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Jordan is one of the countries in the Middle East where “honour culture” is a part of the Jordanian society. “Honour culture” is often accused of leading to honour killings. While there are several studies on honour and femininity in the Middle East, there are less research done on masculinity and young men in the region. Women are often the victims and researchers tend to have the focus on them, but what about the young men who grow up in the Jordanian society? This study was conducted in Amman, Jordan, to explore how young men live and define honour. During the months of October, November, and December 2021, 12 Jordanian and Palestinian men living in Amman were interviewed, whereas most of them grew up outside the capital. The data were gathered through semi-structured interviews and observations. As a result of phenomenological analysis of the material, common themes and meanings were identified. There are two different types of honour within the Jordanian society according to my findings: Sharaf and ́ird. Sharaf is what the participants define as their manhood because it makes you a righteous man and a better person. ́ird is what the participants associate with the Jordanian society ́s view on honour and is being described as a conservative and traditional way of thinking. ́ird is what the participants are taking distance from in the interviews, but it is discussed how accurate this is. In the patriarchal Jordanian society, it seems to be sharp gender-roles where each gender has different obligations and expectations, which is created by the society and taught trough life trajectories. As honour is a controversial and sensitive topic, this study provides a nuanced and understanding of gender roles, family structures, and masculinity behind the tradition, as well as the feelings and opinions of those involved.

Denna C-uppsats är en meta-analys som granskar 20 vetenskapliga artiklar om partnerrelaterat våld, grymheter i krig och könsmaktsordningar i militära familjer. Alla studier är publicerade mellan 1978 och 2011 och behandlar våld i parrelationer, grymheter som begåtts av både manliga och kvinnliga soldater och kausala samband mellan krig, militarism och det civila samhället. Mitt mål är att testa teorin som säger att krig beror på patriarkala köns-strukturer som konstruerar stereotypa maskuliniteter och femininiteter, vilka i sin tur definierar män som starka, aggressiva och känslolösa, medan kvinnor antas vara svaga, sårbara, och vårdande. Genom att undersöka och jämföra variabler i både positivistisk och konstruktivistisk forskning, söker jag likheter och skillnader som kan ge en vidare förståelse för hur detta fenomen är sammansatt. / This BA thesis is a meta-analysis that reviews 21 empirical studies on Intimate Partner Violence (IPV) and gender-relations among military families and the environmental structures in where they live and operate. All studies were published between 1978 and 2011 and reported Intimate Partner Violence in both military and civilian families, atrocities committed by both male and female soldiers and causalities on war and violence. My aim is to test the theory that says; war is depending on patriarchal gender-structures, that construct stereotype masculinities and femininities, which define men as strong, aggressive, and unemotional, while women are assumed to be weak, vulnerable, and caring. By examining both positivist and constructivist research, my ambition is to identify differences and similarities in those approaches, which can contribute to a wider understanding on this specific phenomenon.

For many years there has been a gap in knowledge about female and male leadership. Although the debate on gender is very tangible, the topic still remains an unfinished debate and challenge. Due to the unequal distribution of power, there is an endeavour to understand the differences between the leadership styles of women and men, but as of yet there are no direct and clear answers to this. The study was conducted due to the fact that women historically have had less access to leadership positions, and to fill the existing knowledge gap in research on this area. The purpose of this study was to examine and compare leadership styles between women and men, and to compare perceived influencing factors on leadership. Data was collected through semi-structured interviews consisting of both competency-based and semi-structured questions. A total of six interviews were conducted, three with women and three with men. The results of the study showed minimal differences in leadership styles, without a specific gender pattern. Instead, it appeared that the differences in leadership styles were individual-based, which raises questions about why there is an overrepresentation of men in leadership positions. However, the image of the stereotypical leader was challenged by the fact that the men in this study tended to adopt more stereotypically feminine characteristics. The results also showed how previous experience and feedback were perceived as important influencing factors by the majority of the respondents. Finally, based on the results of the study, suggestions for future studies were presented in terms of exploring and challenging the image of the stereotypical leader.

This thesis examines tactics of conservative influence by the tradwife community on TikTok as observed through a case study of three popular tradwife influencers alongside twelve qualitative interviews with US women during an election year. This mix-methods approach is informed by Social Drama Theory with application of self-congruity theory and recognition to the influence of influencers through perspectives of mediatization theories.  The case study analysis exposes tradwife influence through stages of Social Drama to propagate an effective narrative that women have lost their sense of, and must return to, traditional femininity, as a solution to the difficulties modern feminism has caused. While the interview participants related to the struggles of contemporary womanhood, they expressed firmness in their ideologies, sourced from their respective communities, and that tradwife content will not affect their mindset. However, they recognize tradwives as having great potential to influence those more susceptible. As this thesis unfolds— community, the having or lacking of it, proves to be key in susceptibility for influence.  This thesis occurs during and references the 2024 US American Presidential year, where Republican policy orchestrators aim to cement traditional Christian conservative ideologies into the federal government through the Heritage Foundation’s detailed instructions in Project 2025. The research exposes the impact of consuming aesthetic conservative content from tradwives as having the potential to affect the voting behavior of young US women, and subsequently, their corresponding potential to make conservative ideologies central to government policies.  Through identifying the loss of femininity as a crisis in need of urgent remedy, the study finds tradwife use of aesthetics, personal testimony, relatability, and authenticity to be effective tactics in the ability to influence. Young, voting US women are identified as perceiving the conservative rhetoric through Tradwife influencers as potent and able to sway young audiences. Concerning Project 2025, however, there was a lack of awareness that inhibited analysis, drawing such results as inconclusive.

