In this bachelor’s thesis I have studied portraits from the 18th century where the person portrayed is named and in the guise of an antique goddess. I have used a gender perspective through out the paper and have used Judith Butler´s ideas about gender performativity. I have also used Carolina Brown’s Liksom en herdinna. Litterära teman i svenska kvinnoporträtt under 1700-talet and Anna Lena Lindberg’s En mamsell i akademien – Ulrica Fredrica Pasch och 1700-talets konstvärld which both has a gender perspective when they examine portraits and the art world during the 18th century. I have used iconological and iconographical analyses to study what it means to be portrayed as an antique goddess, what the portraits communicate and how they create gender identities. I have also done literature studies to understand and explain the society that created the portraits I’m analysing. My study has shown that it was more common for women to be portrayed as antique goddesses than it was for men to be portrayed as antique gods, and that class was more important than gender but that gender performativity still had an important role.

This essay explores how adolescent girls in two pieces of children’s fiction are portrayed in children’s literature from the start and end of the 20th century to examine how they perform their gender in relation to expectations as informed by the Angel in the House discourse. Anne of Green Gables and the Harry Potter series were published at the start and end of the twentieth century, and both texts engage with the discourse. Using Judith Butler’s theory of Gender Performativity, this essay demonstrates that the Angel in the House discourse continues to influence expectations of how adolescent girls should behave, particularly with regards to being responsible for upholding the moral code to ensure the social standing of their family. However, they differ in regard to other aspects of the discourse, indicating that parts of the discourse appear to have lessened over the course of the 20th century.

This study examines the complex relationship between gender, virtual reality (VR), and social interaction within the context of full-body tracking (FBT) technology in social VR platforms. As VR technology advances and becomes increasingly integrated into users’ lives, understanding the implications of gender expression and perception in these immersive environments is crucial. Utilizing unobtrusive observations and interviews within the VRChat platform, this research explores avatar choices, interactions, and FBT technology utilization as they relate to users’ expressions and perceptions of gender. The findings reveal that cultural background plays a significant role in shaping users’ gender expressions and perceptions in social VR. The study also demonstrates the fluidity of gender expression in virtual environments, highlighting how users can challenge and subvert traditional gender norms, and the potential of virtual reality as a tool for experiential learning, fostering cross-cultural understanding, and promoting inclusive and diverse gender expressions. This study contributes to the emerging body of literature on virtual reality and gender, providing insights that can inform future research and technology development in the field.

Gender performativity, detailed by Judith Butler and accepted by most contemporary queer theorists, rests on an agentive model of gender wherein “genders are appropriated, theatricalized, worn, and done” (“Imitation and Gender Insubordination” 716). This academic orthodoxy is challenged, however, by the increasing presence of transgender persons joining the theoretical discourse, many of whom experience an essential gender as a central facet of their identity. I respond to Katie R. Horowitz’s recent modification of Butler’s theories—a theory of omniperformance to dissolve the distinction between performance and performativity, and thereby between artifice and “real life.” I argue that gender-as-art, a schema that acknowledges both the intention and the intuition of gender, is a more fruitful foundation than omniperformance. I use, as my model, Elisabeth Bergner’s performance as Rosalind in Paul Czinner’s 1936 As You Like It and Bryce Dallas Howard’s 2007 Rosalind in Kenneth Branagh’s film adaptation of the same play. In Bergner and Howard’s androgynous gender performances, I argue, a body—a transgender body, an androgynous body, a genderqueer body, a cisgender body—represents an aesthetic ideal, the product of the human drive to create, to beget, to beautify.

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This study examines sexual violence against women in armed conflict settings as a form of discrimination within the framework of CEDAW. Informed by Judith Butler's theory of Gender Performativity emphasizes that gender is socially constructed. This study utilizes existing literature reviews and reports; the analysis focuses on gender-based violence, revealing its structural nature. Using the Democratic Republic of Congo as a case study, it highlights the interplay of ethnic, political, and economic factors leading to extreme violence. The study emphasizes the authority of the CEDAW committee to propose an inclusive and understandable protocol, protecting women's rights universally. Overcoming barriers like structural discrimination is crucial to strengthening CEDAW's response. The study acknowledges the need to avoid generalizations and underscores the urgency of enhancing the existing framework to protect women during armed conflicts. It contributes to human rights discourse by emphasizing the inherent nature of human rights and equal protection for all individuals.

Denna studie undersöker relationen mellan hår, kön, kropp och rum. Specifikt undersöks hur relationen mellan maskulinitet och hår i form av skägg framträder på tre raksalonger i Stockholm våren 2019. Detta analyseras främst med Sara Ahmeds (2006) begrepp orienteringar och linjer, som beskriver hur vi kroppsligt erfar omvärlden. Judith Butlers (2007) performativa genus är också tolkningsgrundande. Intervjuer med en barberare och kund från var observerad raksalong, har synliggjort informanters strävan efter svåruppnåeliga maskulina ideal, som ett fylligt skägg. Studien berör även nutida historiebruk. Två av tre raksalongers miljö har bidragit till maskulina gestaltningar, orienterade mot nostalgisk känsla av brittisk herrklubb från förra sekelskiftet. Raksalongernas genuina kvalitetsupplevelse, har kontrasterats mot damsalongers sämre service och expertis. Två barberare och kunder eftersträvar dock känslomässig öppenhet, vilket kan sägas ta spjärn från stereotypa maskuliniteter. Detta har möjliggjort omorienteringar mot maskuliniteter med traditionellt sett mer mjuka, feminina värden. / This research examines the relation between hair, body and place. Specifically, it investigates how the relation between masculinity and hair such as beard takes shape in three different barbershops in Stockholm spring 2019. This is foremost being analysed with Sara Ahmed's (2006) use of orientations and lines, which describe how we bodily experience our surroundings. Judith Butler's (2007) gender performativity is also at the foundation of the analysis. Interviews with one barber and customer from each observed barbershop, has shed light on informants' strivings to reach elusive masculine ideals, such as a full beard. Two of the three barbershop milieus have contributed to masculine formations, orientated towards nostalgic sense of brittish men's club from the turn of last century. The barbershops' genuine luxury treatments have by some informants been contrastated against lady hair salons' poorer service and expertise. However, two barbers and customers seek emotional openness, which can be said to deviate from stereotypical masculinities. This has enabled reorientations towards masculinities with traditionally more soft, feminine values.

A emergência da Lei 11.340/06 também conhecida como lei Maria da Penha que regula e criminaliza a violência doméstica aparece como diretriz fundante do Projeto Raabe. Trata-se de um projeto desenvolvido pela Igreja Universal do Reino de Deus (IURD), voltado para o atendimento de mulheres em situação de violência doméstica. Idealizado por Cristiane Cardoso, filha mais velha do Bispo Edir Macedo, o projeto reúne hoje uma equipe de profissionais tais como advogados, psicólogos e assistentes sociais, e visa oferecer assistência jurídica e psicológica a mulheres que procuram o atendimento em delegacias denominadas delegacias da mulher. Pretendo analisar - a partir de um conjunto de materiais produzidos pelo projeto, que compreende desde reuniões temáticas até relatos publicados como livros biográficos -, a produção civil de uma noção de conversão que se baseia no reconhecimento jurídico da condição de sofrimento. Nesse processo a categoria divórcio se desenha como um caminho primeiro para o aprendizado da relação heterossexual saudável, e o degrau necessário rumo a conversão. A concepção de afetividade saudável e o desenvolvimento constante de uma pedagogia que visa o cuidado de si tornam-se linguagens substanciais de produção de um sujeito feminino que deve afasta-se da condição jurídica de sujeito de sofrimento para assumir o relato público como crente civil. Assim, esta pesquisa tem por finalidade mapear e descrever práticas relacionadas à produção de uma performatividade de gênero mimetizada em formas de falar, de se apreender e de experienciar os corpos femininos a partir de programas de incentivo ao relacionamento heterossexual, pensando o papel de tais políticas têm na formação de performatividades, ora por meio de linguagem de gendramento dos gêneros, mediante tecnologias de poder que conformam a sujeição e a subjetivação dos sujeitos. / The emergence of the 11.340/06 law, also known as Maria da Penha law, that regulates and criminalizes domestic violence, appears as a fundamental guideline of the Raabe project. Its a project that has been developed by the Universal Church . Of the Kingdom of God (UCKG) , aimed at supporting women who have undergone domestic violence. Conceived by Cristiane Cardoso, Edir Macedos oldest daughter. The Project encompasses a set of professional such as lawyers , psychologixtx, and social assistents, and aims at offering juridical and psychological assistence for women who look for support at the so called Women Police Stations, which are specialized in domestic violence. I intend to analyze from a set of materials produced by the Project that compreheds theme meetings and also reports which were published as biografical books the civil production of a notion of conversin that is based on the juridical acknowledgement of suffering. In this process, the category divorce is drawn as the first step to the learning process of a healthy heterossexual relationship, and its the necessary step for the conversion.The concept of healthy affectivity and the constant development of a pedagogy of the self become substantial languages of the production of a female subject that should step away from the juridical condition of sufferer to take up the public role of a civilian evangelical . . Therefore this research intends to map and describe practices which are related to the production of gender perfomrnace which is mimetized in the act of speaking, seeing oneself and experience female bodies from programs that stimulate heterossexual relationships , thinking about the role that those policies have, whether by the language of gender gendering or through Technologies of power that forge the subjection and subjectivation of subjects.

Suzanne Collin’s trilogy The Hunger Games has become an international bestseller, and tells the story about Katniss Everdeen, a young citizen of District 12 in Panem. The object of this essay is to demonstrate that nurturing, being a warrior and pursuing beauty are the most idealized behaviors in The Hunger Games trilogy. By analyzing these behaviors from a gender perspective, based on the standpoint of Western society, I demonstrate how nurturing and pursuing beauty are feminine behaviors, and being a warrior is a masculine behavior. Furthermore, I outline how the characters’ behavior reflects their upbringings or the circumstances they are in. I conclude by considering what the popularity of Collins’s series indicates about contemporary perceptions of these behaviors, that are traditionally deemed as feminine or masculine in Western society. The result of the analysis indicates that the characters are being rewarded for both feminine and masculine behaviors. However, the characters showing a combination of both feminine and masculine traits gain more than the characters that possess either feminine or masculine qualities only. The contemporary views on femininity and masculinity are changing in Western society, and The Hunger Games trilogy gives us an indication about today’s view on the gendered behaviors in this essay.