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Se quiser, é assim : uma análise léxico-gramatical da representação feminina em letras de forró eletrônicoRodrigues, Cláudia Caminha Lopes 30 September 2010 (has links)
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Previous issue date: 2010-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Being part of the daily life of societies, music entertains, but it also contributes to build
personalities and to shape society, as it allows listeners to memorize the content, contributing
to the assimilation and consolidation of concepts, ideas and beliefs (FERREIRA, 2005). Forró
is a current musical style. One of its types, the electronic forró, emerged in the 1990s. It was
inspired by country music and axé music. It uses electronic instruments such as keyboards and
synthesizers (SILVA, 2003) and this is the reason why it is named eletronic . Women are
present in contemporary electronic forró in the names of bands, in lyrics and as singers or
dancers in the bands. Considering that lyrics are expressions of language and, as such,
convey meaning, reflect and influence human attitude towards the world (BLOOR, 1995)
this study aims to examine the representation of women in some electronic forró lyrics. In
order to do so, the data are analysed from the perspective of the Systemic Functional
Linguistics, more specifically, from the perspective of the Systems of Mood and Transitivity
(HALLIDAY, 1994; MATHIESSEN & HALLIDAY, 2004). The results indicate that five
lyrics from a total of six confirm the hypotheses: women are represented either as an
object of men s sexual pleasure, or as the object of their love, or even as the cause of their
suffering. It is hoped that this study will contribute to a better understanding of female
representation(s) in the context of electronic forró, by revealing some of those
representations. / Constante do cotidiano das sociedades, a música entretém, mas também colabora com a
construção da personalidade e da formação da sociedade, contribuindo para a assimilação e
solidificação de conceitos, idéias e crenças, através da memorização de conteúdos de letras de
música (FERREIRA, 2005). O forró é um dos estilos musicais atuais. Uma de suas vertentes,
o forró eletrônico, surgido na década de 1990 e inspirado na música sertaneja e na axé music,
é assim denominado por utilizar instrumentos eletrônicos como órgão e sintetizadores
(SILVA, 2003). A mulher está presente no forró eletrônico contemporâneo desde os nomes
das bandas, passando pelas letras de música e pela composição dos grupos, como cantora ou
dançarina. Considerando que as letras de forró eletrônico são expressões da linguagem e,
como tal, veiculam significados, refletem e influenciam a atitude humana em relação ao
mundo (BLOOR, 1995) , este estudo visa a analisar a representação feminina em letras de
forró eletrônico. Para tanto, os dados são analisados sob a perspectiva dos Sistemas de Modo
e Transitividade da Lingüística Sistêmico-Funcional (HALLIDAY, 1994; HALLIDAY &
MATHIESSEN, 2004). Os resultados indicam que em cinco das seis letras de música
analisadas as hipóteses foram confirmadas, sendo a mulher representada ora como objeto do
prazer sexual masculino, ora como objeto do amor do homem, ou, ainda, como causadora de
seu sofrimento. Esta pesquisa espera contribuir para uma melhor compreensão da(s)
representação(ões) feminina(s) no contexto do forró eletrônico, revelando algumas dessas
representações que nele circulam. Read more
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Literatura e representação social das mulheres em Cabo Verde: vencendo barreiras / Literature and social representation of the women in Cape Verde: overcoming barriersSonia Maria Alves de Queiroz 27 October 2010 (has links)
Esta dissertação analisa comparativamente textos cabo-verdianos de autoria masculina e feminina à luz do tema Literatura e representação social das mulheres em Cabo Verde, com o objetivo de demonstrar como constroem a historicidade das mulheres naquele contexto, com base na abordagem de gênero e numa hermenêutica do cotidiano feminino. Diante do exposto, centramos as leituras nas personagens femininas das narrativas, especialmente as protagonistas, no intuito de acompanhar suas trajetórias de objetos a sujeitos históricos, tendo em conta a complexidade do fenômeno da emancipação feminina em Cabo Verde e a entrada um pouco tardia, todavia decisiva, de produções de mulheres no cânone literário. Buscamos demonstrar, em nossa pesquisa, como a escritura literária masculina de António Aurélio Gonçalves, Baltasar Lopes, Manuel Ferreira, Oswaldo Osório, Teobaldo Virgínio e Virgílio Pires apreende e apresenta realidades femininas, sobretudo por meio da exposição, ao passo que as escrituras literárias femininas de Camila Mont-Rond, Dina Salústio, Fátima Bettencourt, Ivone Aída e Maria Margarida Mascarenhas revelam subjetividades femininas que lançam novos olhares e novos recortes que dialogam o universo representado pela ótica masculina. / This dissertation analyses comparatively Cape Verdean texts of masculine and feminine authorship by the light of the subject Literature and social