The essay Ulrika Eleonora was Wilhelm Edstedt - a godly man and sinful woman: A discourse analysis of the trial in 1729 against Ulrika Eleonora Stålhammar's disguise as a man, aims with the case of Ulrika Eleonora Stålhammar to shed light on the legal treatment of women in early modern times, and what notions of femininity and masculinity existed about women who wore men's clothes. This was done with Ulrika Eleonora's trial record from 1729 as source material. The theory was based on Scott's four interrelated levels of gender as an analysis category. Eva Österberg's and Erling Sandbmo's theory of law as a social and discursive arena where power was exercised was also taken into account. Ulrika Eleonora Stålhammar came from a noble family, but when her father had mismanaged the finances Ulrika Eleonora was in poverty when she became an orphan. She then chose to disguise herself as a man, enlist as a soldier in Kalmar and marry Maria Löhnman. In 1729, Ulrika Eleonora was facing trial for a change of gender and marriage to a woman. The case was unique and the town hall court requested a review by the court of appeal. They stated that she had violated God's word, but since she had been a godly man in her disguise as Wilhelm Edstedt, she should be spared the death penalty. The case eventually reached the judiciary, which sentenced her to one month in prison. Ulrika Eleonora's mild punishment was mainly due to her priest's statement that she had lived godly, but probably had her noble relative Sofia Drake's contacts an impact too. This study has concluded that legal contexts in Sweden in early modern times were dominated by Christian values and norms where the church's regulations on how people should live permeated society. Ulrika Eleonora did not live up to these standards. She was judged to be a sinful woman, but in the guise of Wilhelm Edstedt, she had been a godly man.

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<p>The aim of this paper is to analyse how subject, gender and sexuality is constructed in the book <i>Dårfinkar & dönickar </i>(1984), by Ulf Stark. In relation to this I have also analysed how the main character, Simone, develops from being a child into becoming a teenager.</p><p>Queertheory is the theoretical basis of this paper. Queer theory questions heteronormativity and aims to dissolve conceptions and notions that function in an excluding and limiting way. Queer theory also questions conceptions that seem obvious and/or natural, for example “woman”/”man” and “homo-/heterosexuality”.</p><p>I have chosen to focus the analysis on a number key events in the book and they are categorised according to Tiina Rosenberg`s three dramaturgic concepts: transformation, unveiling and restoration. I have also focused on how masculinities are constructed and to be able to this I have used R. W Connel`s theory. The result of my analysis is that the representation of gender in the book are constructed in accordance to the heterosexual matrix. It is also clear that Simone`s development from childhood to teenager follows Rosenberg`s three dramaturgic concepts.</p>

The aim of this paper is to analyse how subject, gender and sexuality is constructed in the book Dårfinkar &amp; dönickar (1984), by Ulf Stark. In relation to this I have also analysed how the main character, Simone, develops from being a child into becoming a teenager. Queertheory is the theoretical basis of this paper. Queer theory questions heteronormativity and aims to dissolve conceptions and notions that function in an excluding and limiting way. Queer theory also questions conceptions that seem obvious and/or natural, for example “woman”/”man” and “homo-/heterosexuality”. I have chosen to focus the analysis on a number key events in the book and they are categorised according to Tiina Rosenberg`s three dramaturgic concepts: transformation, unveiling and restoration. I have also focused on how masculinities are constructed and to be able to this I have used R. W Connel`s theory. The result of my analysis is that the representation of gender in the book are constructed in accordance to the heterosexual matrix. It is also clear that Simone`s development from childhood to teenager follows Rosenberg`s three dramaturgic concepts.

Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender to Hipólita and Félix, a sister and brother who have grown up performing the gender opposite to their physical sex. This dissertation provides the first edition of the play since 1927, and the first ever critical edition, which contains notes, critical apparatus and essays, and compiles information from all extant sources, including the manuscripts (not used in the 1927 edition). The 1625 print edition serves as the base text, with variants from the four manuscript witnesses compiled in an index. The critical apparatus includes a biography of the author, textual history, editorial methodology, metrical analysis, bibliography and notes on the text. / Romance Languages and Literatures

A dissertação estuda o romance Um Crime Delicado, de Sérgio SantAnna (1996), ao filme quase homônimo, de Beto Brant (2005), tendo como principal questão a imagem do corpo no contexto sócio-cultural urbano e a sua representação na arte contemporânea. O romance de SantAnna acolhe, na urdidura ficcional, subtemas da maior relevância, tais como o lugar da deficiência física no horizonte de uma cultura hedonista, violência sexual (contra a mulher) e os poderes da crítica de arte (da autojustificação ao desvirtuamento de seus fins). A adaptação fílmica, por sua vez, introduz mudanças na obra de partida que complementam e enriquecem o romance e suas questões. No exercício comparativo, a tradicional discussão sobre as relações interartísticas (calcadas em Lessing), o culto à beleza e respectiva hostilização da feiura, os limites da exacerbação sensorial a partir do uso artístico da nudez provocaram a incorporação de outras obras de arte e de artistas à discussão de conceitos imprescindíveis: o abjeto, o contraditório, a intermidialidade. No primeiro capítulo, circunscrevemos historicamente nosso tema, focalizando a representação do corpo como lugar de multiplicação e relativização de significações; a seguir, apresentamos o painel de contradições que a sociedade excitada do século XX (Christoph Türcke, 2010) projeta sobre a questão corporal; e, para finalizar, propusemos a dilatação teórica do adágio horaciano ut pictura poesis /a poesia é como a pintura ao cinema poético (com suporte teórico de Claus Clüver, 2011, e Wolfgang Moser, 2006). Concluímos sugerindo que as intermidializações propõem novas interpretações aos textos literários, mas podem ser bem mais contundentes como formas de potenciação estética e de crítica social. / The dissertation studies the novel A Delicate Crime, Sérgio Sant'Anna (1996), the film almost homonym, Beto Brant (2005), the main issue of body image in the urban socio-cultural context and its representation in contemporary art. The romance of Sant'Anna welcomes, in the fictional warp, sub-themes of paramount importance, such as the place of disability on the horizon of a hedonistic culture, sexual violence (against women) and the powers of art criticism (self-justification of the distortion its purposes). The film adaptation, in turn, introduces changes in starting work that complement and enrich the novel and its issues. In the comparative exercise, the traditional discussion of the art transposition (modeled on Lessing), which implicate midia, technique and content changes, the cult of beauty and ugliness of their harassment, the limits of sensory exacerbation from the artistic use of nudity caused the incorporation of other works of art and artists the discussion of essential concepts: the abject, the contradictory, the intermediality. In the first chapter, historically circumscribe our theme, focusing on the representation of the body as a place of multiplication and relativity of meanings; the following are the contradictions panel that "excited society" of the twentieth century (Christoph Türcke, 2010) projected on the body concerned; and, finally, we proposed the theoretical expansion Horation adage - ut pictura poesis / "Poetry is like painting" - the poetic cinema (with theoretical support Claus Clüver 2011, and Wolfgang Moser, 2006). We conclude by suggesting that the questions about midia transposition propose new interpretations to literary texts, but can be much more forceful as forms of cosmetic enhancement and social criticism.

