I argue that some ancient Jewish sects, specifically the community at Qumran and the early Christians, did in fact write against, speak out against, and interpret ancient tests as being against their fellow Jews, the Temple, Jerusalem or all three. Given the time in which these occurred, I argue that those sects believed that the Roman Empire would be means in which their god would punish/destroy Jews that did not believe as they did, the Temple that did not represent what they thought it should, and Jerusalem as they believed it had become a sinful city. I examine the writings and persons of the Greek Bible. I examine specifics such as the Parable of the Tenants and demonstrate that this was delivered against Jewish leadership and the Olivet Discourse that, like the book of Jubilees, presents a series of tribulations that will fall on a wicked generation, specifically the one living in Jerusalem during the first century C.E. I also demonstrate how the motif of these writings affected the book of Revelation. I examine the prophetic books of the Hebrew Bible and show how the author used them as allusions in regards to the Whore of Babylon that appear in the book of Revelation. In doing so, I demonstrate that the Whore of Babylon is correctly identified as the city of Jerusalem. Additionally I show that the author used Babylon, the ancient foe of Israel, as a metaphor to demonstrate what he believed Israel had become. Lastly, I examine the author, a man named John, and the social world he lived in and the time he wrote during. I demonstrate that the commonly held belief of persecution against the early Christians and the use of Roman religion, such as the imperial cult, has been over stated and has led not only to a misinterpretation of chapters 17 and 18 in the book of Revelation, but they have led to an overall misunderstanding of the book as a whole.

<p>Throughout history women have been the object of oppression by patriarchal society. Men have had more privileges than women and although women in earlier days have tried to resist they have been the object and not the subject. The Madonna/Whore complex is still present in many ways as there are restrictions of how women are entitled to behave according to patriarchal society. However involves a third factor; the intellectual or the universal woman who faces nearly the same problem as courtesans and prostitutes did in earlier days in order to obtain a lifelong partner. This study will shed light on the dilemma that a great deal of women encounter when struggling with love and relationships. I have analysed four short stories from Margaret Atwood´s Wilderness tips; Wilderness Tips, Hairball, True Trash and The Bog Man. The women in these novels experience subordination in their relationship to men either as a Madonna, whore or intellectual.</p><p> To come to this conclusion I have examined the short stories from different perspectives in terms of which role they each portray, how they reveal their implications in the narrative and how projective identification empowers women in relationships.</p><p>Keywords: Madonna/ whore complex, patriarchal society, narratology, voice, projective identification</p>

Throughout history women have been the object of oppression by patriarchal society. Men have had more privileges than women and although women in earlier days have tried to resist they have been the object and not the subject. The Madonna/Whore complex is still present in many ways as there are restrictions of how women are entitled to behave according to patriarchal society. However involves a third factor; the intellectual or the universal woman who faces nearly the same problem as courtesans and prostitutes did in earlier days in order to obtain a lifelong partner. This study will shed light on the dilemma that a great deal of women encounter when struggling with love and relationships. I have analysed four short stories from Margaret Atwood´s Wilderness tips; Wilderness Tips, Hairball, True Trash and The Bog Man. The women in these novels experience subordination in their relationship to men either as a Madonna, whore or intellectual. To come to this conclusion I have examined the short stories from different perspectives in terms of which role they each portray, how they reveal their implications in the narrative and how projective identification empowers women in relationships. Keywords: Madonna/ whore complex, patriarchal society, narratology, voice, projective identification

This project is a discourse analysis of first-person and ethnographic writings published between the years 2000 to 2012, written by cis-gendered women who have worked or are working as erotic dancers. Utilizing frameworks of “whore feminism” and whiteness I argue that the works under examination within this project assail the victim/agent dichotomy that has historically dominated discourses surrounding sex workers, which ignore what erotic dancers themselves have to say about female empowerment and how they choose to define themselves. By examining the issues of self-presentation that arise within the context of autobiographical work, I interrogate the tensions inherent within the erotic dance industry surrounding assumed motivations for engaging in the industry; measurements of success for erotic dancers; and how stigmatization impacts the lives of dancers and their loved ones. The project highlights ways in which erotic dance memoirs at once open up new critical and theoretical spaces and also problematically reinforce patriarchal stereotypes. / Thesis (Master, Gender Studies) -- Queen's University, 2013-09-28 21:16:23.247

