Men and women in advertising - a study of the ads in the magazines Café and Elle is an essay in media and communication studies covering 15hp. The author examines what is considered masculinity and femininity in a variety of advertisements, and which products are linked to masculinity and femininity. Besides this, the author also examines the production of happiness, and how this may differ between men and women. Although stereotypes, myths and metaphors are examined. The essay is examined on the basis of gender theory, and theories about stereotypes and myths. This is examined by using both a less extensive quantitative approach and a more detailed qualitative method. Semiotics is the qualitative method used, which include denotation and connotation that is used as some of the tools. The result of the study shows that masculinity and femininity is something that is separate from each other. Different stereotypes, myths and metaphors could also be found in the material. One of the conclusions is that while masculinity seems to be something that is associated with doing something, femininity seems to be something that is associated with being something. Also happiness is something that differs between men and women.

In this paper, I will examine works of Flannery O’Connor, Eudora Welty, and Carson McCullers, three Southern women writers who wrote during the first half of the twentieth century. While these authors differ in a number of ways, each of them produced work that deals, often explicitly, with ideal Southern womanhood and the expectations this ideal places upon women. Additionally, each of these three authors uses the grotesque as a tool for examining ideal womanhood, most often represented through the ideal of the Southern Lady. This paper is concerned with analyzing the link between the grotesque and the ideal of the Southern Lady, specifically the ways in which O’Connor, Welty, and McCullers employ the grotesque as a tool for exposing the limiting and destructive nature of this ideal.

The thesis focuses on gender in primary school and the aim was to study how girls and boys construct their subjectivities in accordance with current gender discourses and how they take up those discourses in school practices. Special attention has been paid to the students' fluid subjectivities. The theoretical frameworks used are Bronwyn Davies' postructural subjectivity theory, Robert W Connells' structural concepts and cultural-sociological research studies concerning multicultural identity. The study was carried out at two schools, one ethnically homogeneous and one ethnically heterogeneous, in six classes encompassing years 0-2 and 5-6. It is ethnographic in nature and includes classroom observations, diaries, biographies, drawings, interviews with students and schoolteachers/headteachers and videotaping on a restricted scale. Data was collected over a period of approximately two school years. The results consist of local gender discourses emanating from the datamaterial and also of poststructural analyses of protocols from lessons etc. Five feminine and six masculine gender discourses, named student types, have been diagnosed: Sporty girl, Barbie, Feminist, Academic girl and Motherly girl and Macho boy, Honourable boy, Academic, Joker, Gentle boy and Ken. These student types are abstract discursive constructions developed from positions the student took up in a more or less repetitive way. They apperar in all classes but with varying frequency due to the influence of the schools' interest profile, leading teachers or leading students. Certain gender discourses are influenced by commercial trends in society, others are characterized by reactions towards the school's academic discourses. Students from working class backgrounds often take up positions as Macho boy or Sporty girl while middle class students dominate the type Academic boy/girl. Otherwise the positions are independent of social class. Immigrant students take up the most common discourses, probably an effect of ambitions to normalise to the majority culture. The analysis reveals that a dualistic and hierarchical gender structure, with male superiority was developed in all school classes and also among the boys in their own gendergroups, and among the girls but in a lesser degree. Teachers' discourses, education strategies, group size and the student's ages influence the gender order during lessons but less so during breaks. Both girls and boys, and some teachers, shift positions and even cross gender boundaries and the younger students (year 0-2) are more flexiable as also are the girls. This is considered to provide openings for changes in gender patterns. Consistently taking up equality discourse in practice influenced the gender order in one class. Some boys showed multiple subjectivities free from desire for power and some girls also wanted to break the gender barrier. Ideas about innate equalities between the genders were common and these circumstances might provide good resources for work aimed at changing gender structures. Macho and Barbie discourses ought to be questioned from the perspective of power. The results also show that cultural meetings in the classroom are characterised by the dominance of the majority culture. Immigrant students in accordance with the curriculum should experience integration taking place from two directions, enriching and strengthing their subjectivity process and also that of their fellow students. / digitalisering@umu

The growing cultural commodity of celebrity news and its increasing focus on celebrities' families is examined by this project to determine what consequence communications about celebrity pregnancy and parenthood have on readers most likely to identify with the stories – new mothers. While gossip magazines are not meant to provide parenting advice, their editorial focus on parenting may position celebrity parents as role models for audiences. Guided by theories of media effects, this project sought to understand why and how that might happen. Using narrative thematic analysis, two complementary data sets were analyzed: 36 issues sampled from the leading gossip magazines, People and Us Weekly, during 2007-2009, and five focus groups with recent mothers. Gossip magazines positively framed celebrity family life, idealizing the experience by avoiding talk of parenting's daily challenges. Resources such as nannies and personal trainers define celebrity parenting by affording celebrities, especially women, the ability to continue work while maintaining the identity of primary caregivers. A gendered act, consumption was intrinsically part of good celebrity parenting. Expectations for celebrity postpartum weight loss communicated that bigger bodies are a work-in-progress rather than an acceptable new body type. Fathers were visually depicted more often than in conventional parenting media, though these images similarly showed parents performing normative, gendered behaviors. Participants reported escapism as their main reason for reading gossip magazines and parasocial relationships existed with both liked and disliked celebrities. For liked celebrities, a parasocial dialectical tension emerged defining role models as both special and ordinary. For disliked celebrities, negative frames portrayed their parenting behavior as unacceptable and served as the strongest form of social learning from gossip magazines as readers internalized media criticism. Celebrity role models were selected based on feeling similar, serving as fantasy role models whose parenting lifestyles were simultaneously interpreted as aspirational and unattainable. Participants' social comparisons usually evaluated their own parenting experience as preferred to the demands and media environment faced by celebrities. Situations interpreted as incomparable attributed celebrities' success to external factors rather than internal characteristics. Overall, gossip magazines do provide parenting information that expands and impacts the real experience of mothers.

