Utifrån tankar om makt, begär och normalitet ämnar texten skapa en förståelse både för Alva Roselius konstnärskap, och idén om konstnärskap i vidare bemärkelse. Med avstamp i personliga berättelser diskuteras Friedrich Nietzsches begrepp ‘ressentiment’ och Wendy Browns tanke om att alla människor i ett senkapitalistiskt samhälle bär på detta. Vidare avhandlas språket, och dess inneboende makt, i relation till kroppen och den fysiska akten av att brodera. Broderiet diskuteras fortsatt utifrån sin kvinnligt kodade tradition och med utgångspunkt i Tiqquns Preliminary Materials for a Theory of a Young-Girl ifrågasätts idén om the young-girls universalitet. Att den ideala medborgaren i ett konsumtionssamhälle beskrivs som en young girl handlar om makt snarare än slump. Det feminint kodades icke-universella varande stärks av Rozsika Parker som härleder konsthantverkets, jämte konstens, låga status till dess utövare. Hon visar på att konst traditionellt skapats av män medan konsthantverk utförts av kvinnor. Texten resonerar avslutningsvis kring motsättningen mellan det kvinnliga och det konstnärliga och menar att detta idag är helt förändrat, då konstnärens prekära arbetssituationen givit denne en kvinnligt kodad expertis. Alla konstnärer är således kvinnligt kodade. Konstnären är inte längre ett ensamt geni som drivs av behovet att skapa, konstnären är the young girl, driven av upprättelsebehov. Texten rör sig mellan ett poetiskt och ett akademiskt språk och refererar, i linje med detta, till poeter tillika teoretiker och konstnärer.

In this paper I undertake an investigation of the meaning of sexual difference for Tiqqun’s theory of the Young Girl, which describes a commodified subjectivity in the neoliberal age. Tiqqun’s claim, that Young Girl is not to be understood as a gendered concept but rather as a détournement of the capitalist girl archetype, is put in relation to Jennifer Boyds development of their theory. According to Boyd’s interpretation of Young Girl as an embodied, gendered subjectivity, she can resist the control of the Empire by transforming from non-agency to pure agency, the latter being the state Boyd coins Strange Girl. In order to understand the radical notions that seem to follow from interpreting Young Girl in terms of gendered subjectivity, I apply Paul B. Preciado’s theory of techno-gender in the pharmacopornographic era to Tiqqun and Boyd respectively. Preciado’s theory offers a way of addressing Young Girl as a specific embodied subject and holder of a potentia gaudendi, an orgasmic potential that is either exploiting or being exploited depending on the bearers techno-gender. To conclude, this essay offers up a re-reading of Young Girl as being the exploited techno femininity that transform, via molecular gender and sex-hacking, into Strange Girl and orgasmic agency. Thereby she performs an actual, and not symbolical, resistance against the biopower performed by the Empire. / <p>Presenterad vid Seminariet i feministisk kontinentalfilosofi i Stockholm, 12 oktober 2018</p><p></p><p></p>

Denna uppsats är en kvalitativ studie av de två största professionella bloggarna i Sverige, blondinbella.se och kissies.se. Studiens syfte är att ta reda på vilka markörer för klass och genus som kan hittas på bloggarna och utifrån dessa vilken bild av att vara ung tjej det är som förmedlas till bloggarnas läsare. Debatten om de två aktuella bloggarna pågår i media och speciellt är det författarna bakom bloggarna som uppmärksammas, Isabella Löwengrip och Alexandra Nilsson. Med hjälp av teorier kring kön och klass analyserar jag bloggarnas innehåll och försöker utkristallisera vilka teman som är dominerande på dessa bloggar. Resultatdelen är uppdelad utifrån dessa teman som handlar om shopping, kroppsuppfattning och valmöjligheter. Ett utmärkande drag i bloggarna är betoningen på jaget, den individuella upplevelsen av allt som händer och hur alla omnämnda händelser relaterar till bloggerskorna själva. Det som till en början framstod som två ungefär lika modebloggar, har visat sig rymma fler olikheter och fler dolda sociala mekanismer än vad man först kunnat ana. Hur bloggerskorna förhåller sig till sin vardag, sin omgivning och till kritik och ideal, formas till stor del av deras klasstillhörighet. En annan slutsats är