'Tis Pity She's a Whore. An Elizabethan revenge tragedy by John Ford, was produced and directed by Kenneth Livingstone, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Frederic Wood Studio Theatre, from March 8-11, 1967. The following is a detailed record of that production along with the director's analysis and interpretation of the script. 'Tis Pity She's a Whore was produced on a budget of $300.00, with a 90 hour rehearsal period and had a five performance run in a theatre seating approximately ninety people. The play was performed by a predominantly student cast in a setting designed by Harry Soloveoff and with original music composed by Leon Dubinsky which was played each night by a small group of musicians employing recorders, guitars, drums, bells and a virginal. This record is divided into three main sections. The first is an essay which starts by discussing the historical background of the play with reference to its position in the genre of Revenge Tragedy. This is followed by a brief biographical note on the author and then a detailed analysis of the play with reference to the significant critical interpretations available and concludes with a discussion of the directorial concept adopted for this production. The director's interpretation is compared to, and contrasted with, the various critical views already mentioned. The essay is followed by a short bibliography which is not intended as a complete academic record of works on Ford, but merely indicates those views which were taken into consideration in the preparation of this production. The second section is made up of the actual script; showing cuts, blocking, significant divisions and indicating light, music and scenery cues. Each scene is preceded by a brief analysis which indicates the major units within the scene and the directorial approach taken in terms of purpose, action, dominant emotions, character dominance, and particular difficulties Involved. The third section is made up of various tables, records, and illustrations relating directly to the production. Included are lists of light cues, music cues, set changes, properties, costumes, cost lists, and box office reports. Also included are transcripts of the music composed for the production, a sample of the program, and copies of the press reviews. The illustrations include colour photographs of the production, and finally, blueprints of the floor plan and working drawings. / Arts, Faculty of / Theatre and Film, Department of / Graduate

<p><p>This paper is about how the contemporary discourses on the slut in various ways discuss sluttyness, and what consequences these discussions may be for those who see themselves as sluts. The study is based on five electronic interviews, conducted via instant messaging, with five people who consider themselves to be dealing with sluthood and that, according to their own definitions, identify themselves as sluts. My conclusion is that sluttyness, when given the opportunity to be discussed and problematized, visualizes power and normative systems between sluts. This means that sluttyness is more complex than only influenced by patriarchal oppression and hierarchy of femininity, as I show through an intersectional conscious analysis.<p> </p><p> </p></p></p>

<p>This dissertation discusses how reputation, virginity and honour are made topical in the stories of the lives of Arab and Kurdish women and connected with understandings of culture and religion. The dissertation is composed of five articles, which contain the principal analysis, and five chapters that discuss the project as a whole; the development of the main topics, and choices concerning methodological, ethical and theoretical approaches. </p><p>The empirical material of the dissertation consists of interviews with ten Arab and Kurdish women in Sweden, and seven legal cases of honor related violence. The interview material is analysed as a whole – focusing on the importance of reputation in women’s creation of identity, and how this may be related to cultural conceptions of divided femininity (virgin-whore) and honour (article 4). I also conduct an in-depth analysis of one interview, where meaning is created through a story, in which liberty is contrasted with constraint (article 3). In the analysis of the legal cases, I discuss the arguments of verdicts concerning honour related violence, and criticise the courts’ understanding of crimes as demarcated acts (articles 1 & 5). I also analyse the (violent) stories of the actual lives of women found in the legal cases in their contexts (articles 2 & 5).</p><p>Throughout the dissertation, I aim at a constructivist attempt that sees culture and gender as creative frames of interpretation. This attempt is connected with a hermeneutic perspective, which sees a statement or an act as comprehensible only when interpreted in its context (e.g. in a cultural context of honour). It is also connected with a feminist understanding of men’s violence against women, which relates the meaning of an act of violence to culturally accepted forms of control and cultural conceptions of gender.</p><p>In the analysis of the empirical material, I show how culture is created as contrast in the lives of women. ’Arab/Kurdish’ and ’Swedish’ appear as exclusive categories, and are connected with cultural conceptions of divided femininity and honour. Within these categories, a woman is either a virgin or a whore, and a woman that has been branded as a whore will be stained forever. Men’s honour will not be restored until she is extinguished. When these cultural conceptions are used in the life of a woman who lives with these highly normative demands, they may be crucial and signify experiences of violence. A woman with bad reputation may be defined as a ”Swedish whore” be her male relatives, contrasted with being an ”Arab/Kurdish virgin”. The honour of these men will not be restored until she is excluded from the family or dies: to be a virgin or a whore may be a life-and-death matter.</p>