representation of the women in Cape Verde, with the objective to demonstrate how they build the historicity of women in that context, based on the approach gender and a hermeneutics of everyday women. Given the above, the readings have focused on female characters of the narratives, especially the protagonists in order to follow their paths of objects to historical subjects taking into account the complexity of the phenomenon of female emancipation in Cape Verde and coming a little late, but decisive , productions of women in the literary canon. We demonstrate in our research, such as male literary writings of António Aurélio Gonçalves, Baltasar Lopes, Manuel Ferreira, Oswaldo Osório Pires Teobaldo Virgínio and Virgílio Pires learns and presents women\'s realities, especially through the exhibition, while the female literary writings of Camila Mont-Rond, Dina Salústio, Fátima Bettencourt, Ivone Aída and Maria Margarida Mascarenhas and reveal female subjectivities that cast new visions and new cuts that dialogue the universe represented by the male perspective. Read more
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The representation of women in municipal councils and executive structures - analysing the trends in the implementation of the Municipal Structures Act from the results of the 2006 and 2011 South African local government electionsSelokela, Thulaganyo Goitseone January 2012 (has links)
Magister Legum - LLM / South Africa
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Representación de la mujer en películas peruanas comerciales de comedia romántica en los últimos 5 años / Women’s representation in the narrative of romantic comedy films in Peruvian commercial cinema in the last 10 yearsRosell Andrade, Estefany Karina 02 September 2021 (has links)
El presente trabajo de investigación está enfocado en la representación de la mujer en la narrativa de películas de comedia romántica en el cine comercial peruano en los últimos 10 años cuya relevancia radica en la difusión de visiones del mundo a través de las historias. (Ríos y Martinez, 2011, p.1) El objetivo principal del estudio es analizar la representación que se genera de la mujer, para lo que se plantearon tres objetos de estudio. En primer lugar, reconocer como es la construcción de los personajes de la mujer basándonos en películas peruanas de comedia romántica estrenadas en los últimos 10 años. Por otro lado, describir el contexto en el que se desarrollan dentro de la narrativa. Por último, reconocer las acciones y el desenvolvimiento del personaje a lo largo de la historia. A través de esta investigación se quiere responder al desafío metodológico que implica el análisis de un conjunto de películas de comedia romántica estrenadas en los últimos 10 años y realizada por cineastas peruanos que tengan como protagonistas mujeres. Se quiere reconocer que existe una narrativa que pone a la representación de ser mujer, en historias de contenido cinematográfico, bajo ciertos conceptos que la alejan de la realidad y refuerzan estereotipos negativos. / The present research work is focused on the representation of women in the narrative of romantic comedy films in peruvian commercial cinema in the last 10 years whose relevance lies in the diffusion of visions of the world through stories. (Ríos and Martinez, 2011, p.1) The main objective of the study is to analyze the representation generated for women, for which three objects of study were raised. First, recognize how it is the construction of women’s characters based on peruvian romantic comedy films released in the last 10 years. On the other hand, describe the context in which they develop within the narrative. Finally, recognize the actions and development of the character throughout the Peruvian romantic comedy films released in the last 10 years. On the other hand, describe the context in which they develop within the narrative. Finally, recognize the actions and development of the character throughout the story. This research aims to respond to the methodological challenge that involves the analysis of a set of romantic comedy films released in the last 10 years and made by Peruvian filmmakers with women as protagonists. We want to recognize that there is a narrative that puts the representation of being a woman, in stories with cinematographic content, under certain concepts that distance it from reality and reinforce negative stereotypes. / Trabajo de investigación Read more
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Representaciones de la mujer en las heroínas de series animadas. El caso de She-Ra / Representations of women in the heroines of animated series. The case of She-RaGomero Vela, Alejandra Fátima 10 September 2021 (has links)