att den kommersiella sidan av bloggarna i stora delar utformar vad det skrivs om, vilket påverkar helhetsupplevelsen som förmedlas. / This is a qualitative study of the two biggest blogs in Sweden, blondinbella.se and kissies.se. The purpose of this study is to find out which characteristics can be found that represent social class and gender, and from that perspective, what image of being a young girl is forwarded to the readers of these blogs. The media debate on the two blogs is ongoing and of special interest are the two writers of these blogs, Isabella Löwengrip and Alexandra Nilsson. With the help of social class and gender theories I analyze the content of the two blogs and try to distinguish which themes are dominant. The result part is divided from those themes that consider shopping, bodily self-esteem and choices. A predominating characteristic on the blogs is the emphasis on the self, the individual experience, and how all that is happening is related to the bloggers themselves. What in the beginning appeared to be two similar fashionblogs, has turned out to be embedding more diversity and hidden social mechanisms than was first apparent. How the bloggers relate to their everyday life, their settings and to critique and ideals, is in big parts shaped by their social class. Another conclusion is that the commercial side of the blogs in large aspects shapes what is written and this affects the subjective total experience of the blogs

Cette thèse a pour objectif d’étudier le retour de la tragédie grecque sur la scène française du XXe siècle, et de comprendre les significations qui s’appliquent à la forme théâtrale de la tragédie au XXe siècle, autour de quelques figures féminines. Notre recherche doctorale a retenu cinq écrivains, auteurs de pièces de théâtre inspirées par des personnages de la tragédie grecque : Jean Giraudoux, Jean Anouilh, Jean Cocteau, Jean-Paul Sartre et André Gide.En partant des oeuvres de l’Antiquité grecque comme berceau de la tragédie, on conçoit rapidement le fait que ces oeuvres constituent une source inépuisable pour les dramaturges français à travers les siècles. Ainsi, les auteurs français n’ont pas cessé de redonner la vie aux personnages tragiques grecs. Toutefois, il n’y a pas de lien particulier avec la civilisation antique si ce n’est un regard posé sur des mythes fondateurs de la pensée humaniste. Au plan méthodologique, nous nous appuyons sur les oeuvres, sans faire - plus que nécessaire - référence aux œuvres du théâtre grec. Bien qu’il prenne place dans le champ de la dramaturgie pour réinventer les dispositions d’un espace sociétal en plein mutation, le genre féminin n’a jamais été étudié d’une manière spécifique, détaillée et à partir d’un large corpus.Ce travail de thèse entre dans le cadre général de la thématique de la transformation du féminin qui est ainsi retranscrite ou traduite par la parole du dramaturge masculin. Après une identification de la personnalité des héroïnes et de leurs attitudes, notre propos sera de décrypter le réseau des alliances entre féminin et masculin. Les femmes s’impliquent dans les systèmes d’organisation que nous avons classés en trois parties : les relations dans la famille, les relations dans le couple et les relations dans le système politique. Au terme de cette exploration, nous arriverons à la conclusion suivante : la nouvelle identité que le XXe siècle a offerte à la femme a été mise en valeur. Alors qu’une infériorité considérable marque le statut de la femme, pendant des siècles, par rapport à celui de l'homme, des thématiques nouvelles surgissent pour donner naissance à une amélioration remarquable et à un changement de statut de la femme. / This thesis aims to study the return of the Greek tragedy into French theatre in the twentieth century, and to understand the significance applied to the Tragedy in the twentieth century focusing on some female figures. In this research, the following five French playwrights, authors of plays were chosen because they were inspired by characters of Greek Tragedy: Jean Giraudoux, Jean Anouilh, Jean Cocteau, Jean-Paul Sartre and André Gide.The return of Greek themes in French plays over the years shows us indeed just how valuable these finite sources of information and reference actually are