En litteratur- och bildanalys av bilderboksserien Handbok för superhjältar (2017-2021) av Elias Våhlund och Agnes Våhlund. Analysen är gjord ur ett feministiskt perspektiv, varvid syftet är att granska hur karaktärernas könsmönster yttras i bokserien. I vår analys/tolkning har vi kommit fram till att karaktärerna i serien i huvudsak följer den traditionella föreställningen om kön och att serien innehåller dold sexism.

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This dissertation focuses on the empowerment and disempowerment of the female body during the Troubles of Northern Ireland (1969-1998). It explores the ways that visual texts – mainly film and theater – expose, explain, and challenge the denigrating perceptions of the female body that prevailed during and after the prison protests of the early 1980s for special category status. In each of my four chapters, I examine a Troubles film or drama via French Feminist Julia Kristeva’s theorization of the female body as an abject threat to patriarchy. This dissertation utilizes the theory of abjection as a way to explain the elision of the female body, manifested as the so-called “dirty” protester, the mother and wife of the hunger striker, and the transgender female, from the pages of history, but with the ultimate goal of challenging the very perception of the female body as inherently abject.

Many women at academic medical centers experience gender-based microaggressions and sexual harassment during their careers. Women in surgical specialties experience a particularly high rate of these incidents, but these incidents occur across medical fields. As a result of microaggresions and sexual harassment in the workplace, women physicians experience a higher rate of burnout and moral injury, have fewer opportunities for promotion, and experience difficulty finding mentors when compared with their male colleagues. I argue that for these and myriad other reasons, microaggressions and sexual harassment of women physicians by their physician colleagues violates the bioethical principles of beneficence and non-maleficence. I also explore the importance of mentorship of women physicians by women physicians for navigating a career in academic medicine. / Urban Bioethics

Men's violence against women has long been presented as a serious problem in gender equality policy and the feminist movement. Victim as a problem-A discourse analysis of the police authority's representation of violence in close relationship aims to investigate from a gender analysis how the police handle the problem of violence in close relationship. To achieve the purpose, the study was conducted through interviews with police officers, based on questions about how the police respond to and define the problem. The results show that there is an ignorance among the police in the use of different concepts and definitions, which construct a misrepresentation of the problem of violence in close relationships.

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In the present set of studies, I examine the hypothesis that situations that affirm a valued self-relevant attribute may, under certain conditions, lead to increased prejudice because such situations activate the motivation to preserve a positive self-image. Consistent with this prediction, Experiments 1 and 2 showed that men whose masculinity was affirmed expressed stronger implicit and explicit prejudice against gay men than others who did not receive such an affirmation. Furthermore, Experiment 2 found that affirmation functioned in a manner similar to self-threat such that both affirmation and threat led to similar increases in implicit and explicit prejudice against gay men, but did not affect attitudes toward lesbians or heterosexual women (groups that are not stereotypically related to the affirmed attribute). Finally, as partial support of the prediction that affirmation of an ingroup attribute increases prejudice in order to protect one's bolstered self-image, Experiment 3 demonstrated that among affirmed men, the more they expressed implicit prejudice against a relevant group (gay men), the higher was their subsequent implicit self-esteem. However, self-affirmation did not have any effect on the relation between implicit attitudes toward a less relevant group (African-Americans) and self-esteem. ^

My dissertation investigates the textual, intertextual, and contextual aspects of the Asian films that I identify as the 'New' Asian female ghost films; I focus closely on the films' visualizations of the monstrous feminine and other gendered/gendering representations. I examine how the Asian countries' traditions of female ghost filmmaking, cultural heritages (such as the religions of Buddhism and Confucianism, folktales, legends, myths, plays, and paintings), and other generic conventions for cinematic horror influence the particular 'hybrid' representational modes of the 'monstrous-feminine' in the 'New' Asian female ghost films. My dissertation also considers the ways in which the newly-revived female ghost films in East Asia and some Southeast Asian countries reflect the local people's anxieties about the 'compressed modernity' that resulted from the Asian economic crisis and some gendered parts of the relevant social discourse. In terms of the Asian genre's hybridity, I examine this significant feature as one of the grounds to explain the films' global popularity, especially in relation to the current trend of Hollywood's remaking of the Asian films. My dissertation, through a case study of four 'New' Asian female ghost films (Ju-On, Shutter, The Eye, A Tale of Two Sisters), responds to the question of how the discussed historical and contextual elements involved with the emergence and development of the 'New' Asian female ghost films and the culturally reciprocal relationships of the Asian films with other American/Western horror films are concretely reflected in the gender representations present in the individual films. I also analyze the American remakes of the four Asian films for the purpose of exploring the specific transformations that take place in the reworked versions, especially in terms of the monstrous feminine images and other representations divided along the lines of sex and gender. I postulate several factors that have influenced the transformations, such as the involved producers' and filmmakers' own readings of the differences and otherness in the original Asian texts; these individuals' own knowledge and assumptions about honor filmmaking; Hollywood conventions of the cinematic horror genre; and Western ideas about the geopolitical place of Asia: Asian cities and nations, and Asian women.