Diploma thesis "Woman in Comics: Comparison of Woman Visual Depictions and Her Function and Role in Comics" is internally divided into two parts: a theoretical and a research part. The theoretical part introduces a history of comics, from the beginning of this medium till present and focuses on woman comics characters and their typologies. The analytical part of the diploma work presents own research which deals with visual depiction of women in comics: examines their functions and roles in comics and bindings to the depictions. A part of the research section of this work is also comics codes analysis (genre, modality, visual codes, nonverbal and language codes), summary of quantitative researches of female characters in comics and basic information about analysed comics (author of the comics, category etc.). The researched sample is composed of three comics: Li'l Abner (author: Al Capp), Wonder Woman (author: Charles Moulton), Strangers in Paradise (author: Terry Moore). Outcome of this research is a survey of analysed female and male characters, a summary of the visual analysis and implying results.

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This study seeks to examine whether the language in The Lord of the Rings books by J.R.R. Tolkien could potentially lead Swedish readers to emotional experiences of wonder while reading these stories. This is achieved by conducting an analysis of metaphors on select excerpts from these books – more specifically from the translated Swedish edition of 1992. The result of this analysis is then interpreted and discussed using the emotional state of wonder as a theoretical framework. The study shows that the writing language of Tolkien does feature several metaphors that could possibly relate to both reader emotions and experiences related to wonder. The findings also suggest that Tolkien’s language displays a mythical quality, possibly influenced by his personal interests and life experiences. The study therefore also suggests that this mythical quality could potentially play into the emotional experiences of Swedish readers.

Naturvetenskapsundervisning idag tenderar att måla en bild av att allt redan är förklarat och alla samband är upptäckta inom naturvetenskap. Skolans jobb handlar bara om att lära ut alla förklaringarna. Medan skolans undervisning fokuserar på att återge de rätta svaren ärforskare ofta djupt engagerade i frågor som ännu inte har något svar. Bland forskare inom naturvetenskap uttrycks även att en viktig drivkraft i deras arbete handlar om förundran inför det som studeras. Är det då möjligt att inom ramen för skolans undervisning använda sig av förundran som ett pedagogiskt verktyg, där det skapas en medvetenhet om att det finns mer att utforska? Ett växande forskningsfält rör förundrans betydelse för lärande i egenskap av epistemisk känsla och hur det kan integreras i undervisningen. I denna rapport undersöks hur elever på högstadiet upplever förundran i fysikundervisningen och deras syn på effekten och betydelsen av förundran för att lära sig fysikämnet. Studien har genomförts genom gruppintervjuer med elever där underlaget analyserats utifrån ett fenomenologiskt ramverk. Analysresultatet återger att essensen av elevernas upplevelser är att förundran upplevs om än inte så ofta. När det gäller vad som stimulerar förundran är essenserna flera sinnesintryck och elevens agens. I synen på effekterna och betydelsen av förundran anges sambandet mellan förundran, intresse och lärande som essensen, där speciell tonvikt läggs på att lärandet gynnas av att möta förundran tidigt. Slutsatsen av rapporten föreslår en uppgradering av begreppet förundran inom lärarutbildning, en medveten användning av undersökande arbetssätt för att stimulera förundran samt att förundran kan vara en nyckel till att starta en lärandeprocess. / Today's science education tends to portray a picture of science where everything has already been explained and all relations discovered. The task of schools is just to teach these explanations. While school education focuses on giving the right answers, scientists are often deeply engaged in questions that have not yet been resolved. Among scientists, wonder in relation to the object of study is expressed as an important motivation for their work. Is it then possible to use wonder as a pedagogical tool in school science, where an awareness is created that there is more to be discovered? An expanding field of research concerns wonder as an epistemic emotion and its implications for teaching. In this report, students' experiences of wonder in physics teaching and their view of the effects and significance of wonder in the learning of physics are investigated in lower secondary school. The study has been carried out using group interviews with students and the data set has been analysed through a phenomenological framework. The results of the analysis suggest that the essence of the students' experiences include that wonder is experienced but not so often. The found essences of what stimulates wonder are perception from several senses and students' agency. Regarding students' view of the effects and significance of wonder, the connection between wonder, interest and learning are noted as the essence, where there is a special emphasis on the claim that learning is facilitated by starting with wonder. The conclusions of the report propose an upgrade of the concept of wonder in teacher education, an intentional use of inquiry-based teaching to stimulate wonder and wonder as a key concept to start a process of learning.