This dissertation discusses how reputation, virginity and honour are made topical in the stories of the lives of Arab and Kurdish women and connected with understandings of culture and religion. The dissertation is composed of five articles, which contain the principal analysis, and five chapters that discuss the project as a whole; the development of the main topics, and choices concerning methodological, ethical and theoretical approaches. The empirical material of the dissertation consists of interviews with ten Arab and Kurdish women in Sweden, and seven legal cases of honor related violence. The interview material is analysed as a whole – focusing on the importance of reputation in women’s creation of identity, and how this may be related to cultural conceptions of divided femininity (virgin-whore) and honour (article 4). I also conduct an in-depth analysis of one interview, where meaning is created through a story, in which liberty is contrasted with constraint (article 3). In the analysis of the legal cases, I discuss the arguments of verdicts concerning honour related violence, and criticise the courts’ understanding of crimes as demarcated acts (articles 1 &amp; 5). I also analyse the (violent) stories of the actual lives of women found in the legal cases in their contexts (articles 2 &amp; 5). Throughout the dissertation, I aim at a constructivist attempt that sees culture and gender as creative frames of interpretation. This attempt is connected with a hermeneutic perspective, which sees a statement or an act as comprehensible only when interpreted in its context (e.g. in a cultural context of honour). It is also connected with a feminist understanding of men’s violence against women, which relates the meaning of an act of violence to culturally accepted forms of control and cultural conceptions of gender. In the analysis of the empirical material, I show how culture is created as contrast in the lives of women. ’Arab/Kurdish’ and ’Swedish’ appear as exclusive categories, and are connected with cultural conceptions of divided femininity and honour. Within these categories, a woman is either a virgin or a whore, and a woman that has been branded as a whore will be stained forever. Men’s honour will not be restored until she is extinguished. When these cultural conceptions are used in the life of a woman who lives with these highly normative demands, they may be crucial and signify experiences of violence. A woman with bad reputation may be defined as a ”Swedish whore” be her male relatives, contrasted with being an ”Arab/Kurdish virgin”. The honour of these men will not be restored until she is excluded from the family or dies: to be a virgin or a whore may be a life-and-death matter.

This paper is about how the contemporary discourses on the slut in various ways discuss sluttyness, and what consequences these discussions may be for those who see themselves as sluts. The study is based on five electronic interviews, conducted via instant messaging, with five people who consider themselves to be dealing with sluthood and that, according to their own definitions, identify themselves as sluts. My conclusion is that sluttyness, when given the opportunity to be discussed and problematized, visualizes power and normative systems between sluts. This means that sluttyness is more complex than only influenced by patriarchal oppression and hierarchy of femininity, as I show through an intersectional conscious analysis.

This thesis explores the representation of prostitution in German Weimar films between 1919 and 1933. It theorizes that prostitutes are illustrated through characters who are public women. The women who step out of their homes to enter public, or who are somehow introduced to strangers without leaving their homes are public women. The public women in these films, as public women living in Germany, were in danger of being identified as prostitutes and becoming prostitutes. A woman’s public position made her vulnerable to the male sexualized gaze. The male sexualized gaze ultimately led to a woman’s prostitution. The thesis analyzes 4 films to demonstrate woman’s depiction as a prostitute. The first film, Nosferatu, depicts a seemingly virtuous woman whose husband begins to prostitute her, but ultimately she prostitutes herself in exchange for the service of a supernatural law. The film symbolically discusses social issues regarding prostitution, family life, and venereal disease. The second film, Metropolis, protects its public female character from the sexualized gaze with religion and motherhood at the beginning of the film. However, as the film progresses the main character, Maria, is unwillingly prostituted by the head of the society in exchange for a robot that looks like her. The robot employs the male sexualized gaze and her position as a prostitute to overturn society as a vagina dentata. The third and fourth films are The Blue Angel and Variety respectively. Both of these films depict women in public positions who use their sexuality for gain. These women prostitute themselves. They are not victims as Maria and Ellen are in the two previous films. The women in this chapter use their sexuality and prostitution as a way to attain agency. The women in these films I label as vagina dentata because they purposefully destroy men for their own gain. These women use public sexuality to find and engage their male prey as patrons before they emasculate them. The thesis views the women of Weimar films differently than other scholars have by making her the focus of the film and interpreting her public exposure as her gateway to prostitution.