Abstrakt Denna uppsatsen är en jämförande studie med två gestaltningar av skådespelerskan Alicia Vikander. Jämförelsen är föranledd av forskning som menar att sammansmältningen mellan sexualitet och teknik i samtida action/thriller och science fictionfilmer är pervers. Kvinnokroppen fetischeras i samband med att den är hoplänkad med tekniska prylar och med hjälp av reklamfilmsestetik. Estetiken gör således att prylarna försöker säljas genom att sexualisera kvinnokroppen. Den här studien försöker finna utvägar för fetischeringen genom att framhäva skådespelerskans insats och hur hon kan förändra bilden som sammanlänkningen strävar efter. Filmerna jag använder för att undersöka detta är Ex Machina och Jason Bourne där Vikander figurerar i två biroller. Jag undersöker hennes roll för att titta noggrannare på fetischeringens utsträckning och vad som krävs av henne samt estetiken inom de filmerna för att möjliggöra andra synvinklar inom action/thriller och science fiction genren. / Abstract This paper compares two of Alicia Vikander's roles and treats research that says sexuality and technology are interlinked and fetishized about in contemporary action/thriller and science fiction movies. The two films the paper talks about are Jason Bourne and Ex Machina where Alicia plays an important figure. The female body is beeing fetishized in connection to technology that the characters use and that support the movie. Toghether with advertising aestetics such films are beeing selled through the sexualisation of the female body. This study is trying to find expedients from the fetischizing elements by highlighting the actress performance and how she can change the image that the interlinked elements strive to feature. My objective is to study how far the fetischizing have gone and how or if Alicia can break the perversion that the advertisment aestetics and interlinked elements of such film highlight. Also what features within such film, in that genre, require us to see beyond those fetishizing elements.

This essay investigates the prospect of confessionalism’s potential resurgence in contemporary poetics through female poets on Instagram and discusses its relevance and likeness to mid 20th century confessional poetry. Two case studies of highly popular Insta- poets Rupi Kaur and Alicia Cook are presented and a close reading of a few of their poems is introduced in order to investigate their adaptation of what I call an over-confessional style that addresses issues such as mental health, family, sexuality, and the perception of the female body. Kaur and Cook employ visual strategies and forms in their poetry in order to achieve an over-confessional style which is not simply individualistic but carries such larger social and public concerns. Studies of Insta-poetry are scarce due to its newness and partly due to the widespread dismissal of the genre by academics and researchers. However, because of the growing popularization of digital media and Insta-poetry as a literary mainstream more studies of the genre are needed and there has been a rising critical interest in the genre. The public nature of Instagram and the autobiographical lyric style of confession have made Insta- poetry very accessible and relatable to readers, resulting in a new relationship between the poet and the reader. I demonstrate that Kaur’s and Cook’s writing displays autobiographical, aesthetic and thematic tendencies commonly associated with confessional poetry, but also pushes the confessional mode to its limits. Apart from broader structural comparison, I attempt a literary analysis of Insta-poetry in order to provide an understanding of the social aspect and the visual strategies of Insta-poets.

[ES] Esta tesis se centra en las posibilidades expresivas del GIF y la influencia del arte óptico, que a través de una serie de prácticas artísticas, revelan una selección de efectos ilusorios capaces de afectar la percepción visual. Esta tesis estudia el uso de efectos ópticos que alteran la visión de GIF para enfatizar su poder expresivo lejos de su abstracción habitual utilizando la combinación de la expresión narrativa de la ilustración, modificando el uso actual del formato digital característico utilizado para este propósito. Las leyes de percepción y los efectos ilusorios a partir de los cuales enfocamos el estudio perceptivo, tienen como objetivo crear un nuevo entorno comunicativo poderoso en movimiento gracias al uso de herramientas digitales esenciales, que crean un nuevo ámbito de expresión en la era de las tecnologías. La hipótesis que surge en este estudio es si el uso característico del formato GIF y su unión con el arte óptico, puede mejorar el mensaje expresivo visual y narrativo de la ilustración actual al eliminar el marco social constitutivo del GIF. / [EN] This thesis is an investigation about the expressive possibilities of GIF and the influence of optical art , which through a series of artistic practices, they reveal a selection of illusory effects capable of affecting visual perception. This thesis studies the use of optical effects altering the vision of GIF to emphasize its expressive power far from its usual abstraction using the combination of the narrative expression of the illustration, modifying current use of the characteristic digital format used for this purpose. The laws of perception and illusory effects from which we focus perceptual study, aim to create a new powerful communicative environment in motion thanks to the use of essential digital tools, which create a new scope of expression in the era of technologies. The hypothesis that arises in this study is whether the characteristic use of the GIF format and its union with optical art, can enhance the visual and narrative expressive message of the current illustration by eliminating the constitutive social framework of GIF. / [CA] Aquesta tesi és una investigació sobre les possibilitats expressives de l'GIF i la influència de l'art òptic, que a través d'una sèrie de pràctiques artístiques, revelen una selecció d'efectes il·lusoris capaços d'afectar la percepció visual. Aquesta tesi estudia l'ús d'efectes òptics que alteren la visió de GIF per emfatitzar el seu poder expressiu lluny de la seva abstracció habitual utilitzant la combinació de l'expressió narrativa de la il·lustració, modificant l'ús actual de l'format digital característic utilitzat per aquest propòsit. Les lleis de percepció i els efectes il·lusoris a partir dels quals enfoquem l'estudi perceptiu, tenen com a objectiu crear un nou entorn comunicatiu poderós en moviment gràcies a l'ús d'eines digitals essencials, que creen un nou àmbit d'expressió en l'era de les tecnologies . La hipòtesi que sorgeix en aquest estudi és si l'ús característic de el format GIF i la seva unió amb l'art òptic, pot millorar el missatge expressiu visual i narratiu de la il·lustració actual a l'eliminar el marc social constitutiu de l'GIF. / Vergara Sánchez, E. (2020). Arte cinético-óptico a través del GIF ilustrado [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/149476 / TESIS