Once known only as Bodybuilding and Women’s Bodybuilding, the sport has grown to include multiple competition categories that both limit and expand opportunities for female bodybuilders. While the creation of additional categories, such as Fitness, Figure, Bikini, and Physique, appears to make the sport more inclusive to more variations and interpretation of the feminine, muscular physique, it also creates more in-between spaces. This auto ethnographic research explores the ways that multiple female competition categories within the sport of Bodybuilding define, reinforce, and complicate the gendered experiences of female physique athletes, by bringing freak theory into conversation with body categories.

This study investigated the cinematic representations of women in ‘Climates’ ‘Three Monkeys’ and ‘Once upon a time in Anatolia’ created by Nuri Bilge Ceylan. It explored the image of women and the ideologies that affects them in the aforementioned films. For the analysis, semiotics is used and feminist film theory is applied. The findings indicated that the women images are affected by patriarchal ideology. Female characters were portrayed as weak or weakened by men regardless of their representative social group. The results showed similarities to Mulvey’s argument and to Friedan’s definition of feminine mystique. Male gaze dominates the visual pleasures and the female characters showed similar features as described by Mulvey and Friedan.

In a great deal of social scientific literature on gender, female impersonators have been framed as the example par excellence of crossgendering and crossdressing behaviour in the West. Perceived rather dichotomously as either gender transgressive or reinforcing of hegemonic gender norms, female impersonators occupy a very central position within the emerging fields of gay and lesbian, transgendered, and queer studies. Certain schools of feminist thought, dating back to the mid to late 1970s have framed female impersonators as misogynistic gay men who appropriate female bodies and a “feminine” gender from biological women. These theories argue that female impersonators utilize highly stereotypical and overly sexualized images of the feminine, in order to gain power, prestige, and status within the queer community. This study challenges popular feminist perspectives on drag, first on a theoretical level, utilizing advances in contemporary queer theory and secondly on an ethnographic level, based on a year long field study which involved both participant observation and unstructured interviews with several female impersonators and nightclub patrons at a local queeroriented nightclub in a city in southern Ontario, Canada. Aiming to understand the degree to which performers identified with the normative femininity they performed, this study argues for a more complex understanding of what motivates individuals to become drag queens, one that incorporates female impersonators unique subjective understandings of their own gender identities. Overall, this study calls for a more holistic perspective on female impersonation, which does not limit itself to any one theoretical model of drag.

In a great deal of social scientific literature on gender, female impersonators have been framed as the example par excellence of crossgendering and crossdressing behaviour in the West. Perceived rather dichotomously as either gender transgressive or reinforcing of hegemonic gender norms, female impersonators occupy a very central position within the emerging fields of gay and lesbian, transgendered, and queer studies. Certain schools of feminist thought, dating back to the mid to late 1970s have framed female impersonators as misogynistic gay men who appropriate female bodies and a “feminine” gender from biological women. These theories argue that female impersonators utilize highly stereotypical and overly sexualized images of the feminine, in order to gain power, prestige, and status within the queer community. This study challenges popular feminist perspectives on drag, first on a theoretical level, utilizing advances in contemporary queer theory and secondly on an ethnographic level, based on a year long field study which involved both participant observation and unstructured interviews with several female impersonators and nightclub patrons at a local queeroriented nightclub in a city in southern Ontario, Canada. Aiming to understand the degree to which performers identified with the normative femininity they performed, this study argues for a more complex understanding of what motivates individuals to become drag queens, one that incorporates female impersonators unique subjective understandings of their own gender identities. Overall, this study calls for a more holistic perspective on female impersonation, which does not limit itself to any one theoretical model of drag.

This essay aims to describe and problematize gender roles and master suppression techniques in Stephenie Meyer’s Twilight Saga. This is done in order to enable me, in my future profession as a teacher, to start an emancipatory discussion in class where pupils can become conscious of different ways of reading the love story. I will use the following two research questions to fulfil the purpose: 1) investigate which gender roles that appears in the book’s main characters Bella and Edward and 2) which master suppression techniques that colours their relationship. To answer the questions gender theory and ideology-critics are used. Gender theory is first and foremost used to analyse gender roles whereas ideology-critics is a method of reading that highlights the importance of taking the society and thereto connected values in to account. Applying these two theories on the book it becomes clear that the main characters follows traditional gender roles for what is seen as typical feminine and masculine behaviour; Bella is caring, passive, sexually loyal, and addicted and Edward is aggressive, physically strong and fast, stubborn, dominant and protective. Further more, it is also evident that these roles are accompanied by a number of master suppression techniques used by Edward, such as: make Bella invisible and silly, keep information from her, and use of violence and threats. By using the knowledge in a pedagogical fashion pupils can be energized to start critically reflecting about these stereotypical roles and thereby emancipate from them. They will realize that Stephenie Meyer’s Twilight Saga is a re-production of patriarchal gender structure through an emotional love story.

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