Weekly lifestyle magazines constitute an important role for many young people these days. Their purpose is to inform and entertain a broad public within subjects such as fashion, friends, relationships, men and beauty. Frida and Veckorevyn are two big magazines that have a big influence on young women. One subject that frequently occurs is articles about men, written by women. This study focus on how (with which qualities and weaknesses) these women choose to subscribe men. The purpose with the study is also to investigate if there occurs any important differences between these two magazines. The study includes analysis methods such as cluster criticism, rhetoric analysis and narrative analysis. The theory of this study is based on Kenneth Burkes vision about terministic screens, combined with a constructivism and hermeneutics point of view. The results of the analysis showed that there are some differences between Frida and Veckorevyn and their way of describing men. Frida describes the men in a more static way, but with a mix of positive and negative qualities. Veckorevyn uses a more detailed and analysing way to describe the men. An interesting result was that the positive descriptions represented the majority of all the words that described the men, but the negativity still shined through. In the concluding part of the study I discuss these important results.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Includes bibliographical references (leaves 414-440). Available also in a digital version from Dissertation Abstracts.

Title: The representation of gender: A semiotic study of Tom Ford's Gucci campaign 2003 and Frida Gianninis Gucci Campaign 2013. Number of pages: 73 (79 including enclosures) Author: Sara Andréasson Tutor: Anne-Marie Morhed Course: Media and Communication Studies D (2IV091) Period: VT 2013 University: Division of Media and Communication, Department of Informatics and Media, Uppsala University. Purpose/ Aim: The aim of this study was to examine the representation of gender in advertising that has both men and women as the primary audience. The aim of the study was to investigate how Gucci has chosen to represent men and women in their advertising campaigns 2003 and 2013. Material/ Method: A semiotic analysis was performed by using three images from Gucci's spring/ summer campaign for Tom Ford in 2003, and three images from Gucci's spring/ summer campaign for Frida Giannini in 2013. Main result: The results showed that there was a clear difference between Ford and Gianninis ways of representing women and men in the two advertising campaigns. The women in Fords campaign 2003 are presented as sexual objects and represented by the male pornographic imagination and portrayed as sexual eye-catchers while the men are portrayed as addicted to sex. Frida Gianninis advertising images is a contrast of Ford pornographic portrayal of women. Giannini presents women as confident individuals while the man is represented as feminized and androgynous in his appearance.

Master of Letters (with Merit) / The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.

No description available.

Este trabajo se dedicará a analizar un corpus plástico de obras de una artista que ha sido más que comentada por la crítica; incluso podríamos decir que tanto su figura como su obra han sido asediados, cercados y encasillados por demasiados doctos estudiosos; que además su estampa se ha convertido en un producto favorito del mercado y no solo sus obras se han vendido y avaluado en cantidades insólitas de dinero, sino que se estampan camisetas con su faz y miles de personas visitan su casa museo: es Frida Kahlo, que en términos de popularidad, debe estar compitiendo codo a codo con su compatriota, la Virgen de Guadalupe. / Este trabajo se dedicará a analizar un corpus plástico de obras de una artista que ha sido más que comentada por la crítica; incluso podríamos decir que tanto su figura como su obra han sido asediados, cercados y encasillados por demasiados doctos estudiosos; que además su estampa se ha convertido en un producto favorito del mercado y no solo sus obras se han vendido y avaluado en cantidades insólitas de dinero, sino que se estampan camisetas con su faz y miles de personas visitan su casa museo: es Frida Kahlo, que en términos de popularidad, debe estar compitiendo codo a codo con su compatriota, la Virgen de Guadalupe. El lector se preguntará, si tanto se ha dicho ya, ¿por qué volver la mirada a la obra de esta artista? Respondemos junto con Patricia Mayayo -que emprendió una excelente labor de desmantelamiento de todo el aparataje teórico que ha velado el trabajo de Kahlo- que en la medida en que se la ha considerado principalmente desde perspectivas biográficas, se ha generado un mito entorno a la artista que: “no ha servido, muchas veces, sino para oscurecer el conocimiento de su obra (…). En el mejor de los casos, su pintura se interpreta como mero reflejo de sus avatares personales o, incluso, en una suerte de psicoanálisis casero, como un síntoma de sus conflictos y desequilibrios internos. La obra se ha visto radicalmente desplazada por la vida y la pintora irremisiblemente engullida por el mito.”