No description available.

This dissertation looks at the representation and impact of gendered violence in the novel Pasos bajo el agua (1986) and in the short stories in Ofrenda de propia piel (2004) by Argentine author and former political prisoner Alicia Kozameh (b. 1953), as well as in Jamás el fuego nunca (2007) and Impuesto a la carne (2010), two novels by Chilean writer Diamela Eltit (b. 1949). By examining the particular expressions of physical and psychological pain in the aforementioned texts, I demonstrate that Kozameh and Eltit write the female body to simultaneously represent a corporeality that, until recently, has rarely been expressed in literature, and reconstruct a body that has been traumatized by state-sponsored violence and by what could be considered economic violence. Both of them denounce violence, torture, disappearances, exile, and indifference to justice as painful events that not only damage the spirits of the victims, but that are also inscribed upon the physical body. I also show how each author addresses the overlapping of individual and collective traumatic memories and how these are felt in the body as well. Finally, I argue that writing the materiality of the lived body, from its vulnerability to its resilience, provides for Kozameh and Eltit valuable insight into the ways in which female bodies are able to resist and reassess the meaning imposed on them by legally-endorsed and non-official systems of oppression. Their work thus has direct viii social relevance that goes beyond feminism's countering of male dominance and women's rights. Yet, I also show that they manifest their feminist commitment by using the voice and body of female subjects to incorporate marginalized Chilean and Argentine bodies into the linguistic realm in order to provide a fuller understanding of female corporeality in Latin America. / text

Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.

In the early 1990s, a series of gruesome murders of young women in Ciudad Juárez, a city located in the U.S.-Mexico border, shook the political landscape of Mexico. A decade later, the strange and violent murders, known as the feminicides or feminicidios of Juárez, reached international infamy across hemispheres and continents. During this time, the city and the cases became the subjects of an extensive body of scholarship and of any imaginable artistic medium (narrative, poetry, theater, performance, music, and so on). Eventually, the complexity and overexposure of the cases and the sociopolitical conditions of Ciudad Juárez placed them at the center of a paradoxical debate: on one hand, the work of activists, feminists, and scholars of social sciences (like anthropologists and sociologists) studied the murders as a localized example of a larger phenomenon of mysoginistic violence; on the other, journalistic and media investigations of Juárez understood the murders as the products of specific agents (serial killers, murderers, drug cartels, amongst others) and the fractures within the Mexican Nation-State. And yet, despite the expansion and overlapping of these discourses, fictional representations of Juárez remained tangential to this intricate debate. Thus, this research explores the different ways in which writers, artists, and filmmakers deployed and negotiated existent perspectives on the feminicides within fictional environments. As a result of the vast amount of published work available on Ciudad Juárez, I narrowed the objects of my research through a transnational scope. The resulting sample of texts transverses borders (Mexico and the U.S.), continents (Latin America and Europe), genres (fiction and nonfiction), and mediums (literature and film). The first chapter explores the connections of Sergio González Rodríguez’s Huesos en el desierto and Roberto Bolaño’s 2666 through the theoretical framework of the possible worlds of fiction. The second chapter moves to issues of representation, gender, and race through the analysis of two novels written by Chicana scholars: Alicia Gaspar de Alba’s Desert Blood: The Juárez Murders and Stella Pope Duarte’s If I Die in Juárez. Finally, the third chapter focuses on film representations of Juárez and the feminicides in the form of Gregory Nava’s Bordertown and Carlos Carrera’s Backyard/El Traspatio. / text

[ES] Esta investigación propone un total de doce indicadores para el análisis reflexivo y crítico de obras de arte comprometido actuales. Para la elaboración de estos indicadores se presenta un enfoque teórico que parte de la sociología crítica del arte y de los estudios sobre Nuevos Movimientos Sociales, combinado con una aproximación práctica que analiza las característi-cas igualadoras y diferenciadoras de las obras escogidas. Los indicadores propuestos se dividen en tres niveles: contextual, específico para obras com-prometidas y general para cualquier propuesta artística. Los indicadores contextuales tienen en cuenta el estado de campo del arte y de los campos generales, exponen la posición que el o la artista ocupa en ellos y sitúan la obra escogida en el conjunto de su producción artística. Los indicadores específicos para el arte comprometido atienden a varias cuestiones: la simpli-cidad/complejidad de la obra, su claridad/opacidad, la reflexividad de la artista, la actualidad del tema tratado, la presencia de posiciones antagonistas a nivel social, el interés de la obra para colectivos concretos y la contribución a los marcos cognitivos no pertenecientes al cam-po específico del arte actual. Por último, los indicadores del tercer nivel analizan la obra en el campo del arte en base a dos cuestiones: la presencia de experiencia o de experimentación, y su carácter de producto o productora del medio artístico. El conjunto de la investigación propone una base teórico-práctica para el análisis reflexivo y crítico del arte comprometido actual, atendiendo especialmente al contexto en que se produce, a su impacto social y a las características propias de cada campo autónomo de producción cultural. / [EN] This research proposes twelve indicators for the reflective and critical analysis of contempo-rary 'committed' art pieces. A theoretical approach based on the critical sociology of art and the studies on New Social Movements is presented in order to elaborate these indicators, and it has been combined with a practical one, which analyzes the equalizing and differentiating characteristics of the chosen works of art. The proposed indicators are divided into three levels: contextual, specific for 'committed' art and general for any artistic piece. Contextual indicators take into account the artistic and gen-eral field's statement, they also expose each artist position on this artistic and general context and understands the piece of work on the context of his/her creator's artwork. The second level -specific- involve several issues: work's simplicity/complexity, its clarity/opacity, artist's reflexivity, the topicality of its subject, the presence of antagonistic positions in the social field, the interest of the work for concrete groups, and the contribution to cognitive frames outside the current artistic field. Finally, third level indicators analyze the work in the artistic field relying on two aspects: the presence of experience or experimentation, and its nature as artistic field's product or producer. The whole research proposes a theoretical-practical basis for the reflexive and critical analy-sis of contemporary 'committed' art. In order to do so, special attention is paid to the context in which it is produced, to its social impact and to the characteristics of each autonomous field of cultural production. / [CA] Esta investigació proposa un total de dotze indicadors per a l'anàlisi reflexiva i crítica d'obres d'art compromés actual. Per a l'elaboració d'estos indicadors es presenta un enfocament teòric que parteix de la sociologia crítica de l'art i dels estudis sobre Nous Moviments Socials, combinat amb una aproximació pràctica que analitza les característiques igualadores i diferen-ciadores de les obres triades. Els indicadors proposats es divideixen en tres nivells: contextual, específic per a obres com-promeses i general per a qualsevol proposta artística. Els indicadors contextuals tenen en compte l'estat de camp de l'art i dels camps generals, exposen la posició que l'artista ocupa en ells i situen l'obra triada en el conjunt de la seua producció artística. Els indicadors específics per a l'art compromés atenen diverses qüestions: la simplicitat/complexitat de l'obra, la seua claredat/opacitat, la reflexivitat de l'artista, l'actualitat del tema tractat, la presència de posici-ons antagonistes a nivell social, l'interés de l'obra per a col·lectius concrets i la contribució als marcs cognitius no pertanyents al camp específic de l'art actual. Finalment, els indicadors del tercer nivell analitzen l'obra en el camp de l'art en relació a dos qüestions: la presència d'experiència o d'experimentació, i el seu caràcter de producte o productora del medi artístic. El conjunt de la investigació proposa una base teoricopràctica per a l'anàlisi reflexiva i crítica de l'art compromés actual, atenent especialment el context en que es produeix, al seu impacte social i a les característiques pròpies de cada camp autònom de producció cultural. / Yustas Martínez, L. (2020). Útiles para una valoración reflexiva y crítica del arte comprometido actual. Estudio de seis casos producidos en el Estado español entre 2012 y 2017 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/149495 / TESIS