Cotutelle / La présente thèse propose de traverser l’ensemble de l’œuvre cinématographique de Johan van der Keuken (1938-2001) en suivant le fil de la collection. Partant d’une reconnaissance de curieuses configurations d’objets et de corps rappelant les chambres de merveilles de la Renaissance et les entresorts du 19ème siècle, elle élabore un cadre théorique original fondé sur des travaux de Stanley Cavell, Gilles Deleuze et Siegfried Kracauer, afin d’analyser ce qui dans ce cinéma réfléchit le devenir filmique d’objets et d’êtres vivants saisis à même la vie ordinaire. Cette analyse s’enracine dans la pratique d’une forme d’ekphrasis qui veut épouser les rythmes, mouvements et inflexions de ce cinéma et de ses personnages, dont l’écriture répète les collections musicales. La thèse expose ainsi les responsabilités du cinéaste aux prises avec diverses formes de difformités, de marginalité et d’exclusion dues au colonialisme et à la logique réifiante du monde capitaliste, et montre comment les images qu’il réalise par les moyens propres au médium cinématographique manifestent un regard qui à la fois assume la violence inhérente à ce médium et parvient à en faire un instrument d’émerveillement. Ce regard collectionneur et merveillant affronte résolument l’exhibition, le voyeurisme, la stigmatisation, le sensationnalisme, l’accumulation, l’abstraction, la dispersion, la réification, pour en dégager une ligne de fuite au lieu d’en reconduire la violence. Tout en les heurtant, il suscite dans notre regard et notre écoute un amour du monde tel qu’il est. Van der Keuken met ainsi en œuvre, jusque dans le dernier film qu’il réalise alors qu’il est mis devant l’inévitabilité de sa propre mort, une éthique du cinéma dans l’oscillation entre merveille monstrueuse et merveille merveilleuse. / This dissertation offers a path through the complete œuvre of filmmaker Johan van der Keuken (1938-2001), guided by the notion of collecting. Highlighting the curious configurations of objects and bodies that call to mind Renaissance-era Wunderkammern and nineteenth century freak shows, this dissertation formulates an original theoretical framework based on the works of Stanley Cavell, Gilles Deleuze and Siegfried Kracauer. This framework enables the dissertation to analyze how van der Keuken’s cinema thinks through the filmic becoming of objects and living beings plucked out of ordinary life. This analysis is rooted in an ekphrastic practice that seeks to mold itself to the rhythms, movements, and inflections of this filmic universe and its characters, whose composition repeats musical collections. The dissertation thus demonstrates the filmmaker’s responsibilities as he grapples with diverse forms of deformity, marginalization and exclusion due to colonialism and the objectifying logic of a capitalistic world, and shows how the images he creates through the means unique to the medium of cinema manifest a gaze that both acknowledges the inherent violence of the medium and manages to turn it into an instrument of wonder. This collecting and wondering gaze resolutely confronts the risks of exhibition, voyeurism, stigmatization, sensationalism, accumulation, abstraction, dispersion, and objectification, in order to open a line of flight rather than reproducing violence. Even while shocking our eyes and ears, van der Keuken elicits in our gaze and in our listening a love of the world just as it exists. He thus experiments, up through his final film, directed as he faces his inevitable death, a film ethics that oscillates between monstruous wonder and wonderous wonder.

Space is a visual communicator. The act of perceiving space is a neurological soiree that projects and negotiates meaning in our constructed world. The poetry that we observe within space is tied directly to our emotions and to previous experience. Within ourselves, we each have particular feelings, unconscious or not, relating to height, length, and depth, as well as light and shadow. For example, a long, narrow hallway may elicit anxiety, while an open, sunlit nave in a cathedral may bring about feelings of serenity and joy. Our observations and interactions within the perceptual confines of space reveal clues to construction, movement, and play. Additionally, this participation unveils our awareness of space, and thus, reveals that our relationship with space exists in our acknowledgement of it—in our permitting of perception through conscious participation. To explore these ideas further, I will utilize typography to create immersive, sensory experiences that challenge interpretation through the application of human thought, or sensations, to non-living things and material states. This method will assist the observers to rationalize and create meaning within their own world through simplifying an experience in relation to self. Here, spatial language—like light, shadow, dimension, and proximity—will be exposed as a universal and innate part of our perception.

Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.

