Thesis (M.S.)--University of Michigan, 1985.

Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [351]-383).

Thesis (M.S.)--University of Michigan, 1985.

Thesis (M.S.)--University of Michigan, 1985.

Recentemente tem-se deparado com uma grande mudança no comportamento humano no que diz respeito a papeis de gênero, e como consequência na indumentaria, uma vez que esta e responsável por introduzir, através do elemento novo, mudanças nos padrões do comportamento tradicional instituído e que aos poucos se tornou frequente. A sociedade vem acompanhando o crescimento do numero de pessoas providas de dupla-sexualidade e elementos que antes eram de uso restrito ao gênero feminino sendo aceitos pelos homens, como as calças skinny, os decotes em V, as cores neon ou mesmo as saias. Esse movimento, denominado nogender, invadiu o universo da moda. Em paralelo, temos as mudanças de papeis de gênero na sociedade contemporânea, na qual e comum vermos casais em que homens são responsáveis pela administração da casa e mulheres capitas de industria, tendo suas funções bastante delimitadas. A partir deste momento, algumas pecas do guarda-roupa passaram a ser compartilhadas, resultando em alguns desconfortos e inadequações em relação ao corpo. Através de um estudo antropométrico, esta pesquisa teve por objetivo identificar e averiguar as características do corpo andrógino brasileiro, o que serviu como base para o desenvolvimento de uma tabela de medidas inicial representativa do publico-alvo em questão, o qual tem necessidades e desejos particulares e precisa ser valorizado em sua forma estética. Alem disso, a modelagem foi estudada como uma ferramenta de expressão e concretização do processo de desenvolvimento de produto para um corpo andrógino e foi traçado o perfil desse público consumidor / Recently we have confronted a major change in human behavior with regard to gender roles, and as a result to clothing, since it is responsible for introducing, through the new element, changes set in traditional behavior patterns that gradually became frequent. The society has been following the growing number of people \"provided\" of dual-sexuality and elements that were restricted to the female gender being accepted by men, such as skinny pants, deep necklines in \'V\', the neon colors or even the skirts. This movement, called nogender, invaded the fashion world. In parallel, we have changes in gender roles in the contemporary society, which is common to see couples where men are responsible for the management of the household and women leaders of industry, with their bounded functions. From this moment, some wardrobe pieces of clothes began to be shared, resulting in some discomforts and inadequacies in relation to the body. From an anthropometric study, this research aimed to identify and ascertain the Brazilian androgynous body characteristics, which served as a basis for the development of an initial representative table of measures of the target audience in question, that has special requirements and desires and needs to be valued in its aesthetic form. In addition, modeling was studied as a tool of expression and embodiment of product development process for an androgynous body and the consumer public profle has been set

Denna studie undersöker hur människor uppfattar datorgenererade androgynaansikten. Detta i förhållande till tidigare forskning som har undersökt hur androgynaansikten hos riktiga människor uppfattas av andra människor. En artefakt i form av fem olika 3D-modellerade ansikten har testats och undersökts genom en kvantitativ metod i form av en webbenkät. I denna webbenkät finns även kvalitativa element i form av textsvar. Resultatet av webbenkäten visar på att människor uppfattar androgynadatorgenererade ansikten som neutrala. Feminina drag uppfattades som attraktiva medan maskulina drag uppfattades som oattraktiva.

Stemming back thousands of years, the term androgyny continues to raise uncertainty regarding its definition in contemporary society. Simultaneously, the term has come to represent a body ideal and fashion that signals gender equality. Analysing gender equality in relation to androgyny, the aim of this study is to address power relations within gender in the construction of androgynous bodies in contemporary Swedish fashion. Building on feminist theories by Judith Butler and Luce Irigaray; along with Pierre Bourdieu's idea of habitus and Sara Ahmed's ideas, questioning what is considered natural, the historical connection between the straight male body as representation of a standard, gender-neutral body is highlighted. Through visual analysis of campaign images produced by Acne Studios, Filippa K and Tiger of Sweden, the masculine domination of the androgynous ideal is revealed and further problematized using focus groups and separate interviews to include consumers and retail workers, in order to answer the questions; how the androgynous body is represented in contemporary Swedish fashion, and in what ways the androgynous body represents gender equality versus inequality. Although the results show that androgyny questions traditional gender roles and encourages to express individuality in dress, the ideal also prioritizes the masculine, using the male straight body as sign of a gender-neutral and thus natural human body, making the female curvaceous body appear unnatural and sexualized.