At her death in 1954, Frida Kahlo was known as little more than the wife of muralist Diego Rivera. Since then her art and personae have taken on a cult-like following and she has become an icon of popular culture. Thus far Frida's repute has stretched across three decades, from the 1970s, 1980s, and into the 1990s. Frida's popularity is viewed as primarily emerging from the Women's Movement of the 1970s. However, interest from many other groups have carried her image into the 1980s and 1990s. Aside from the Women’s Movement, Frida’s popularity reflects a growing interest in Mexico, specifically the “romanticized” image of Mexico, in the wake of rising international relations between Mexico and the United States. Each subsequent exhibit of Frida’s work brought with it a plethora of articles and exhibition catalogues. By the late 1980s books on Frida’s biography and her paintings began flooding the market along with articles from various periodicals, from fashion, to medical, to women's studies journals. Numerous other publications on Frida have included calendars, postcards, and a cookbook. A book of Frida's letters and her diary were published in 1995. The associations around Frida’s name have created the legend of her personality. She is viewed as a genius painter, one who expressed her emotions and life on canvas, who spoke from her heart and who has become remembered as a martyred saint. Scholars and the general public alike have latched onto Frida’s image, making her into more than a mere artist, rather into a remarkably insightful and brave individual. This popular myth has been supported by Frida's own lifestyle, by her flamboyant attire, scandalous relationships, and internationally recognized friendships. Frida was, however, an individual who suffered from the same insecurities that much of the population does: insecure in love and acceptance. Frida had the ability to mask her emotions of insecurity with her physical pain, which she then exercised on the canvas. It is this ability to deal with her emotional pain that has brought her life and work to the cult-like status that her memory now enjoys.

Focusing on artists Frida Kahlo and Guillermo Gomez-Pefia, my thesis concerns borders of all kinds: between nations and cultures, between varying artworks, context, and audiences, and between myth and reality. These border relationships are subject to constant evolution and negotiation, and I chose Kahlo's paintings and Gomez-Pefia's performance work to illustrate how two artists have portrayed border relationships across the twentieth and twenty-first centuries in Mexico and the United States, because both artists draw upon borders to hash out shifting personal, political, and cultural identities. Frida Kahlo's nationalist politics led her to portray the Mexican-U.S. border as a force of antagonism. In her modern context, this border starkly indicated a divide between colonial ambitions and domination, between the First and Third world paradigms of her time. Kahlo's consistent technique of self-portraiture led Germaine Greer to declare her "the first ever true performance artist," and in many ways Kahlo's work and life foreshadows contemporary questions of hybridity and pluralism brought to light by Guillermo Gomez-Pefia decades later. Gomez-Pefia's more direct performance pieces question dualistic borders by breaking boundaries and envisioning a borderless world, where boundaries are created and blurred organically rather than dictated by social or political elites. Like Kahlo, Gomez-Pefia's work is highly political, and his indictment of America's negative and dangerous images of Mexico and Mexican immigrants is particularly fierce. Both artists have produced impressive, controversial work that is dense and often difficult to understand, but it is also work that forces audiences to question the status quo and the boundaries we frequently take for granted.