and how much of an inspiration they have been. For this reason mainly, authors such as those mentioned above have not stopped bringing these old characters back to life in their plays. There is not any specific link with old civilization; it is but a look at the founding myths of the humanistic thinking. In terms of the methodology, work done in the 20th century with relation to classic Greek themes/ tragedy genre, has been selected specifically as a tool of studying more recent French theatre. The role played by these female characters in these plays has not been analyzed or looked at before in detail using this quantity of authors as a sample, making this thesis unique and an interesting contribution to the field.This study looks more deeply into the change or shift that took place when considering the role/character played by women in these plays, through the eyes of these male authors. After determining these distinctive female characters and their personalities and attitudes, the relationship between men and women can be analyzed and particular relationships, divided into 3 sections, namely will be analyzed and discussed: -  Role and relationship of female characters from a political system perspectiveThis thesis will aim to conclude that the identity and status associated to female characters, for several centuries have been significantly less than the status of men, and more specifically in these olden Greek plays from the 20th century.The study predicts that in light of the recent changes and developments undergone by new French play writers, inspired by classic Greek genre has led to a paradigm shift and drastic improvement in the identity and status associated to the Female characters in these plays.

Cette thèse s’intéresse s’attache à définir le topos littéraire de la jeune fille nubile faisant son entrée dans le monde et son rapport avec la réalité historique, sociale et culturelle de la fin du XVIIe et du XVIIIe siècle. Comment le modèle fictionnel de la jeune fille et le réel interfèrent-ils l’un sur l’autre ? À la lumière des gender studies, nous nous intéressons à la littérature comme participant de la construction culturelle des genres et à cette époque en tant que naissance d’un certain féminisme L’éducation des jeunes filles, absente ou incomplète volontairement, apparaît alors comme une propédeutique à la future condition asservie de la femme à cette époque, au rôle que la société attribue au genre féminin. L’éducation est alors à comprendre dans une acception large : éducation intellectuelle, morale mais aussi sentimentale et sexuelle. Dans cette optique notre corpus regroupe trois types d’œuvres, fort diverses en apparence, afin d’avoir une vue d’ensemble sur ce phénomène : à des œuvres morales et des majores, s’ajoutent des œuvres licencieuses et des minores, œuvres des romancières pourtant à succès du XVIIIe siècle / This thesis deals with how to define the literary report of the nubile young girl breaking into the world and its link to the historical, social and cultural reality in the end of the 17th century and 18th century. How the fictional model of the young girl and the reality interfere in each other? With the help of " gender studies", we will take interest in literature as an active participant of the cultural construction of genres , and in this era as the birth of a kind of feminism. The young girls missing or deliberately incomplete education , appears as a foundation course to the future enslaved condition of woman of this era, to the role given to the feminin gender by society. The word education is to be understood in a larger way: intellectual education, moral education but also sentimental and sexual education. From this perspective, our corpus joins together three types of works, really different works, in order to have an overview on this phenomenon: moral and major works, loose and minor works, and works of female yet successful writers from the 18th century.

This business plan aims to develop a premium holistic service for girls who suffer from obesity, overweight and/or eating disorders, using new approaches to these existing problems. Our mission is to provide an innovative approach that can make a difference for young women with obesity, overweight and/or eating disorders.