This dissertation offers an examination of Delany's critical trajectory from structuralism to poststructuralism and postmodernism across a gamut of genres from SF to sword-and-sorcery, pornography, autobiography and literary criticism. Delany's engagement with semiotics, Foucault and deconstruction form the theoretical focus, together with his own theories of how SF functions as a literary genre, and its standing and reception within the greater realm of literature. The impact of Delany as a gay, black SF writer is also examined against the backdrop of his varied output. I have used the term 'dislocation' to describe Delany's tackling of traditional subjects and genres, and opening them up to further possibilities through critical engagement. Lastly, Delany is also examined as a postmodern icon. A frequent participant in his own texts, as well using pseudonyms that have developed into fully-fledged characters, Delany has become a critical signifier in his own work. / English Studies / M. A. (English)

在以性別作為主要分眾依據的時尚雜誌中，男性與女性時尚雜誌對於不同性別的人物報導呈現方式有何差異？本研究引用角色理論、刻板印象概念相關之論述，對時尚雜誌中的封面，以及人物報導文章中的標題、圖片與文字描述等作量化式的內容分析，以探究時尚雜誌中性別角色描繪的區隔方式。 結果顯示男性雜誌中的男性人物通常被賦予嚴謹、理性印象，並且透過與女性化關聯意涵的隔離，刻畫一具「絕對的男子氣概」角色形象；男性雜誌中的女性角色則以表面化、簡單化、帶性意涵的方式呈現，職業角色極微，以符合刻板化典範的策略呈現之。 女性雜誌中的男性性別角色呈現，能允許部分非慣俗刻板印象，但僅限於外顯行為，大部分內容仍為刻板印象的複製；女性雜誌中的女性角色則相對能夠包容最多非刻板印象的角色呈現，內在部分刻畫具嚴謹性，職業形象鮮明，然外在描述則仍著重服裝、外貌身材部分，強調女性氣質，兩造形象的結合實為回應時尚雜誌商業訴求下的女性角色呈現模式。 研究建議後續相關的研究方向應可納入雜誌編輯的意見，以利更加明確的瞭解時尚雜誌行文編輯中運用以描繪性別角色之策略；另外，對閱聽人解讀效果的研究也利綜覽整個時尚雜誌性別角色呈現的傳播過程及其影響。 / To realize the differences of sex roles displayed between men's and women's fashion magazine, this study analyzed the headlines, pictures and contents in the interview articles of famous persons in both men's and women's magazines by quantitative content analysis. Based on the role theory, concepts of stereotype, and theories of communication, the study investigated how fashion magazines try to make distinction between male and female characters. The results of this study suggest 4 conclusions. 1) In men's magazines, male character is often described as serious and rational. Besides, by segregating from any feminine inference, men's magazines portray male character as "absolute masculinity". 2) In men's magazines, female character is simplified, and implied with sexual meaning. Moreover, female's occupational role is rarely mentioned, which is a strategy following stereotyped paradigm. 3) In women's magazines, male character is allowed to show part of unaccustomed image, but only limited to outward behaviors. Most contents still reproduce stereotyped sex roles. 4) Compared with men's magazines, women's magazines tend to grant the female character most non-stereotyped images in their displays. Internally, the female character is often described as staid and professional, while the external focus still centers on dressing, appearances and body shape. In effect, combining these two dimensions above is the strategy adopted by women's fashion magazines in order to fulfill commercial requests. This study also points out some potential issues for following researches. For example, the opinions of magazine editors could be involved to deepen the understanding of the sex-role displaying strategies. Moreover, exploring the effects of audience's interpretation also helps to overview the whole communicating process of sex-role concepts between readers and fashion magazines, and its upcoming influence.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Cette étude porte sur la culture de travail des femmes qui ont été à l’emploi du grand magasin Dupuis Frères de Montréal entre 1920 et 1960. Nous nous intéressons aux particularités du travail salarié féminin dans le domaine de la vente au détail au Québec, mais aussi à la nature et à l’évolution de cette culture de travail de même qu’à ses liens avec les changements qui surviennent à l’époque dans la construction des nouvelles normes de la féminité respectable. D’une part, notre but est de montrer que pour les travailleuses de Dupuis, leur emploi leur permet de gagner leur vie certes, mais aussi de l’agrémenter, de se divertir au moyen de loisirs organisés par l’entreprise et de créer des liens entre elles. À travers la culture de travail qu’elles y développent, ces femmes se créent une identité particulière. Nous soulignons aussi que Dupuis Frères, dans un esprit paternaliste, encadre de près ses employées et exploite leur culture de travail afin de s’assurer de leur loyauté et de maintenir sa bonne réputation auprès de l’opinion publique. D’autre part, nous cherchons à prouver que même si la culture des femmes à l’emploi de Dupuis au cours de cette période est largement influencée par la domesticité et l’idéologie des sphères séparées, caractéristiques de la féminité « traditionnelle » dominante, elle intègre néanmoins de plus en plus, surtout à partir de la Deuxième Guerre mondiale, de nouvelles dimensions plus « modernes » de la féminité qui ne remplacent pas l’idéal de la mère-ménagère, mais qui viennent plutôt s’y greffer et qui rendent, du coup, leur identité féminine plus complexe. / This study is about the work culture of the women who were employed by Dupuis Frères, a famous Montreal department store, between 1920 and 1960. We will focus on the features of this particular type of paid work, that is women’s work in retail in Quebec. We will also insist on the nature and evolution of that work culture and on the fact that it was influenced, during this period, by the transformations that occurred in the construction of new forms of respectable femininity. First, our goal is to show that these Dupuis Frères women employees didn’t work for the sole purpose of earning a living, but did also in order to live a more pleasant life, to entertain themselves by participating in leisure activities organized by their employer and to create new bonds among themselves. With this work culture that they developed, these women workers also created themselves a new particular identity. We also want to show that Dupuis Frères, with its paternalistic management, was controlling its employees and was exploiting their work culture to ensure the employees’ faith in them and maintain the company’s reputation. Second, we want to prove that even if the work culture of the women working at Dupuis Frères, during that period, was influenced by domesticity and the separate spheres ideology (features of the dominant « traditional » femininity), it was more and more incorporating, mostly from Second World War, new dimensions of a more « modern » femininity that were not replacing the mother-housewife ideal, but that rather were making their feminine identity more complex.

