O presente trabalho estuda as figurações da homossexualidade e da homoafetividade no livro King & King, de Linda de Haan e Stern Nijland, e no filme Orações para Bobby, de Russel Mulcahy. Dialogamos com as duas e apontamos para as suas diferenças e complementaridades. Nossa análise está centrada nas relações de poder e afetividade presentes em seus processos discursivos. Nossa pesquisa fundamenta-se, primordialmente, em dois fecundos teóricos da modernidade, Michel Foucault e Judith Butler, e visa a compreender o exercício disciplinador na construção e manutenção das ordens regulatórias da homossexualidade e da homoafetividade. / The present work studies the figurations of homosexuality and homoaffection in the book King & King, by Linda de Haan and Stern Nijland, and in the film Prayers for Bobby, by Russel Mulcahy. We dialogue with both and point to their differences and complementarities. Our analysis is centered on the relations of power and affectivity presented in their discursive processes. Our research is based primarily on two fecund scholars of modernity, Michel Foucault and Judith Butler, and aims to understand the disciplinary exercise in the construction and maintenance of the regulatory orders of homosexuality and homoaffection.

<p>Syfte med denna uppsats är att analysera den bild av maskulinitet som representeras i magasinet King, samt att förhålla den bilden mot maskulinitetidealen hos 1800-talets dandy. Uppsatsen bygger på teorier kring representation, R. W. Connells maskulinitetsteori samt teorier kring dandyn.Mitt material består av sju nummer av magasinet King. För att uppnå mitt syfte har jag utgått från en semiotisk metod och använt mig dels av Sean Nixons analys av ett antal olika reklambilder samt utarbetat en egen analysmodell för text.Jag har i min analys kommit fram till att maskuliniteten i King har en stark bas i Connells hegemoniska maskulinitet då karaktärsdrag kring yrkesmässig succé är starkt framträdande. Men det finns samtidigt en stor fokusering på stil och yttre egenskaper vilket är något som mannen i King har gemensamt med dandyn. Jag menar därför att det finns framåtskridande drag hos mannen i King.</p>

<p>Women are subordinate of men in the society, this is visible both in work places and private lives. Equality between the sexes is daily discussed in politics and the private sphere. As this is a hot topic which is debated within many areas, one of those is film production, we chose to write this essay about how the view of women has changed in movies over time. If equality doesn’t exist within the film media, then it will be hard to change the society’s point of view. To get the answer of our question, we chose to analyze three movie pictures from three different time areas, the choice came to be the three King Kong movies that were produced in 1933, 1976 and 2005.</p><p>After we finished analyzing the films we came to learn that society’s view of women has changed drastically between the 1930’s and the 21st Century. The changing progress has been both positive and negative because of the fact that women in today’s society are exploited more as sex objects than they used to be. But even in the 30’s men looked at women in a sexual matter, but in those days the difference between the respectable women and those time’s pin-up girls. On the other hand, equality between the sexes has come a long way in the work place and women have gained more independence in their private lives. But there is still a long way to go before we reach a complete equality.</p>

Syfte med denna uppsats är att analysera den bild av maskulinitet som representeras i magasinet King, samt att förhålla den bilden mot maskulinitetidealen hos 1800-talets dandy. Uppsatsen bygger på teorier kring representation, R. W. Connells maskulinitetsteori samt teorier kring dandyn.Mitt material består av sju nummer av magasinet King. För att uppnå mitt syfte har jag utgått från en semiotisk metod och använt mig dels av Sean Nixons analys av ett antal olika reklambilder samt utarbetat en egen analysmodell för text.Jag har i min analys kommit fram till att maskuliniteten i King har en stark bas i Connells hegemoniska maskulinitet då karaktärsdrag kring yrkesmässig succé är starkt framträdande. Men det finns samtidigt en stor fokusering på stil och yttre egenskaper vilket är något som mannen i King har gemensamt med dandyn. Jag menar därför att det finns framåtskridande drag hos mannen i King.

