The purpose of this study is to study women's access to public space in particularly vulnerable suburbs within the area of Järva in Stockholm County. This study is based on a qualitative research method and has its foundation in semistructured interviews with ten women, telling about their experiences of living in particularly vulnerable suburbs within the area of Järva in Stockholm County. The results and analysis of the study are based on some theoretical starting points and chosen themes: The Female Role and Patriarchate, Power and Freedom and Repression and Symbolic Violence. The result has shown that what affects women's access to public space in particularly vulnerable suburbs in the area of Järva in Stockholm County is the limited power and freedom of women and the prevailing patriarchate system, in the form of a patriarchal society. The results show that men, through different methods such as through repression and symbolic violence, master, exploit and repress women in public space in particularly vulnerable suburbs. This happens through direct actions and through indirect actions, through various forms of oppression and symbolic violence. Women are not treated in the same way as men in public space, and can be interpreted as men not seeing women as important as men or that men as a group consider themselves to be superior women as a group. The results also show that women are restricted from acting for free will because of the current picture of "the female role" and because women, according to men, may not deviate from the norm. Overall, the study shows that women have limited access to public space in these particularly vulnerable suburbs in the area of Järva in Stockholm County. The outcome of the study should be considered as a major problem for society, because women are involuntarily assigned a subordinate position to men who make up the norm, which is not fair.

Masculinity and femininity are taken for granted as being a natural part of everyday existence forming acceptable images of what it means to be a man and a woman. It is revealed that in conforming to the sexual stereotype of what it means to be masculine and feminine, men's repression of their emotional life forms a counterpart of their oppression of women, for the repression of men's emotional life as a process, manifests itself through the oppression of women. The socioeconomic relations, being exploitative in nature, having been obscured and mystified by masculine and feminine forms of false consciousness, justify the prevalent social circumstances by portraying them as natural and inevitable, thus serving to hide the fact that men and women comprise of both, masculine and feminine characteristics. Disclosing the quality of the experience of men's repression of their emotional life as a counterpart of their oppression of women, through qualitative description and reflection, it is evident that individuality and human social relationships are restricted by the constraints of masculine and feminine stereotypes. It is clearly highlighted, that women help to perpetuate the repression of male emotional life and in turn their own oppression through supporting the successful work, status and power oriented 'macho' male. Through the recognition of the pressures, and a re-evaluation of the masculine role, men will no longer see cause to oppress women and through that there will no longer be a need to repress their own emotional life. There is a need for self-reflection in those individuals and groups restricted by the constraints of masculinity and femininity for the realization of new possibilities of enlightened social action and individuality.

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Para filmar o último filme de sua vida, Stanley Kubrick baseou-se na novela de Arthur Schnitzler, \"Breve romance de sonho\" (1926), fato que já requer atenção: como filmar em 2000 um filme baseado em um livro escrito no final do século XIX? Como mostrar as questões de uma classe social tão marcante, naquela época em transformação e consolidação, agora no século XXI ? Kubrick definiu o livro como sendo o romance sobre o medo. Uma questão é tentar responder a qual medo ele se referia? O tema da sexualidade forte no romance e no filme e a relação clara entre Schnitzler e Freud fazem pensar na relação que hoje temos com a sexualidade e podem servir como chaves para algumas respostas. A questão de figuração e opressão são fundamentais neste trabalho. / To film the last film of his career, Stanley Kubrick was based on the novel of Arthur Schnitzler, \"Traumnovelle\" (1926), fact that already requires attention: how to film in the year 2000 a film based on a book written in the end of 19th century? How to express the problems of a social class from a period in transformation and consolidation in the 20th century? Kubrick defined the book as being a romance on fear. An objective can be defining the fear that is mentioned. A present subject in the romance and the film is sexuality and a clear relation between Schnitzler and Freud. The problem of oppression is basic in this paper.

This dissertation defends an account of oppression and supports a specific means of engaging with oppression cross-culturally. The project examines whether it is defensible to interfere in other cultures at all. Both the cultural relativist and the neo-imperialist approaches are argued to be an inadequate response to the question of whether it is defensible to interfere in other cultures, as both these approaches neglect the autonomy of the agents concerned. This project has two related goals. It first advances an answer to the question ‘what is oppression?’ An account of oppression is developed which will enable oppression to be identified cross-culturally. In order to start constructing an approach which will be adequate to respond to the question of interference, it is necessary to consider a means of identifying oppression crossculturally. The second objective is to examine the possibility of non-imperialistic and nonpaternalistic cross-cultural liberation projects. The first aim (advancing an account of oppression), is executed through arguing for an ethical framework which will be helpful in this context, and arguing for an account of oppression derived from this framework. The second aim (examining the possibility of non-imperialistic and non-paternalistic liberation), is carried out in two parts. The first part responds to two standard objections from cultural relativism, which would accuse a universal account such as mine of imperialism and paternalism. The first objection claims that a universalist account neglects historical and cultural difference, while the second objection claims that it neglects autonomy. In responding to these objections, it is noted that while my responses prove, theoretically, that a universal account of oppression need not lead to imperialism or paternalism, there is a danger that the account could become imperialistic and paternalistic in its application. With the intention of dealing with this problem, I advance a methodology of cross-cultural understanding which would reduce the likelihood of imperialism and paternalism in liberation projects. This notion of cross-cultural understanding is the most important contribution of this project. The objective is not to give practical judgments on when a specific liberation project is in fact paternalistic or imperialistic, but rather to propose guidelines which would need to be applied to each particular instance.