Notre recherche vise à étudier les relations entre musique et littérature au XIXe siècle à travers la figure de la musicienne et plus particulièrement à travers son corps. Le corps féminin apparaît comme un riche point de rencontre entre musique et littérature, facilitant d’une part la référence musicale dans les textes et créant d’autre part un système musico-narratif complexe ancré dans les discours socio-culturels du XIXe siècle. L’étude de textes canoniques de la littérature européenne nous permet d’envisager les musiciennes au sens large (compositrices, interprètes, prima donna et même auditrices) en combinaison avec différents discours sur le corps (philosophique, scientifique et social) afin d’apporter un regard nouveau sur les femmes et les arts. Notre approche est à la fois chronologique et thématique et s’attache à montrer une progression commune de la représentation du corps et de la musicienne dans les textes. Ainsi, les textes romantiques allemands présentent la musicienne comme un être évanescent et font d’elle le sujet de l’impossibilité de matérialiser l’abstrait. Les textes du milieu du siècle sont analysés parallèlement au discours clinique sur le corps et envisagent les musiciennes comme des monomanes. Les textes écrits par des femmes placent la musicienne – saine de corps et d’esprit – comme prêtresse d’une religion musicale. Enfin, dans les textes fin-de-siècle, le corps de la musicienne n’échappe pas aux théories de dégénérescence. L’étude parallèle de textes littéraires et de différents discours sur le corps pose ainsi les femmes, la musique et le corps comme un triptyque inévitable aux études de genre, de musique et de littérature. / This thesis examines the relations between music and literature through fictional women musicians in nineteenth-century European literature and more particularly through their bodies. The female body appears to be a rich juncture between music and literature, facilitating musical references in literature as well as creating complex musical narrative systems anchored in social, cultural and scientific discourses of the long nineteenth century. All types of women musicians are examined (singers, instrumentalists, composers, and even listeners) along with different discourses on the body (social, philosophical and scientific), shedding a new light on gender and the arts. Our chronological as well as thematic approach strives to highlight a common representation of the body and of female musicians in literature. German Romantic texts thus present women musicians as elusive figures who play a key role in the impossibility to materialise the abstract. Realist and sensation novels are analysed through a clinical perspective on the body and envision female musicians as monomaniacs. On the contrary, fiction written by female authors introduces empowered musicians as priestess of art. Finally, fin-de-siècle novels stage the female body as a degenerate entity of society. The parallel analysis of literary case studies with different perspectives on the body posits the women-music-body triangle as a new approach to gender, music and literature.

Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.

Orientador: Verônica Fabrini Machado de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T00:19:58Z (GMT). No. of bitstreams: 1 Villanova_PamelladeCaprio_M.pdf: 7167403 bytes, checksum: 2274b10ab2004d1c9b100d9da7892202 (MD5) Previous issue date: 2014 / Resumo: Uma atriz investiga as performatividades que envolvem os gêneros masculino e feminino. Como rata de laboratório e sujeito científico, experimenta em si e em corpos a seu redor a mitologia da mulher erótica, procurando ultrapassar dualidades em uma exploração andrógena. O mito grego de Helena foi escolhido como campo de provas, material poético estudado principalmente a partir da tragédia As Troianas, de Eurípedes; das pesquisas históricas de Bettany Hughes; das análises do Prof. Junito de Souza Brandão e do romance da francesa Sophie Chaveau. As questões de Helena serão problematizadas pelo viés dos estudos de gênero de Judith Butler e Beatriz Preciado; e da perspectiva do Imaginário, principalmente em Gaston Bachelard e CG Jung. Abordada a partir de suas subversões da feminilidade, como figura dissonante que permanece na arte ocidental desde Homero, a pesquisa busca a exploração andrógena porque os corpos procuram assumir o feminino e o masculino, se propondo a permanecer nas fronteiras, longe das universalizações, ali onde tudo parece confuso e caótico. Assume-se também uma exploração vadia porque a forma de organização das ideias permite o ir e vir entre teoria e prática sem pudores. Este trabalho é teórico-prático, interdisciplinar e autobiográfico / Abstract: An actress investigates performativities involving males and females roles. As a laboratory rat and scientific subject, experiences itself and the bodies around her with the mythology of the erotic woman, looking to overcome dualities in an androgeny exploration. The Greek myth of Helen is the field trials, an engaging poetic material studied mostly from the tragedy "The Trojan Women", by Euripides; the historical research of Bettany Hughes; the analysis of Prof. Junito de Souza Brandão and the novel of the French Sophie Chaveau. Helen's issues will be problematized from gender studies of Judith Butler and Beatriz Preciado; and the perspective of the Imaginary, especially in Gaston Bachelard and CG Jung. Approached from its subversions of femininity, as dissonant figure that remains in Western art from Homer, the research seeks to an androgeny exploration because the bodies seeking to assume the feminine and the masculine, proposing to remain at the border, away from universalizations, where there everything seems confused and chaotic. It is also assumed a slutty exploration because the organization of ideas allows the coming and going between theory and practice shamelessly. This work is theoretical and practical, interdisciplinary and autobiographical / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena