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Blonde hair is a potent and highly visible sign in western culture. Although the popularity and desirability of blonde hair in the West is well documented, since the 1950s, blonde hair has also generated many negative associations and these have contributed to myths around blondeness. In particular, women who dye their hair blonde find themselves in a paradoxical position; they simultaneously evoke desire and derision. This thesis uses the model of feminine masquerade outlined by Joan Riviere (1929) as a locus for discussing the transgressive potential of the knowing use of blondeness as a sign. When women wear blondeness in this way they embrace it as an oblique means to access privilege. This self-reflexivity allows women to enter sites of power that they are otherwise excluded from. Drawing on ideas of the carnivalesque, as described by Mikhail Bakhtin (1968), this thesis also proposes that the carnivalesque is employed by women in order to transgress patriarchal boundaries through an ironic masquerade of the archetypal blonde. These paradoxical meanings of blondeness are evoked in the work of performance artist Vanessa Beecroft. Beecroft stages both the reflexive awareness of today's blonde woman and the way in which she is shaped by socio-cultural forces beyond her control. Through reference to Beecroft's art, this dissertation builds upon the optimism and transgressive potential of Bakhtin's 'carnival' and Riviere's 'feminine masquerade' to re-present the identity/position of blonde women as one of agency and power.

Postmodernity's Search for Postgender: Bropy, Winterson and Place (Abstract) The thesis examines three formally very diverse texts published in 1969, 1993 and 2013 respectively that creatively approach and subvert the gender binary: Brigid Brophy's In Transit, Jeanette Winterson's Written on the Body and Vanessa Place's Boycott. Based on Jean-François Lyotard's conception of postmodernism as modernism in a constantly nascent state, the author advances a hypothesis of "postgender." This however does not mean overcoming gender for good (as it is sometimes understood, for example by Rosi Braidotti), but as a structural momentum, a possibility of subversion at the heart of any gender schema and currently therefore of genderism, i.e. the belief that gender is necessarily binary and that aspects of our gender are inherently linked to our sex assigned at birth. Apart from feminist theory and literary criticism, the thesis also touches on the field of transgender studies, psychoanalysis, philosophy of history and most importantly the work of Jacques Derrida. In so doing it tries to articulate the notion of postgender as part and parcel of the condition of postmodernity and a culmination of the modern split of the subject, leading to a certain cultural gender turn during the 1990s. The work nevertheless remains...

The fundamental challenge to prevent species from going extinct is difficult but of grave importance. Halting species from going extinct minimizes the loss of biodiversity. One way of researching biodiversity is by studying species on a genetic level. This creates a dilemma as studying species genetically often requires using destructive sampling and is not desirable or even allowed when studying threatened species. Thus, there is a necessity for alternate sampling methods. In this study both non-lethal and lethal methods were used to gather tissues from the butterfly species Vanessa cardui. The DNA extractions turned out to give varying amounts of DNA, but it was successfully extracted from all the different tissue types. Amplifiable DNA was successfully gained using PCR and confirmed using gel electrophoresis. Existing and newly designed primers for multi-copy genes were used and several of them gave amplifiable DNA. Even if amplifiable DNA has been obtained in other studies, using various tissues, it turned out to only work with a live butterfly’s body in this study.

The thesis compares the structure of feed mixture and the feed residues after the feeding broilers rabbits Hyla. There were made two different feed mixtures – the control one and the experimental one. The experimental feed mixture contained 10 % of purple grain wheat called PS Karkulka. In the control one was used 10 % of wheat Vanessa with classical colour of grain. The feed mixtures and the feed residues were separated on different wide sieves to find the size share. Than the feed mixture and the feed residues were compared. The quantity of parts bigger than 2 mm in the feed residues decreased and the quantity of parts smaller than 2 mm increased. Both with statistical significance (P<0.05). To detect the taste preferences between PS Karkulka and Vanessa the parts bigger than 2 mm in both types of feed residues were separated to individual components and compared. There was found that rabbits preferred the colored grained wheat (PS Karkulka) more than the classical one (Vanessa) with statistical significance (P<0.05). The next part is about performance parameters. The weight gain, carcass weight, carcass yield, feed consumption and feed conversation ratio were evaluated. In all of that parameters there were not found statistically significant differences (P˃0.05) between control group and experimental group.