Le motif de la « chambre close », considéré comme emblématique du roman policier, a été exploité par de nombreux écrivains depuis le XIXe siècle. Chez les pères fondateurs du genre, tels Edgar Allan Poe et Arthur Conan Doyle, il s’est d’abord incarné sous une forme simple, celle d’un mécanisme permettant la mise en scène d’un « défi à la raison » (Christiane Cadet, 2008), avant de se complexifier à la Belle Époque. Sous la plume de Gaston Leroux, la simplicité cède la place à l’hybridité alors que la « chambre close », en s’emplissant d’un étonnant parfum de femme, devient le lieu où se croisent le crime et la passion, le privé et le public, la raison et la superstition. Dans Le Mystère de la chambre jaune (1907) et Le Fantôme de l’Opéra (1910), le romancier articule ses intrigues autour d’espaces atypiques, destinés à bouleverser les codes du genre policier. Ce mémoire s’attache ainsi à la manière dont un roman populaire, malgré son recours à un motif largement exploité, peut déplacer et transgresser l’horizon d’attente auquel il est associé. Plutôt que d’être figée à la manière d’un cliché photographique, la « chambre close » évolue sans cesse dans les récits à l’étude. Influencée par le phénomène d’hybridité générique qui sous-tend les romans, elle se dote de nouvelles significations qui la singularisent par rapport à l’emploi qu’en ont fait les prédécesseurs. En s’intéressant, dans un premier temps, à la trajectoire empruntée par les corps féminins et à leur influence sur les décors et, dans un deuxième temps, à la manière dont l’espace canalise un certain imaginaire propre à la littérature du XIXe siècle, il s’agira de voir comment Leroux parvient à faire éclater les murs d’un lieu qui, jusqu’alors, était clos « comme un coffre-fort » (Gaston Leroux, 1925). / The "locked room" concept, generally considered symbolic of detective fiction, has been used by many writers since the 19th century. Amongst the authors of the genre, it was integrated as a simple mechanism to generate a mental challenge for the reader (Thomas Narcejac, 1975). The concept became more complex with the advent of the Belle Époque. The "locked room", under Gaston Leroux’s influence, became the central place where crime and passion, public and private, reason and superstition meet, when filled with the perfume of a woman. In The Mystery of the Yellow Room (1907) and The Phantom of the Opera (1910), Gaston Leroux built his intrigues around atypical "locked rooms" with the intent of upending the codes of detective fiction. This research focuses on the elements through which a popular novel can break its commonly associated expectations, despite the use of a widely exploited pattern. Instead of being frozen in time, the "locked room" is always evolving ; influenced by the novels’ underlying generic hybridity, it acquires new meanings that distinguish it from its predecessors. By first focusing on the path of female bodies and their influence on the decor, and then on the way the "locked room" reuses components associated with literature from the 19th century, we will see how Leroux manages to break the walls of a place that has been considered as closed as a safe (Gaston Leroux, 1925).