Women are subordinate of men in the society, this is visible both in work places and private lives. Equality between the sexes is daily discussed in politics and the private sphere. As this is a hot topic which is debated within many areas, one of those is film production, we chose to write this essay about how the view of women has changed in movies over time. If equality doesn’t exist within the film media, then it will be hard to change the society’s point of view. To get the answer of our question, we chose to analyze three movie pictures from three different time areas, the choice came to be the three King Kong movies that were produced in 1933, 1976 and 2005. After we finished analyzing the films we came to learn that society’s view of women has changed drastically between the 1930’s and the 21st Century. The changing progress has been both positive and negative because of the fact that women in today’s society are exploited more as sex objects than they used to be. But even in the 30’s men looked at women in a sexual matter, but in those days the difference between the respectable women and those time’s pin-up girls. On the other hand, equality between the sexes has come a long way in the work place and women have gained more independence in their private lives. But there is still a long way to go before we reach a complete equality.

In the topical abundance or superabundance of Shakespeares King Lear, almost all major thematic patterns, images, and symbols are linked to Lears enigmatic companion, the Fool. The Fool surpasses Shakespeares other fools when he is given a major role, yet he is more than a major figure: he is the pivot for action and interpretation. The presence and the importance of the Fool are emphasized further when almost half of Lears characters are referred to as fools. The stark, barren hinterland of Lear is shot through by the conspicuously forceful presence of folly. The fools propensity for misrule coupled with his centrality to the text results in a dramatic structure that itself breaks the rules. King Lear is the most generically puzzling play in Shakespeares corpus. Lear, a tragedy, draws upon comedy, history, romantic comedy, romance, and morality in indefinable and unparalleled ways. Just as form is juxtaposed in Lear, religious systems or identities are also contrasted. Pagan, Christian, existential, nihilistic, and moralistic interpretations are readily discernable. The fool, a potential nexus for structural questions, may also be at the heart of the question of spiritual identity. To locate the fool at the source of both structural and spiritual problems, and to discern why the fool factors so prominently especially in a play viewed as Shakespeares darkest, are the two endeavours of this thesis.

In the topical abundance or superabundance of Shakespeares King Lear, almost all major thematic patterns, images, and symbols are linked to Lears enigmatic companion, the Fool. The Fool surpasses Shakespeares other fools when he is given a major role, yet he is more than a major figure: he is the pivot for action and interpretation. The presence and the importance of the Fool are emphasized further when almost half of Lears characters are referred to as fools. The stark, barren hinterland of Lear is shot through by the conspicuously forceful presence of folly. The fools propensity for misrule coupled with his centrality to the text results in a dramatic structure that itself breaks the rules. King Lear is the most generically puzzling play in Shakespeares corpus. Lear, a tragedy, draws upon comedy, history, romantic comedy, romance, and morality in indefinable and unparalleled ways. Just as form is juxtaposed in Lear, religious systems or identities are also contrasted. Pagan, Christian, existential, nihilistic, and moralistic interpretations are readily discernable. The fool, a potential nexus for structural questions, may also be at the heart of the question of spiritual identity. To locate the fool at the source of both structural and spiritual problems, and to discern why the fool factors so prominently especially in a play viewed as Shakespeares darkest, are the two endeavours of this thesis.

The inland states of Lan Na were part of an extended cultural area that included western Laos, the eastern Shan states and southwest China. The culture of these inland states was distinctive from coastal Southeast Asia, but was as rich and as complex. The major outside influence was Sinhalese Theravada Buddhism originating from Sri Lanka, which assimilated, or in some cases was grafted onto, ancient indigenous spirit religion beliefs. The textiles and dress of Lan Na developed from the integration of local cultures and societies in the hills and valleys, and from inland trade. A relatively egalitarian ideology permitted the flowering of indigenous skills and innovations, especially among women. This thesis examines, through the medium of 19th century court dress and textiles, how Lan Na society was affected by the threat of British and French colonial expansionism, handled with great skill and diplomacy by the King of Siam. Changes in Lan Na court dress can be viewed as a metaphor for the political maneuvers of the Siamese to remain independent of colonial rule, a unique achievement in Southeast Asia. The Lan Na princes were issued with Euro-Siamese uniforms that displayed their total allegiance to Siam. Meanwhile the princesses continued to wear indigenous dress both at home, and at the Siamese courts, symbolizing political alliances between Siam and Lan Na. The thesis concludes that as women, by custom, did not change the essential elements of their dress, particularly their woven skirts, it was they who transmitted complex cultural messages that continue to represent a cherished indigenous society

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