This project examines the implications of mythologizing women writers, specifically Woolf and Austen, and transforming them into their own famous characters. Using various writings that theorize women's voices, sense of agency, and political autonomy in relationship with the public/private dichotomy, this project argues that women writers are often appropriated and fictionalized in this way because of a patriarchal cultural understanding that women are associated with the private, personal, and domestic spheres. More importantly, it argues that this increasingly frequent treatment aligns with and forwards a neoliberal political and cultural agenda. The politics of the last twenty or thirty years, in short, are shaping interpretations and adaptations of major works of the English canon, specifically Mrs. Dalloway and Pride and Prejudice. Particular examples of such adaptations include The Hours, Vanessa and Her Sister, Becoming Jane, and Longbourn. This project ultimately analyzes these and a select number of other texts in order to show that these contemporary treatments of two of the most famous female writers from the English canon reveal quite a bit about current attitudes within the United States about gender (in)equality, care work/dependency, and sexuality. / Master of Arts

Ce mémoire porte sur l'usage du vêtement comme outil de médiation du corps féminin dans le travail de Jana Sterbak et de Vanessa Beecroft. Plus spécifiquement, nous souhaitons observer de quelle façon, à l'intérieur des représentations, le vêtement participe à (dé)construire l'identité du sujet. En abordant la représentation de la femme par l'analyse de ses inscriptions vestimentaires, nous cherchons également dans les oeuvres l'affirmation d'une subjectivité indissociable du corps. Dans un premier temps, nous procédons à une mise en contexte historique et théorique afin de démontrer le rapport d'interdépendance entre le corps féminin et son revêtement dans l'image et soulignons le rôle primordial de l'habillement dans la construction de la subjectivité. Nous exposons par ailleurs les divers enjeux soulevés par la représentation de la femme et observons des stratégies de résistance à la représentation objectivante du corps féminin. En second lieu, suivant les travaux de théoriciennes féministes, nous examinons notamment le concept d'image du corps ainsi que les modèles foucaldiens d'inscription corporelle et de pouvoir disciplinaire. De même, nous nous intéressons au rôle de l'habillement et des pratiques de la beauté dans la discipline du corps féminin afin de démontrer non seulement leur pouvoir normalisant et leur participation au maintien des identités monolithiques, mais aussi de considérer leur potentiel subversif. Enfin, la notion performative de l'identité de genre nous porte à croire que, dans les pratiques artistiques contemporaines, la mascarade féminine et la répétition ironique pourraient permettre d'explorer à la fois la construction des identités et la déconstruction critique. Nous analysons finalement les inscriptions vestimentaires dans les oeuvres de Sterbak et de Beecroft. Par leur utilisation du vêtement comme forme, matériau ou costume, les artistes suggèrent des images du corps transgressives qui viennent questionner les modèles culturels de la féminité en pointant leur contexte naturalisant. Malgré la singularité de leur démarche respective, les deux artistes donnent à voir des images du corps où les processus de construction identitaire ou d'élaboration d'une position de sujet s'avèrent sans cesse confrontés à des formes de pouvoir: les conventions de l'art, le regard de l'Autre, la maîtrise du corps, les diktats de la mode. Au terme de notre étude, les différentes stratégies parodiques observées nous apparaissent comme autant de négociations permettant de résoudre ponctuellement des problèmes liés à la représentation et à la définition du féminin. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art contemporain, Jana Sterbak, Vanessa Beecroft, Corps, Féminisme, Genre, Identité, Représentation, Vêtement.