Magister Artium (Development Studies) - MA(DVS) / In the period 1985 to 1989 both the state and the liberation movements sought to implement strategies of repression and resistance inside South Africa. These unfolded in the different regions of the country in unique ways. In the absence of detailed regional studies of the encounter between the two, this study examines the experience of Cape Town.

Multicultural counselling and psychotherapy theory and research that focuses on ethnicity and race in cross-cultural counselling have pointed to concerns of oppression within counselling processes; however, an open exploration of oppression that may occur in session is not readily available from the perspective of clients. As such, this thesis research explores the lived experiences of oppression for ethnoracial minority clients who have engaged in counselling with white counsellors, with the aim of gaining a deeper understanding of oppression and power in counselling, and possible resulting harm. This research is positioned within feminist and multicultural lenses, influencing the interviews themselves and the interpretations of participant experiences of oppression in counselling. Philosophical hermeneutics was used as the methodology to inform data collection and analysis. Five participants were interviewed using a semi-structured protocol to explore their counselling experiences for the following domains of interest: oppression, power, and harm. Through the analysis process, four major themes emerged for oppression (i.e., Whiteness of Therapy, Therapist Cultural Positioning in Sessions, Microinvalidations by Therapist, Disconnection Between Therapist and Client), four for power (i.e., Relational Power Differences in Therapy, Power Over by Therapist, Client Disempowerment, Client Empowerment Through Resistance), and three for harm (i.e., Hindered Counselling Process, Impeded Psychological Wellbeing, Generalized Negative Beliefs). Implications are discussed with the hope of informing multicultural research and training to improve competencies of professionals working within cross-cultural contexts.

What is the nature of agency under oppressive social conditions? Oppressive structures inhibit our agency in ways to which we are often blind, yet social movements demonstrate that as agents we can bring about emancipatory change. My dissertation articulates a social ontology to account for this conflict between structure and agency. I analyze structures in terms of practices built around implicit values, which require agents to occupy valued or denigrated statuses. Agents participate in practices without becoming conscious of their oppressive frameworks, thereby unwittingly perpetuating oppression. Making these frameworks explicit can lead to social change but, as oppressive practices shape agents’ senses of value and status, practices themselves must also change.

This study aims to look at the challenges faced by women of low socio-economic status in exiting sex work, in a South African context where gender-based violence is normalized and widespread. In doing so, this research applies principles of feminist theory to create a contextualized understanding of the process of exit. Two focus groups, with a total of 18 non-transgendered women were conducted in an informal setting, resulting in an open-ended discussion around these challenges. These interviews were recorded, transcribed and analyzed using thematic analysis. The categories and themes emerging from this analysis were past trauma, motherhood, partnerships, social support, economic necessity, employment and gossip. These themes are permeated by a pattern of escapism. This pattern exemplifies their disempowerment and lack of agency, which is symptomatic of the gender oppression pervading their lives. The results of this research will be used to draw up a policy in collaboration with the NGO Embrace Dignity, for parliament, to initiate legal reform relating to sex work.

Magister Artium - MA / This work of fiction explores the themes of relational dynamics, oppression, intergenerational trauma, and the healing and self-actualisation that can be obtained by helping others. It incorporates numerous historical references that tie in to the characters’ stories or otherwise enhance the narrative. The main thread running throughout the entire work is music. Music as cultural signifier, cultural anchor and identifier, and particularly, musical terminology as chapter titles because of how perfectly such terms capture mood, direction, or intent for each chapter. It is crucial to note that while all the characters in the stories that follow are fictitious, the historical events and places are represented as accurately as possible according to extensive research. One historical figure, Tomás de Torquemada, is fictionalized herein, but his role is accurately representative of the role he played historically. Other historical figures, Johann Sebastian Bach and Joseph Beer, have been fictionalized in relation to characters in the story, yet their depictions as musicians are accurate. And Anna is based on an historical figure from the Polish Jewish Resistance; however, her relational story is fictionalised.