The dissertation aims at the analysis of the traditional linguistic worldview of the woman in Czech. Theoretically and methodologically, the dissertation follows from the modern Polish ethnolinguistics, i.e. a discipline focusing on the studies of language in relation to culture, which uses the term of "linguistic worldview", referring specifically to the ways in which the values and experience of the particular society have been written into its language. The aim of the dissertation is to reconstruct the image (the stereotype) of the woman in Czech, i.e. to reveal the structure of stereotypical characteristics related to the woman in the language and the culture. The attention was paid primarily to the traditional image, built in the centuries before the dramatic changes of the society and the women's role in modern times. The analysis of the Czech vocabulary (including phraseology) and of the traditional songs lyrics, minor folklore genres as well as classical Czech literature has led to the reveal and subsequent characterization of four specific modes of the linguistic worldview of the woman, divided according to the three aspects (profiles) - the age, the appearance and the social role - as the young girl (maiden), the wife, the mother and the old woman. Each of them involves the general as...

There appears to be little doubt about the nature of the relationship between the fashion model and the young girl in contemporary Western culture. Dominant literature, emerging from medico-psychological and feminist research, situates the model as a disorderly influence, imbued with the capacity to infect and, hence, distort the healthy minds and bodies of 'suggestible' young girls. Opposing these perspectives is a smaller, more recent body of literature, emerging from post-feminist work that argues that the model-girl relationship is a delightful influence. Thus, the contemporary field of scholarship reveals an increasingly dichotomous way of thinking about fashion model influence: the model influences young girls in ways that are disorderly or delightful, never both. This thesis argues that to assume that the model-girl encounter is 'neatly' disorderly or delightful is shifty at best. It suggests that, in their rush to judge the fashion model as either pernicious or pleasurable, existing literature fails to account for the precision with which young girls know the fashion model. Using poststructuralist theory, the thesis argues that 'influence' may be more usefully thought of as a discursive effect, which may produce a range of effects for better and worse. Following Foucault (1972), fashion model influence is interrogated as a regime of truth about the model-girl encounter, constituted discursively under specific social, cultural and historical conditions. In so doing, the thesis makes different sense of fashion model influence, and questions influence as an independently-existing 'force' that bears down on vulnerable young girls. Drawing on a poststructural conceptual architecture, this thesis re-conceptualises the model-girl encounter as a pedagogical relationship focused on the (ideal) female body. It suggests that the fashion model, as an authoritative embodied pedagogue, transmits knowledge about 'ideal' feminine bodily conduct to the young girl, as attentive gazing apprentice. Fashion model influence is re-interrogated as the product of certain forms of disciplinary training (Foucault, 1977a), with young girls learning a discursive knowledge about how to discipline the body in ways that are properly feminine. Such a perspective departs from the notion that fashion model influence is necessarily disorderly or delightful, and makes possible a re-reading of influence in terms of learning outcomes. A problematic arises conceptualising the fashion model in this way. To consider the model as a 'good' teacher breaches a number of discursive rules for best pedagogical practice in postmodern times: She is not a pedagogue of the mind; she is not student-centred, facilitative, asexual, interpersonally engaged, relational, or authentic. To create a space for thinking differently about the model as a teacher, then, the thesis looks to ancient historical times and places in which female-to-female and body-to-body pedagogies were practised and understood. The first phase of the research project embedded in this thesis defamiliarises pedagogical work using historical texts from ancient Greece. It examines in particular the erotically embodied pedagogical relationships conducted between older, authoritative elite prostitutes known as hetairae, and their younger female apprentices. The discursive rules governing these pedagogical relationships are examined with a view to diagnosing the model-girl encounter in terms of these rules. These rules are then used to interrogate ethnographic data generated through observation of the model-girl encounter in situ in a modelling course, and through focus group interviews with groups of young girls. Working through notions of corporeal embodiment, self as art, desire, discipline, stillness, spectacle, the gaze and the conduct of conduct, the study interrogates the model-girl encounter as a contemporary pedagogical encounter. To avoid reaffirming more traditional binaries, the reading of data is ironic, working within and between binaries such as disorder/delight. Three ironic categories of femininity are produced out of the analysis: unnaturally natural, stompy grace and beautifully grotesque. These categories 'speak' the fragmentation, fissure, contradiction, inconsistency and absurdity that permeate the talk of young girls and model-girl pedagogy in the modelling classroom. Thus, the thesis offers up an analysis of the model-girl encounter that refuses the neatness and uni-dimensionality that characterises existing literature.