The evolution and development of eyespot and non-eyespot colour pattern elements was studied in Vanessa butterflies using a phylogenetic approach. A Bayesian phylogeny of the genus Vanessa was reconstructed from 7750 DNA base pairs from 10 genes. Twenty-four non-eyespot and forty-four eyespot color pattern elements from the Nymphalid ground plan were defined and studied and their evolutionary history was traced on the Vanessa phylogeny. Ancestral character states were predicted and the direction of evolutionary changes was inferred for all characters. Five serially arranged eyespots were predicted for the ancestral Vanessa on all wing surfaces. Homologous eyespot and non-eyespot characters on the surfaces of the forewing were more similar than those on the surfaces of the hindwing. Homologous eyespot characters on the dorsal surfaces of fore and hindwings show more similarities than the ventral surfaces, in contrast to what was found for non-eyespot characters. Independent Contrast analysis was also used to study correlations between eyespot characters. Independent Contrast analysis revealed significant correlations between eyespots 2 and 5 and eyespots 3 and 4 on all wing surfaces. This consistency among highly variable eyespot characters suggested a structural hypothesis: the existence of a Far-Posterior (F-P) compartment boundary and organizer could be responsible for the observed correlations. This hypothesis was tested in several ways. First, examination of wing patterns across species from all families of butterflies revealed correspondence between wing cells 1 and 4 and between cells 2 and 3. Second, evaluation of spontaneous mitotic clones in butterflies and moths reveals a peak abundance of clonal boundaries along the vein dividing wing cells 2 and 3. Finally, experimentally generated FLP/FRT mitotic wing clones produced in Drosophila, reveal a clonal boundary posterior to the L5 wing vein, which is homologous to the vein dividing wing cells 3 and 4 in butterflies. Collectively, this suggests the existence of an additional compartment boundary associated with an organizer in wing cell 3 responsible for patterning the posterior portion of insect wings. A model is proposed that predicts that the wing developmental compartment boundaries produce unique combinations of gene expression for each wing sector, permitting eyespot individuation. / February 2016

La photographie numérique a transformé les comportements sociaux, en devenant un élément important de nos vies quotidiennes. Ne restant pas à l’écart, le milieu de l’art contemporain a suivi cette tendance. La fin des années 1960 marque l’apparition de l’art éphémère, y compris la performance. Сes courants artistiques au 20e siècle ont incité une documentation des œuvres qui est passée par la photographie. Progressivement, elle a pris une position plus forte, intervenant comme support majeur de la création artistique. En documentant ces œuvres, la dimension éphémère de la performance est remplacée par une certaine matérialité qui devient un moyen de posséder ces œuvres. Vanessa Beecroft, une artiste italienne-américaine, est un exemple parfait qui réunit ces tendances et ces paradoxes. Attaquée par les uns qui critiquent son approche qui « exploite » les femmes, elle est glorifiée comme « féministe » par les autres. Sa production artistique efface en effet les frontières entre le monde réel et l’imaginaire, ainsi qu’entre le monde de l’art légitime et celui de la culture populaire, du marché de l’art et du commerce. Dans notre mémoire, nous étudions les photographies prises pendant les performances de Beecroft en tant qu’objets indépendants, ce qui nous permet de pousser l’analyse sociologique de l’œuvre plus loin, démontrant une série de médiations qui sont au cœur de l’œuvre de l’artiste et qui créent la valeur de son œuvre. Enfin, cette analyse nous permet de placer l’œuvre de Beecroft dans un contexte du marché de l’art plus global. / Digital photography has transformed our social behaviour and has become an important part of our daily lives. The contemporary art scene also followed this trend. The late 1960s were marked by the emergence of ephemeral art practices, including performance. These twentieth-century artistic trends prompted an intensified usage of photographic documenting in art. The photographic medium has gradually become a major support for ephemeral artistic creation. The ephemeral dimension of photography has thus become more material, which has in turn allowed possessing these works of art. Vanessa Beecroft, an Italian American artist, is a perfect example of this phenomenon, as her art brings together these tendencies and paradoxes. She has been both criticized for her exploitative approach toward women who participate in her performances and glorified as a feminist artist. Her artistic production erases the boundaries between the real world and the imaginary, as well as between the world of legitimate art and that of popular culture, the art market, and commerce. In my thesis, I study the photographs taken during Beecroft’s performances as independent works of art. This allows me to push the sociological analysis further and to trace a series of mediations that are at the heart of her work and that create the value of these artworks. Lastly, this analysis places Beecroft’s work in the global context of the current art market.