This paper will analyze two schools of feminism to see how they criticize female characterizations in literature in general and Catherine Barkley in A Farewell to Arms in particular and discuss whether or not they are being objective in their criticism.

Communist regimes have claimed that communism is the vehicle for women's emancipation. They maintain that sexual inequality can only be abolished as part of the broader socialist transformation through pulling women into the paid labour force. If the communist claim is true, women in communist regimes should be equal regardless of their cultural tradition, while women's position in communist regimes should be higher than in capitalist regimes. However, women's experiences in communist regimes revealed that their position varies from country to country and region to region, revealing the influence of culture in a variety of guises. In this respect, the former two Germanies and the two Koreas provide a rare chance of a cross-regime and cross-cultural comparative study. Germany and Korea have maintained distinct cultures different from their neighbours. The traditions of the two nations ran into revolutionary changes and discontinuities in the wake of their division into communist and capitalist regimes. The communist regimes of Germany and Korea advocated women's emancipation through making women part of the working class. Their achievements and failures compared with their severed national halves constituted a laboratory situation for the test of the communist claim. In this thesis, the communist claim is tested through the comparison of women's positions in the four countries, in all aspects of social life: under the law, in the education system, at work, in the family and in politics. The novel contribution of the thesis is its cross-cultural and cross-regime analysis, measuring the impact of the state on women's emancipation, taking into account different cultural impediments. It contributes to the development of feminist analyses of the state and culture, adding empirical evidence to theoretic arguments.

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The purpose of the study was to present a rhetorical analysis of selected Women’s Liberation addresses of Gloria Steinem delivered in two distinctly different audience situations. The study was divided into chapters dealing with the historical development of the Women’s Liberation Movement and the status of the movement in the 1970’s; a biography of the speaker, including Steinem’s personal philosophy concerning Women’s Liberation; the analysis of Steinem’s 1970 Vassar College Commencement Address; and an analysis of Steinem’s 1972 National Press Club Address.The method of analysis employed in the study is the strategy approach advanced by Kenneth Burke. The method involved a four-fold analysis: (1) the historical context in which the speech was delivered; (2) the rhetorical problems Steinem faced in each address; (3) the rhetorical goals Steinem wished to achieve; (4) the rhetorical strategies selected to overcome the rhetorical problems and achieve her rhetorical goals.

In this essay I’ve chosen to do a comparative analysis of the two films Män som hatar kvinnor (Niels Arden Oplev, 2009) and The girl with a Dragon tattoo (David Fincher, 2011) based on feministic theories. I have done this with the intent of comparing the two versions way of viewing the woman. The analysis is based on my own questions, observations and interpretations, and has a hermeneutic approach. My conclusion is that “The girl with at Dragon tattoo” is closer to Stieg Larsson’s original story that both films are based upon, though the Swedish film Män som hatar kvinnor has got more of a feministic purpose. Män som hatar kvinnor proved to have a feministic perception of women. I found this to be much like the more radical forms of feminism, whereas The girl with the Dragon tattoo often tends to fall back to cinematic tradition, by depicting the lead role of Lisbeth Salander by the traditional female stereotype. / I denna uppsats har jag valt att med hjälp av feministisk teori göra en komparativ analys av filmerna Män som hatar kvinnor (Niels Arden Oplev, 2009) och The girl with the Dragon tattoo (David Fincher, 2011) med avsikt att jämföra de två tolkningarnas kvinnosyn. Analysen är baserad på egna frågeställningar, iakttagelser och tolkningar, och har hermeneutiken som metod. Min slutsats är att The girl with the Dragon tattoo är mer trogen Stieg Larssons originalroman som båda filmerna är baserade på, dock tjänar den svenska filmen Män som hatar kvinnor ett mer feministiskt syfte. Män som hatar kvinnor visade sig ha en feministisk syn på kvinnan, en syn som jag fann ligga närmast radikalfeminismen, medan The girl with the Dragon tattoo ofta tenderar att falla tillbaka på filmiska traditioner genom att skildra huvudkaraktären Lisbeth Salander utifrån den traditionella kvinnliga stereotypen.

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The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general.

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