / M.A. (English Studies)

The diploma thesis deals with problems connected to the formation of feminine names of occupations in contemporary French. The theoretical part is devoted to the evolution of feminism not only in the French Republic, gender questions, particularly in relation to the language, and the language policies of France. Furthermore, it is aimed at word-formative possibilities of contemporary French for the derivation of names of occupations, functions, degrees and ranks. A part of it deals with the situation in several francophone countries. The objective of the practical part is to assess the relation between the political desiderata of the French Republic and the real language usage on the basis of a corpus analysis effected in the Frantext database and Google Web Search.