A dissertação estuda o romance Um Crime Delicado, de Sérgio SantAnna (1996), ao filme quase homônimo, de Beto Brant (2005), tendo como principal questão a imagem do corpo no contexto sócio-cultural urbano e a sua representação na arte contemporânea. O romance de SantAnna acolhe, na urdidura ficcional, subtemas da maior relevância, tais como o lugar da deficiência física no horizonte de uma cultura hedonista, violência sexual (contra a mulher) e os poderes da crítica de arte (da autojustificação ao desvirtuamento de seus fins). A adaptação fílmica, por sua vez, introduz mudanças na obra de partida que complementam e enriquecem o romance e suas questões. No exercício comparativo, a tradicional discussão sobre as relações interartísticas (calcadas em Lessing), o culto à beleza e respectiva hostilização da feiura, os limites da exacerbação sensorial a partir do uso artístico da nudez provocaram a incorporação de outras obras de arte e de artistas à discussão de conceitos imprescindíveis: o abjeto, o contraditório, a intermidialidade. No primeiro capítulo, circunscrevemos historicamente nosso tema, focalizando a representação do corpo como lugar de multiplicação e relativização de significações; a seguir, apresentamos o painel de contradições que a sociedade excitada do século XX (Christoph Türcke, 2010) projeta sobre a questão corporal; e, para finalizar, propusemos a dilatação teórica do adágio horaciano ut pictura poesis /a poesia é como a pintura ao cinema poético (com suporte teórico de Claus Clüver, 2011, e Wolfgang Moser, 2006). Concluímos sugerindo que as intermidializações propõem novas interpretações aos textos literários, mas podem ser bem mais contundentes como formas de potenciação estética e de crítica social. / The dissertation studies the novel A Delicate Crime, Sérgio Sant'Anna (1996), the film almost homonym, Beto Brant (2005), the main issue of body image in the urban socio-cultural context and its representation in contemporary art. The romance of Sant'Anna welcomes, in the fictional warp, sub-themes of paramount importance, such as the place of disability on the horizon of a hedonistic culture, sexual violence (against women) and the powers of art criticism (self-justification of the distortion its purposes). The film adaptation, in turn, introduces changes in starting work that complement and enrich the novel and its issues. In the comparative exercise, the traditional discussion of the art transposition (modeled on Lessing), which implicate midia, technique and content changes, the cult of beauty and ugliness of their harassment, the limits of sensory exacerbation from the artistic use of nudity caused the incorporation of other works of art and artists the discussion of essential concepts: the abject, the contradictory, the intermediality. In the first chapter, historically circumscribe our theme, focusing on the representation of the body as a place of multiplication and relativity of meanings; the following are the contradictions panel that "excited society" of the twentieth century (Christoph Türcke, 2010) projected on the body concerned; and, finally, we proposed the theoretical expansion Horation adage - ut pictura poesis / "Poetry is like painting" - the poetic cinema (with theoretical support Claus Clüver 2011, and Wolfgang Moser, 2006). We conclude by suggesting that the questions about midia transposition propose new interpretations to literary texts, but can be much more forceful as forms of cosmetic enhancement and social criticism.

This study consists of an analysis of the novel Tipping the Velvet by Sarah Waters, in terms of cross-dressing as self-representation. The study aims to emphasise how cross-dressing can be significant when expressing one’s gender identity, by examining the gender identity and sexual orientation of the male impersonator Nancy Astley/Nan King and how she reacts to her own queerness. With the use of queer literary theory, Judith Butler’s theories on gender performativity, and ideas of gender as social constructs, this study argues that the novel is a powerful representation of the fluidity and inconsistency of gender and the non-existence of the gender binary. Throughout the novel, the main character disrupts the expected gender roles of the British Victorian era, and through the use of cross-dressing, uses masculinity and masculine femininity to discover and express her gender identity.

Tras la Revolución Industrial la máquina fue adoptada como epicentro de las prácticas artísticas del siglo XX. Esta fusión con lo popular creó la ecuación arte = vida y, con ello, lo somático se transformó en una manera de reflexionar sobre las repercusiones que la técnica infligía en el cuerpo así como su papel en la sociedad. La Segunda Guerra Mundial silenció este capítulo hasta que ciertos sectores intelectuales se negaron a aceptar un contenido cultural desideologizado. A finales de la década de 1950 se reemprendió la acción corporal en la práctica artística como un lenguaje necesario para atacar la ideología burguesa. Llegamos al año 1968, fecha en la que se despertó la conciencia social contra el totalitarismo y en la que el cuerpo recuperó su categoría. La performance se transformó en el lenguaje apropiado para representar los nuevos valores. Poco a poco se consolidaba un concepto de arte sociológico que defendía la integración del cuerpo en el proceso creativo surgiendo así el Body Art. Sin embargo, algunos y algunas artistas adoptaron elementos configuradores de la corporeidad tales como vestidos, complementos y objetos de diversa naturaleza. Aquel interés que la vanguardia mostró por la tecnología se había transformado en otra de distinta naturaleza que cumplía las mismas funciones que la máquina adquirió a principios de siglo XX: la de "extensión corporal". / Albero Teijeiro, A. (2010). Extensiones corporales en el contexto del Body Art. Revolución del deseo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/8496 / Palancia