La televisión es parte fundamental del día a día y esta presenta diversas visiones de la realidad. En este medio abundan las series animadas, las que con el pasar del tiempo transforman sus narrativas y mensajes. El objetivo principal de esta investigación es conocer las diferencias en la representación de la heroína, a partir del visionado de dos series que comparten el mismo protagonista: She-ra, la princesa del poder'' (1985) y “She-ra y las princesas del poder''(2018). Dentro de ellas se analizarán las similitudes y diferencias en diseño y construcción del personaje y arcos narrativos. Esta investigación es de carácter cualitativo y se analizan ambas producciones mediante el análisis de contenido. Con esta investigación se pretende comprender como, con el pasar de los años, una misma idea base puede tener diversas perspectivas. / Television is a fundamental part of everyday life and shows a variety of visions of reality. Animated series abound in this medium, which over time transform their narratives and messages. The main objective of this research is to know the differences between the representation of the heroine of two series shared by the same protagonist: She-ra, the princess of power '' (1985) and “She-ra and the princesses of power'' (2018). Within them, the similarities and differences in design and construction of the character and storylines will be analyzed. This research is qualitative in nature and both productions are analyzed through content analysis. This research aims to understand how, over the years, the same basic idea can have different perspectives. / Trabajo de investigación Read more
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Transformaciones en el personaje femenino de las telenovelas peruanas contemporáneas: Un análisis desde el público / Transformations in the female character of contemporary Peruvian soap operas: An analysis from the publicDel Carpio Venegas, Ericka Rocío 26 September 2021 (has links)
El presente trabajo surgió a partir de las investigaciones relacionadas a las transformaciones y/o cambios que presenta el género de las telenovelas en relación a los personajes femeninos. Específicamente, se tiene como propósito investigar acerca de la percepción de la audiencia femenina con respecto a estas transformaciones que presentan los personajes femeninos en las telenovelas peruanas contemporáneas. Para ello, se retoman las discusiones sobre la representación de la mujer en el género de las telenovelas asociado a la construcción de los personajes. Como estrategia metodológica, se propone un estudio cualitativo basado en entrevistas a mujeres peruanas que hayan visto las telenovelas “En la piel de Alicia” o “Leonela, muriendo de amor”. A partir de ello se espera comprender en qué medida la audiencia percibe los cambios en la representación de la mujer, específicamente, cuáles son las transformaciones o permanencia que la audiencia femenina reconoce con respecto a las dimensiones físicas, psicológicas y sociales en la representación de la mujer en las telenovelas escogidas. / The present work arose from the investigations related to the transformations and/or changes that soap operas have presented in relation to female characters. Specifically, it is orientated to investigate the perception of female audience regarding the transformations that female characters display in contemporary Peruvian soap operas. In this sense, discussion on the representation of women in the genre of soap operas associated with the construction of the characters is reopened. As a methodological strategy, a qualitative study based on interview with Peruvian women who have seen the soap operas “En la piel de Alicia” or “Leonela, muriendo de amor” is proposed. The expected outcome is to understand to what extent the audience perceives the changes in the representation of women, specifically, what are the transformations or permanence that the female audience recognizes in physical, psychological and social dimensions in the representation of women in selected soap operas. / Trabajo de investigación Read more
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Freed by Ideology, Imprisoned by Reality: the Representation of Women in the Cinemas of The Thaw and PerestroikaKofman, Olha V. 24 July 2013 (has links)
No description available.
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Von Maiden, Monstern und MythenEnde, Theresa 21 April 2023 (has links)
Mit dem Beitrag der Preisträgerin Teresa Ende, „Von Maiden, Monstern und Mythen: Weiblichkeitsentwürfe plastischer Frauendarstellungen auf der Großen Deutschen Kunstausstellung und der Ausstellung Entartete Kunst 1937 in München“, liegt eine kunstwissenschaftlicher Artikel vor. Die Verfasserin geht zentral der Frage nach, inwiefern und mit welchen inszenatorischen, bildstrategischen und rhetorischen Mitteln die in den beiden einflussreichen Ausstellungen von 1937 gezeigten und kommentierten plastischen Frauenfiguren zur Aufwertung der nationalsozialistisch propagierten ʻneuen Deutschen Kunst‘ und zur Diffamierung moderner Kunst eingesetzt wurden. Sie erörtert zum einen, inwiefern diese zu Mustern einer nationalsozialistisch propagierten Weiblichkeit beziehungsweise zu abschreckenden Figurationen negativer Weiblichkeit und des ʻAnderen‘ werden konnten und revidiert zugleich die kunsthistorische Meinung, dass sich das dargestellte Frauenideal der Nationalsozialisten mit den Schlagworten Ehe, Mutterschaft und ʻvolksgemeinschaftliche‘ Bestimmung hinreichend fassen lasse. Zum anderen beleuchtet sie den Prozess wechselseitiger Codifizierung von genderspezifischen und kunstästhetischen Visualisierungen und Diskursen, mit der die nationalsozialistische Kunst- und Kulturpolitik der ideologischen Totalisierung des Macht- und Staatsgefüges zugearbeitet hat. Mit Konzentration auf Arno Breker wird überdies der bildhauerische Traditionsfundus an Darstellungskonventionen, Sujets, Stilmitteln, Bildsymbolen, Allegorik und mythologischen Figuren sichtbar gemacht, auf den nationalsozialistische beziehungsweise nationalsozialistisch affine Werke und zum Teil verfemte Werke figürlicher Plastik aus den 1910er und 1920er Jahren gemeinsam rekurrieren. Gerade mittels seines genderkritischen Blicks enthüllt der Beitrag so in frappanter Weise die Kontinuitäten der Kunst in Deutschland aus der NS-Zeit zu der vor 1933 wie nach 1945. Read more
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Le sacré et la représentation de la femme dans le théâtre et la peinture symbolistesBuatois, Isabelle 02 1900 (has links)
L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres), dans le cadre de la théorie de l’image ouverte, telle qu’elle a été développée par Georges Didi-Huberman. Finalement, que la forme d’expression artistique soit celle de l’art dramatique ou celle de l’art pictural, la femme n’est dans les œuvres que la manifestation d’une réflexion esthétique qui est aussi une réflexion philosophique, elle est le lieu de rencontre entre le Moi et l’Autre à partir duquel s’origine l’œuvre. / Symbolist art, be it pictorial or theatrical, which developed in the late nineteenth century was filled with sacredness, whatever its form: spiritual, religious or any other (spiritualism, occultism, mysticism). However in all its forms, sacredness is for all symbolists linked to Art. Formal research by symbolists, which is numerous and diverse, all tends to make the invisible visible. However all symbolists formal research saw in the works the emergence of the representation of women, which therefore becomes intimately linked to the "symbolism". By conveying sacredness, woman becomes the symbol of the ideas of the artists on their Art; even the symbol of the relationship of the artist to his Art. Thus this thesis studies woman in its relationship to the ideas and aesthetics of each artist, in its interrelationship with Art and the sacredness. The detailed studies of drama and paintings aim to show the variety and complexity of its representations. At the same time, this research is a global study on the relationship between theatre and painting in the end-of-century period, approached not from outside but from within (i.e. by the characteristics of works), as part of the theory of the open image developed by Georges Didi-Huberman. Finally, whatever the form of artistic expression – drama or painting – woman is only in the works, the manifestation of aesthetic reflection that is also a philosophical reflection, situated at the crossroads between the Ego and the Other, from which the work originates. Read more
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Le sacré et la représentation de la femme dans le théâtre et la peinture symbolistesBuatois, Isabelle 02 1900 (has links)
L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres), dans le cadre de la théorie de l’image ouverte, telle qu’elle a été développée par Georges Didi-Huberman. Finalement, que la forme d’expression artistique soit celle de l’art dramatique ou celle de l’art pictural, la femme n’est dans les œuvres que la manifestation d’une réflexion esthétique qui est aussi une réflexion philosophique, elle est le lieu de rencontre entre le Moi et l’Autre à partir duquel s’origine l’œuvre. / Symbolist art, be it pictorial or theatrical, which developed in the late nineteenth century was filled with sacredness, whatever its form: spiritual, religious or any other (spiritualism, occultism, mysticism). However in all its forms, sacredness is for all symbolists linked to Art. Formal research by symbolists, which is numerous and diverse, all tends to make the invisible visible. However all symbolists formal research saw in the works the emergence of the representation of women, which therefore becomes intimately linked to the "symbolism". By conveying sacredness, woman becomes the symbol of the ideas of the artists on their Art; even the symbol of the relationship of the artist to his Art. Thus this thesis studies woman in its relationship to the ideas and aesthetics of each artist, in its interrelationship with Art and the sacredness. The detailed studies of drama and paintings aim to show the variety and complexity of its representations. At the same time, this research is a global study on the relationship between theatre and painting in the end-of-century period, approached not from outside but from within (i.e. by the characteristics of works), as part of the theory of the open image developed by Georges Didi-Huberman. Finally, whatever the form of artistic expression – drama or painting – woman is only in the works, the manifestation of aesthetic reflection that is also a philosophical reflection, situated at the crossroads between the Ego and the Other, from which the work originates. Read more
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