Submitted by Cristiane Chim (cristiane.chim@ucpel.edu.br) on 2018-06-20T11:55:48Z No. of bitstreams: 1 Maria Cecilia Bainy_ok (1).pdf: 2352266 bytes, checksum: 03accaa8878c908a67320f28fb6290bd (MD5) / Made available in DSpace on 2018-06-20T11:55:48Z (GMT). No. of bitstreams: 1 Maria Cecilia Bainy_ok (1).pdf: 2352266 bytes, checksum: 03accaa8878c908a67320f28fb6290bd (MD5) Previous issue date: 2017-11-24 / Wonder Woman character is acknowledgedly feminist and figured, along with Superman and Batman, one of DC Comics's top superheroes. She is the female's best-known female superhero. However, it was only in 2017, 75 years after its release, that the character gains a cinematographic work of its own. With the advent of information technology and the appropriation of the spaces of social networking sites, the theme of feminism has been gaining strength and has been widely discussed. This study analyzes the discussion on social networking sites on gender issues, in relation to the Wonder Woman movie release, in four publications on the official Facebook page. We investigated, in the comments on the release of the film, the presence of a debate on feminist issues, in order to identify the topics discussed. The idea is that the film would be able to mobilize discourses about female empowerment. We trace a brief history of how gender issues have been discussed from the 1930s to the present day. We discuss how gender studies are understood today and about the presence of feminism on the Internet. Questions about power and discourse were brought to the fore anchored in the precepts of Bourdieu (1996) and Foucault (2013), who describe elements to be considered in speech production as being a product of power relations in a society. We understand language as a form of naturalizing power through the concept of habitus (BOURDIEU 1989), and we consider it as one of the ways of perpetuating gender inequality. We recourse to Recuero (2012, 2014) to describe computer mediated communication and its relevant aspects for the analysis of this study, understanding it as a social product, capable of simulating elements of oral conversation. We understand, as Herring (2001), that textual communication is part of the discourses that come to construct behaviors. Thus, we use theoretical and methodological contributions of the Computer Mediated Analysis Discourse, developed by Herring (2001, 2004) in an attempt to find patterns capable of indicating the presence of a discussion about female empowerment, as well as to identify other recurrent patterns of discourse. / A personagem Mulher-Maravilha é reconhecidamente feminista e figura, juntamente com Superman e Batman, uma das principais super-heroínas da DC Comics. Ela é a super-heroína feminina mais conhecida da grande massa. No entanto, foi só em 2017, 75 anos depois de seu lançamento que a personagem ganha uma obra cinematográfica própria. Com o advento das tecnologias da informação e com a apropriação dos espaços dos sites de redes sociais, a temática do feminismo vem ganhando força e tem sido amplamente discutida. Neste estudo analiso, então, a discussão nos sites de redes sociais sobre as questões de gênero, no que se refere ao lançamento do filme Mulher-Maravilha, em quatro publicações na página de Facebook oficial da obra. Investiguei, nos comentários sobre o lançamento do filme, a presença de debate sobre as questões feministas, a fim de identificar os temas discutidos. Minha hipótese era de que o filme fosse capaz de mobilizar discursos sobre empoderamento feminino. Para este projeto, primeiro traço um breve histórico sobre como as questões de gênero têm sido discutidas desde os anos 1930 até os dias atuais. Em seguida, abordo sobre como os estudos de gênero são entendidos hoje e sobre a presença do feminismo na Internet. Questões sobre poder e discurso são trazidas à tona ancoradas nos preceitos de Bourdieu (1996) e Foucault (2013), que descrevem elementos para se pensar na produção do discurso como sendo um produto das relações de poder em uma sociedade. Entendo a linguagem, enquanto forma de naturalizar o poder, através do conceito de habitus (BOURDIEU 1989), e a considero como uma das formas de perpetuação da desigualdade dos gêneros. Recorro à Recuero (2012, 2014) para descrever a comunicação mediada pelo computador e seus aspectos relevantes para análise deste estudo, compreendendo-a como um produto social, capaz de simular elementos da conversação oral. Entendo, assim como Herring (2001), que a comunicação textual é parte dos discursos que vêm a construir comportamentos. Assim, utilizo aportes teóricos e metodológicos da Análise do Discurso Mediada por Computador, desenvolvidos por Herring (2001, 2004) na tentativa de encontrar padrões capazes de indicar a presença de discussão sobre o empoderamento feminino, bem como identificar outros padrões recorrentes de discurso.

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Working at the intersection of queer feminist affect studies and queer Indigenous studies, this thesis focuses on theorizations and enactments of queer Indigenous joy in Billy-Ray Belcourt's A History of My Brief Body, Gregory Scofield's Love Medicine and One Song, and Joshua Whitehead's Jonny Appleseed. It explores how these contemporary texts uniquely emphasize the relational queer Indigenous body’s tenacious capacity for care and love in order to enact more breathable, collective, and ultimately joyful modes of embodied life, even amid the stifling settler colonial present. I argue that, in doing so, these authors foster joy as a rebellious and healing affective orientation that opposes injurious colonial constructions of queer Indigenous embodiment and contributes to the future-bearing project of radical Indigenous resurgence. By examining these authors' invaluable interventions with joy, which is largely an under-acknowledged positive affect, this thesis aims to convey why the young but burgeoning field of queer Indigenous literature merits far more critical attention than it has received thus far.