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2017-10-09T20:21:39Z No. of bitstreams: 1 Paulo_Fachin2017.pdf: 3570285 bytes, checksum: d9988942b8d0bbf836441841d90b1ccc (MD5) / Made available in DSpace on 2017-10-09T20:21:39Z (GMT). No. of bitstreams: 1 Paulo_Fachin2017.pdf: 3570285 bytes, checksum: d9988942b8d0bbf836441841d90b1ccc (MD5) Previous issue date: 2017-03-31 / Frida Kahlo registra alegría, dolor, tristeza y sufrimiento a través de su Diario, trayendo en toda su obra características que hablan de amor, de la existencia trágica, intimidad y aspectos de la cultura mexicana relacionada a la cultura indígena. Esta tesis tiene como objetivo estudiar la imbricación del elemento autobiográfico y de la consciencia del femenino, de la alteridad y de la cultura popular en la obra de Frida Kahlo. Reflexionaremos sobre las imágenes poéticas contenidas en los textos escritos y en la pintura, a partir de una selección temática. Al considerar la extensión de la obra de la pintora, haremos un recorte de textos de las biografías, de la correspondencia, del diario y de las pinturas que establecen relación con la idea de la alteridad, con elementos de una existencia apasionada y trágica que apuntan aun para elementos históricos y culturales de México e, por consiguiente, para el contexto latinoamericano a partir de las biografías de Jamís (1985), Mayayo (2008), Sánchez (2008), Le Clézio (2010), Haghenbeck (2011), Herrera (2011), Kettenmann (2015), de la correspondencia, del diario y de las pinturas que establecen relación con datos autobiográficos, con el doble, con la tragicidad y con la memoria, los relacionando con las reflexiones de Lejeune (2008), Le Goff (2013), Ricoeur (2007), Sontag (2004) y Tin (2005). Con este trabajo, nosotros responderemos las siguientes preguntas: ¿Cómo se da la relación entre escrita y pintura? ¿En qué medida las imágenes de la escrita e imágenes de la pintura reafirman o desconstruyen identidades? Verificaremos cómo la obra polémica de la autora mexicana fue recibida en su tiempo en el contexto latinoamericano. Los resultados, los cuales se espera atingir con esta investigación, envuelve el Diario de la pintora mexicana, así como varias biografías producidas sobre ella, pero, sobre todo, una reflexión más profunda sobre sus autorretratos y sus cartas. Esta investigación traerá contribuciones para el campo de las escritas del yo, pintura y posibilitar el diálogo entre literatura, escritas autobiográficas e pintura. La metodología que guía esta investigación está amparada en los fundamentos teóricos y metodológicos de la Literatura Comparada y en la Sociocrítica, se utilizando de los estudios de Nitrini (2000) e Coutinho (2003). Para este estudio, serán considerados aún los fundamentos teóricos de Perrone-Moysés (2005), Vilas Boas (2008), Seligmann-Silva (2005), Didier (1996), Viné-Krupa (2014), Fabris (2004), Ostrower (2002), entre otros. / Frida Kahlo registra alegria, dor, tristeza e sofrimento por meio de seu Diário, trazendo em toda a sua obra traços que falam de amor, da existência trágica, intimidade e aspectos da cultura mexicana relacionados à cultura indígena. Esta tese tem como objetivo estudar a imbricação do elemento autobiográfico e da consciência do feminino, da alteridade e da cultura popular na obra de Frida Kahlo. Refletiremos sobre as imagens poéticas contidas nos textos escritos e na pintura, a partir de uma seleção temática. Considerando-se a extensão da obra da artista, faremos um recorte de textos das biografias, da correspondência, do diário e das pinturas que estabelecem relação com a ideia da alteridade, com elementos de uma existência apaixonada e trágica que também apontam para aspectos históricos e culturais do México e, por extensão, para o contexto latino-americano a partir das biografias de Jamís (1985), Mayayo (2008), Sánchez (2008), Le Clézio (2010), Haghenbeck (2011), Herrera (2011), Kettenmann (2015), da correspondência, do diário e das pinturas que estabelecem relação com dados autobiográficos, com o duplo, com a tragicidade e com a memória, relacionando-os com as reflexões de