This thesis aims to demonstrate the interrelatedness of the rebellious form and content of Pilar MirO's first six films - La petición (1976), El crimen de Cuenca (1979), Gary Cooper gue estás en los cielos (1980), Hablamos esta noche (1982), Werther (1986) and Beltenebros (1991). The Introduction provides a brief outline of the director's life and an insight into some of the core themes of her cinema, summaries of relevant theoretical arguments from psychoanalysis and gender theory in the context of sociology and film studies and an outline of the situation of men and women in Spain vis-à-vis the law, social prejudices, attitudes to sexuality and work. Part I (chapters 1-6) examines gender issues and character portrayal in each of the films in chronological order using these theories. Part II deals with the metafictional textual strategies of Miró's works. Chapter 7 outlines features of metafiction, such as stylistic intertextuality, literal intertextuality, mise-en-abime devices and other cinematic strategies which highlight the constructed nature of the films by laying bare the processes of fictional creation and disturb the viewer, making him or her an active reader, who cannot acquiesce in a passive spectatorial position. It also discusses the issue of authorship in film to posit that Miró abdicates from the position of onmiscient auteur through intertextuality and her use of assistant authors, another strategy of metafictional, postmodern art. Chapters 8 and 9 look at specific examples of intertextuality. The first section of chapter 8 examines the thematic and stylistic influence of the American artist, Edward Hopper, on the setting of Beltenebros and José Gutiérrez Solana's tremendista paintings as a visual reference for El crimen de Cuenca: the chapter also takes into account the joint stylistic influence of Carol Reed's The Third Man (1949) on Beltenebros. The second section of chapter 8 applies theories of historiographic metafiction and intrahistory to Miró's depiction of a miscarriage of justice in the Spanish legal system and the imprisonment of two innocent men in El crimen de Cuenca. Chapter 9 outlines a special instance of intertextuality in Miró's employment of stars. Using recent work in star studies, I consider the contributions and implications of her choice of two actresses - Ana Belén and Patsy Kensit - to La petición and Beltenebros. The conclusion suggests that, while Miró demonstrates an active interest in and sympathy for the victims of oppression, her use of intertextuality may be unconscious and that this thesis presents just one possible argument or interpretation. An interview with Miró in 1995 is included in an Appendix, as are relevant stills of Ana Belén.

La honte est une émotion douloureuse impliquant une autoévaluation négative et globale du soi, et entraînant un désir de fuir ou de se cacher. Selon certains auteurs, la honte occupe une place importante dans la vie de plusieurs hommes, notamment en contexte de demande d'aide thérapeutique.La présente étude s'intéresse à la honte vécue par certains hommes lorsqu'ils dérogent aux différentes normes comportementales qui leur ont été inculquées. Une revue de la documentation traitant de la mesure de la honte a été réalisée et montre que si plusieurs instruments sont disponibles, la plupart d'entre eux mesurent la honte de façon indifférenciée à l'égard du sexe. Pour pallier à cette lacune, et en s'inspirant de la documentation sur l'idéologie masculine et sur les tensions qui en découlent, un nouvel instrument de mesure de la propension à la honte (le Questionnaire de honte de la vulnérabilité masculine; QHVM) a été développé et cible la honte ressentie dans divers contextes perçus par les hommes comme étant menaçants à l'égard de leur identité masculine. Puisque la culpabilité s'apparente à la honte en plusieurs points, une mesure conjointe de la honte et de la culpabilité a été privilégiée pour s'assurer d'un processus de validation initiale rigoureux.La validité factorielle de l'instrument a été explorée à l'aide d'une série d'analyses en composantes principales.La version abrégée du Test of Self-Conscious Affect-3 (Tangney, Dearing, Wagner, Crowley & Gramzow, 2000) et le Gender Role Conflict Scale (O'Neil, Helms, Gable, David & Wrightsman, 1986) ont été retenus afin d'explorer la validité convergente et discriminante du QHVM.La version abrégée du Attitudes Toward Seeking Professionnal Psychological Help Scale (Fischer & Farina, 1995) et une adaptation du Barriers to Help Seeking Scale (Mansfield, Addis & Courtenay, 2005) ont été sélectionnées afin d'explorer la validité prédictive du QHVM.La cueillette de données a été réalisée auprès de 733 étudiants de niveau collégial et universitaire, de même qu'auprès de 45 hommes utilisant les services d'organismes oeuvrant auprès des hommes. Les résultats révèlent une structure factorielle stable composée de trois facteurs (1- Honte d'une atteinte au statut de masculinité, 2- Honte de l'homosexualité, 3- Honte des comportements affectueux entre hommes) et une fidélité variant de bonne à adéquate. Les résultats montrent par ailleurs que le QHVM possède une bonne validité convergente et discriminante. Enfin, les résultats montrent que le QHVM possède une certaine validité prédictive et indiquent que la honte agissant à titre de frein à la demande d'aide chez les hommes semble davantage une honte"masculine", c'est-à-dire enracinée dans le développement de leur identité de genre et vécue en situation d'atteinte à leur virilité. Si d'autres études sont recommandées afin d'évaluer la validité factorielle, convergente et prédictive du QHVM, ce dernier s'avère un instrument pertinent pour l'étude de la honte chez les hommes et possède de bonnes propriétés psychométriques.