Cotutelle de thèse entre l'Université de Montréal et l'Université Paris 3 Sorbonne-Nouvelle / Parallèlement à la construction progressive du concept d’« adolescence » par certaines disciplines telles la sociologie et la psychologie, la catégorie de la jeune fille prend une importance de plus en plus marquée dans la réalité sociale et la littérature française des années 1880-1914. Et pourtant : malgré son importance tant quantitative que « qualitative » dans le roman tournant-de-siècle, force est de constater que le personnage-personne de la jeune fille n’a reçu que très peu d’attention critique au cours des dernières décennies. C’est encore plus vrai du personnage de la jeune personne tel qu’il est représenté dans le « roman catholique » des années 1880-1914, cette étiquette de même que l’immense espace d’hétérogénéité générique constitutive qu’il représente ayant somme toute fait l’objet de peu de travaux. L’objectif de cette thèse consiste donc à préciser les caractéristiques que revêt la jeune fille de papier en régime catholique d’écriture ainsi que l’utilisation à des fins politiques, socioéducatives et idéologiques qui est faite d’elle par les romanciers catholiques de l’ère 1900 – autrement dit par les différents pôles d’un sous-champ littéraire catholique en construction et en mouvement. Pour ce faire, et au croisement de l’histoire littéraire, de l’histoire culturelle et de la sociologie de la littérature, il convient d’abord de définir les exigences, normes et valeurs diffusées au sein du sous-champ, toutes liées à la jeune fille historique et sociale et qui conditionnent les postures et les pratiques d’écriture de l’ensemble des agents. Seulement après analyserons-nous les représentations de la « jeune fille » inscrites dans les principaux sous-genres investis par les romanciers catholiques du temps – le roman d’amour, le roman traditionaliste et le roman de vocation spirituelle. On verra alors qu’en plus de rendre visible un conflit de représentations fictionnelles qui réfracte les débats sociaux entre laïcs-républicains et catholiques, les personnages de jeunes filles mis en récit par le roman catholique révèlent les conflits qui opposent différents acteurs à l’intérieur même du sous-champ et, plus largement, du monde catholique de la période 1880-1914. C’est poser que la « jeune fille » est à la fois l’un des enjeux et l’un des instruments fondamentaux du sous-champ des romanciers catholiques tournant-de-siècle : sa représentation littéraire permet en effet aux écrivains catholiques d’alors, en fonction de leur position (dominante-orthodoxe ou dominée-hérétique) dans le sous-champ et des intérêts qui y sont associés, de prendre position dans le sous-champ littéraire catholique, autrement dit de conserver telle quelle ou de subvertir profondément la structure du sous-champ, et donc par extension la structure du champ des formes et des contenus romanesques. / The girl is more important than ever in Fin-de-Siècle France : the rising conflict between the Third Republic and the Church puts the spotlight on this now unavoidable fictional character. And yet, very few studies have focused on her. The same could be said of the Catholic Novel, which has not received much critical attention over the last decades. This study thus aims at describing the features of the girl in French turn-of-the-century Catholic literature, and the ways she is used by Catholic writers to undermine the basis of the new (anticlerical) Republic. But Catholic writers are far from agreeing on the ways the girl should be depicted : some believe that her fictional representation should have moral and ideological effects on the readers (romance and traditionalist writers such as M. Maryan, Henry Bordeaux, René Bazin and Paul Bourget), while others think it should inspire in them the love of the Passion of Jesus (spiritual writers like Barbey d’Aurevilly, Léon Bloy and Émile Baumann). In short, this study shows how, in Fin-de-Siècle French literature, the girl becomes one of the major instruments of the conflicts between Catholics and Republicans, but also between Catholics.