Feminist literary critics have long focused on the female gender role in Mary Shelley’s Frankenstein. This essay turns instead to the role of fatherhood in Frankenstein. This has been achieved by applying Judith Butler’s feminist theory, the Theory of Performativity, and by examining the different examples of fatherhood in the novel, performing a comparative study whilst applying a historical context. The main point of focus has been to compare the effects, of the existing types of fatherhood in the novel, on family and society, using the Theory of Performativity. This has resulted in the understanding that Frankenstein gives much consideration to the constituents of fatherhood which may represent the most immediate threat to the family as a building block, to the happiness of children, and the improvement of society.

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.

The portrait genre has been one of the most significant in royal and aristocratic homes since the Renaissance. This thesis concerns the portrait collection in the Baroque castle Skokloster, built by the successful count and field marshal Carl Gustaf Wrangel in the 1600s with its unique architecture. The castle houses a significant collection of portrait paintings, some of which date back to the time of its construction, and which constitute a majority of the total number of artworks in the collection. The Swedish noble family, as part of Early Modern court culture, saw their creation of an art collection as vital for fashioning a sense of lineage, respectability, and exercise of power. The thesis asks questions like how the portraits can be understood in relation to the architecture and decorum of the rooms, and how the Swedish Baroque culture and aesthetics are staged in the portraits in relation to court culture and the art collection as a whole. The portrait as a medium is a way for us to remember a deceased historical person but at the same time a way for the sitter to idealize and flatter themselves into an image they desire. Hence a portrait is a union between realism and ideal, documentation and fiction. The portrait has a performative power and acts on behalf of the real person which it depicts. Furthermore, the portrait can give us glimpses of a bygone era of court culture, art patrons, artists, Baroque fashion, court ballets, and festivities.

The purpose of this essay is to investigate how cultural symbols are influenced during their remediation to social media platforms. As a case to explore this, this study delves into an examination of the remediation of the Femme Fatale archetype from the visual art tradition to the social media platform TikTok. This thesis aims to explore the remediation of the Femme Fatale archetype from the visual arts tradition to the social media platform TikTok. TikTok has rapidly increased in popularity in recent years, boasting over one billion international users. TikTok's short-form video-sharing platform allows users to sample content from various mediums (such as art and film) and adapt it to the platform. This relationship between content curation and user engagement highlights the importance of exploring Femme Fatale's remediation process on TikTok, mainly how content from the visual arts tradition is portrayed on the platform. This will be achieved by utilizing a feminist perspective, exploring how the remediation process impacts gender role stereotypes and power dynamics within the Femme Fatale archetype. The study will employ remediation as a theoretical and analytical framework. Furthermore, to incorporate the feminist perspective, the concepts of male gaze and performativity will be embedded in the analysis. Thirty TikToks were sourced for analysis and explored through the framework of remediation, the concept of male gaze, and the concept of performativity. The study concludes that the remediation of the Femme Fatale results in a loss of original narrative. The research highlights how TikTok’s participatory culture enables the ongoing performance of the Femme Fatale. Moreover, the majority of the content on the platform reveals a narrative of the Femme Fatale through surface-level aesthetics, allowing for its commodification, which emphasizes visual appeal over in-depth narrative, aligning with traditional tropes found in previous mediums. The study contributes to a further understanding of how the remediation process can influence cultural symbols previously embedded in the tradition of visual arts through social media platforms' medium-specific demands on content creation.

This thesis explores the intricate interplay of fatness and queerness, as navigated by Greek individuals. Employing a qualitative approach and thematic analysis, the study aims to unfold the experiences, challenges, and resilience. To do so it is informed by queer theory, as well as Michel Foucault’s concept of the Panopticon and Judith Butler’s concept of performativity. Ethical considerations, the application of queer phenomenology, and an awareness of positionality guide the study to ensure a compassionate and empathetic examination of these experiences. The findings reveal the pervasive societal narratives on fatness and queerness and the significant role of self-identification, aiming to contribute to the broader discourse on body image, self-identity, and societal expectations.

This is an auto/ethnographic account of one organization and one person as we concurrently moved thru a process of IT driven planned organizational change. The purpose of the study is to explain how the change agent is affected by the experience of leading change. Using actor-network theory and a polyphonic approach, I present a multi-voiced, multi-actor account of the social network in situ and trace how the various actors engaged with one another during the organizational change process. I reflect upon my own multi-role performativity when acting in the role of the internal change agent next to my daily job roles and explore the effects on both me and the network; which identifies that a new actor network has been created. Finally, a multi-voiced exploration of myself is presented which traces my evolution from researcher to auto/ethnographer, further demonstrating the effects of multi-role performativity on the human actor. The study demonstrates that the effects of organizational change on both the social network and the actors within the network cannot be foreseen. Furthermore, in combining the use of Actor Network Theory and auto-ethnography, the study provides new insights into the effects of performance on the human actor within a socio-technical network, which is an unexplored dimension within the field of organizational change.

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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.

This thesis explores how textile contributes to meaning-making and spatial design in scenography. Through the theoretical lens of performativity theory, it studies three scenes from Cirkus Cirkör’s popular show Knitting Peace. Using semiotic analysis as formulated by Jan-Gunnar Sjölin, the thesis focuses on movement, spatiality and socio-cultural meaning through the three questions; How can textile enhance movement and rhythm? How is it used together with lighting to create changes in spatiality? And What connotations does textile induce, and how do they affect the overall meaning-making in scenography? The results suggest that textile is a valuable material in performance art and scenography. For example, textile behaves in ways that resemble both fluid and solid form. This allows for change of depth and shifting between open and closed spaces on stage with little effort. It also gives means to enhance and enlarge human movement in scale, intensity and time. In Knitting Peace this is used together with lighting design to create off sync layers of reality to symbolise a distorted dreamworld. The thesis shows how we can better understand the way textile affect us by applying perspectives that focus on its different characteristics. Moreover, it demonstrates that an interdisciplinary approach that builds on knowledge from different fields, such as fashion design and performance studies, can greatly benefit our understanding of the potential use of textile in arts.

This study explores the (hetero)sexualized online space that is the category “Pools, Hot Tubsand Beaches” on the streaming platform Twitch.tv. The aim of the study is to gain a further understanding of how gender and sexuality is performed under the specific conditions offered by the space. Interactions between livestreamer and chat in three livestreams have been transcribed and analyzed using reflexive thematic analysis. I find that the space is characterized by the logic of the heterosexual matrix as defined by Judith Butler, as well by two foundational asymmetries that inform the way that gender and sexuality is performed in the spaces studied: the asymmetry of perspective and the asymmetry of performativity. These conditions are actively negotiated with by the subjects that interact in the space. Furthermore, relying on the work of Raewyn Connell, I find that the subjects conduct a labor of positionality with regards to notions of good and bad masculinity, basing their sense ofcommunity on the abjectification of “other men” in order to construct their own masculinity.