No description available.

On the surface, Dennis Lehane’s novel Mystic River appears quite fascinated and occupied with macho ideals and ideas of heroism, vengeance, vigilantism, violence, and blind loyalty. The novel might even be said to paint a picture of a world ultimately ruled and controlled by men, who are expected to set the terms and encouraged to take charge. This points to an overt message stating that attributes such as strength, cold practicality, efficiency, action, decisiveness, and rationality – all stereo-typically masculine values – ultimately pay off and are rewarded. However, such an initial analysis may be meaningfully countered, overturned, and distrusted. Making use of feminist deconstruction, this essay argues that Mystic River’s superficial praise of stereotypical gender ideals is in fact undermined by tensions and contradictions beneath the surface of the text. This undermining in turn serves to criticize binary hierarchies at the very core of patriarchal ideology.

This thesis is a social and material history of the British naval ship during the late eighteenth and early nineteenth centuries, and analyses the nexus of masculine interactions with spaces and objects aboard. Previous naval historiography has tended to polarise the experience of seamen and officers as defined either by benevolent paternalism or revolutionary conflict, and has tended to avoid engagement with the analytical frameworks of gender, material culture and spatiality. Indeed, despite it acting as a temporary home for upwards of 500,000 men during the long eighteenth century, the naval ship during this period has often been understood as purely a platform for a series of hierarchical relationships, rather than a lived space, the everyday experience of which informed the masculine identities of all who lived aboard. Through an examination of records of courts martial, letters, logs, journals, memoirs, objects and ship plans, this thesis attempts to understand the ways in which a socially disparate group of men defined themselves in relation to each other, as well as the built environment and shifting material worlds they occupied. Regardless of their status within the naval hierarchy, the denizens of naval ships occupied a temporary home which was continually being made and remade. The material and social interactions which attended these processes can, this thesis argues, tell us much about masculine experience and expectation, both for the naval ship, and the eighteenth and nineteenth centuries more widely.

The research is specifically concerned with the notion of the military masque as a projected extension of the history of masqueing behaviour evident in gay men's attire.The creative outcome of the project is a collection of five interchangeable masques, an animated poetic work and a series of photographic images.This exegesis therefore, seeks to contextualise the created artifacts. In doing this it posits a historical and critical framework that considers the hyper-masculine1 and its relationship to gay men's masqueing.21 In this exegesis hyper masculinity is taken to mean an exaggeration of stereotypical male beliefs and behaviors through an emphasis on virility, strength and aggression and dress codification.2 Frye (1957), in his Anatomy of criticism offers a useful definition of masque as I frame it in this thesis. The term may be understood as "a species of drama in which spectacle plays an important role and in which the characters tend to be, or become aspects of human personality, rather than independent characters" (pp. 365-7). In this respect the masque is something donned that presents a decodable identity extra to, or other than the actual personality of the wearer.

No description available.

Texte remanié de: Diss. Ph. D.--Binghamton--State University of New York. / Bibliogr. p. 331-346. Index.

Texte remanié de: Dissertation Ph. D.--University of Cambridge. / Bibliogr. p. [191]-204.

Thèse d'exercice : Médecine. Santé publique : Paris 12 : 2007. / Thèse uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. 139 f. Bibliogr. f. 42.