Lejeune (2008), Le Goff (2013), Ricoeur (2007), Sontag (2004) e Tin (2005). Com este trabalho, responderemos as seguintes perguntas: como se dá a relação entre escrita e pintura? Em que medida imagens da escrita e imagens da pintura reafirmam ou desconstroem identidades? Verificaremos como a obra polêmica da autora mexicana foi recebida em seu tempo no contexto latino-americano. Os resultados os quais se espera atingir com este estudo, envolve o Diário da pintora mexicana, assim como várias biografias produzidas sobre ela, mas principalmente, uma reflexão mais profunda sobre seus autorretratos e suas cartas. Esta pesquisa trará contribuições a outros estudos voltados para o campo das escritas do eu, pintura e oportunizar o diálogo entre literatura, escritas autobiográficas e pintura. A metodologia que orienta este trabalho está amparada nos pressupostos teórico-metodológicos da Literatura Comparada e na Sociocrítica, utilizando-se dos estudos de Nitrini (2000) e Coutinho (2003). Para este estudo, serão considerados, também, os pressupostos teóricos de Perrone-Moysés (2005), Vilas Boas (2008), Seligmann-Silva (2005), Didier (1996), Viné-Krupa (2014), Fabris (2004), Ostrower (2002), entre outros.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-03-07T12:56:04Z No. of bitstreams: 1 NEIDEMAR MARIA DE FREITAS.pdf: 20512491 bytes, checksum: 1cf612064b6352ae9c6c762852b1d958 (MD5) / Made available in DSpace on 2017-03-07T12:56:04Z (GMT). No. of bitstreams: 1 NEIDEMAR MARIA DE FREITAS.pdf: 20512491 bytes, checksum: 1cf612064b6352ae9c6c762852b1d958 (MD5) Previous issue date: 2016-11-23 / This research led to our perception plural verb-ups of visual artistic languages present in the art of the mexican Frida Kahlo. Analyzes her artistic construction, making associations between pictorial art in its diverse self-portraits and literary art of intimate diary, marked by pain and suffering. We are guided our work in translated form of the work Pain and Art, Urania Peres; The Diary de Frida Kahlo, transcribed by Carlos Fuentes, translated into Portuguese by Frederico de Morais. We use the theoretical, Sigmund Freud to ramble on flows conscious and unconscious; Jacques Lacan in the refractions of the signs in mirrors; Claude Zilberberg in tensividade of signs; Gonçalves, for the conduct of studies on the signs, among others. The rich creative inner world of the artist who combines in his major work in analysis – O Intimate Diary - a profusion of codes in expressive movements and semantic pluralities linked in a distinctive style in the visual arts and correspondences between them. The discursive resulting from cosmetic procedure produced by Kahlo generates various types of signs associations, making their many meanings arts and unique art with unusual character of its aesthetic exercise. / Esta pesquisa conduziu nossa percepção para as intermediações plurais das linguagens artísticas verbo-visuais presentes na arte da mexicana Frida Kahlo. Analisa-se a sua construção artística, fazendo associações entre a arte pictórica em seus diversificados autorretratos e a arte literária do diário íntimo, marcadas pela dor e sofrimento. Norteamos nosso trabalho na forma traduzida da obra Dor e Arte, de Urania Peres; O Diário de Frida Kahlo, transcrito por Carlos Fuentes, traduzido para o Português por Frederico de Morais. Recorremos aos teóricos, Sigmund Freud para divagar sobre os fluxos conscientes e inconscientes; Jacques Lacan nas refrações dos signos em espelhos; Claude Zilberberg na tensividade dos signos; Gonçalves, para o desenrolar dos estudos sobre os signos, entre outros. O rico universo interior criativo da artista que conjuga dentro de sua obra principal em análise - O Diário Íntimo - uma profusão de códigos em movimentos expressivos e pluralidades semânticas, vinculados num estilo diferenciado nas artes plásticas e nas correspondências entre eles. A resultante discursiva do procedimento estético produzido por Kahlo gera associações de variados tipos de signos, tornando sua arte plurissignificativa e singular com caráter insólito do seu exercício estético.