La caricature de mœurs fait définitivement son apparition à Madrid dans Gil Blas. Elle s'empare d'abord de la question féminine en se penchant sur la différence des corps. Les caricaturistes dénoncent les apparences fallacieuses du corps de la bourgeoise dans un déshabillage qui met en perspective un discours masculin sur les dépenses associées aux toilettes et livre un discours en creux sur la condition masculine à travers la critique du mariage. Le corps des femmes des classes populaires est marqué par le travail, la précarité, la vulnérabilité, la solitude. Autant de circonstances qui font planer le danger de l'entrée dans la prostitution, signifiée aussi par la ritualisation du corps empruntée à la silhouette de la cocotte. La caricature de mœurs s'oriente vers le terrain de l'érotico-festif en multipliant les figures de cocottes boulevardières. Celles-ci manifestent le nouveau statut de l'image commerciale de la femme. L'épaisseur sociale du corps féminin disparaît. Aux scènes de séduction où le caricaturiste déjoue le jeu hypocrite du marché de la chair, succède une représentation de la séduction de l'image. La prééminence de la cocotte manifeste l'avènement des nouveaux usages de la consommation. Dans la pluralité des images de la femme qui circulent dans la deuxième moitié du siècle, les caricatures diffusées massivement occupent une place décisive. / Moral caricature definitely appears in Madrid in Gil Blas. It first focuses on the question of woman, scrutinising bodily differences. Caricaturists denounce the deceptive appearances of the bourgeois female body and uncover the male discourse about the spending on garments. Thus they indirectly offer a discourse on the male condition, through criticising marriage. The body of lower-class women is affected by work, precariousness, vulnerability and loneliness –circumstances meaning that the danger of prostitution is ever present. Prostitution is also indicated by the ritualisation visible in the body of the cocotte. Moral caricature becomes both erotic and humorous while showing more and more streetwalkers, who embody the status of the commercial image of woman. The social dimension of the female body disappears. Seduction scenes in which the caricaturist unveils the hypocrite game of the commerce of flesh are replaced by images which seduce. The predominance of the cocotte ushers in new habits of consumption. Among the many diverse images of woman that circulate in the second half of the 19th century, massively diffused caricatures play a decisive role.

Esta pesquisa teve por objetivo analisar como certas práticas e representações das ciências influenciaram a concepção de corpo feminino presente nos primeiros livros brasileiros de Ginástica Feminina e Rítmica, objeto circunscrito, assim, pelas temáticas de gênero, corpo feminino e história da ciência. A ciência, considerada como elemento cultural na sociedade, tematizando, influenciando e sofrendo influência da cultura, pode tanto agir sobre a concepção de corpo como produzi-la, através de um discurso prescritivo. Antes tratado somente em comparação ao homem, o lugar do corpo feminino pode ser realçado a partir da Ginástica Feminina e Rítmica, prática corporal elaborada originalmente para as mulheres. A análise de cunho histórico dos primeiros manuais da modalidade no Brasil, de meados do século XX, incluindo a investigação de seus enquadramentos contextuais e de elementos das trajetórias de suas autoras, permitiu a compreensão da influência de algumas visões de ciência sobre expectativas a respeito do corpo feminino e das formas de intervenção sobre ele. Além de notar a presença de aspectos relacionados a ideias e conteúdos de determinadas ciências, como noções de evolução e experimentação, mostramos como os manuais analisados partem de uma certa visão de ciência para almejar sistematicidade, estruturar sua argumentação e empregar imagens. Nos manuais, a mulher, seu corpo e o feminino são representados como dotados de uma essência natural, mas que é passível de intervenção e cuidado por meio da Ginástica Feminina e Rítmica / The aim of this investigation was to analyze how certain practices and representations of the sciences influenced the conception of the female body in the first Brazilian handbooks of Womens and Rhythmic Gymnastics (an object thus circumscribed by the themes of gender, the female body and history of science). Considered as a cultural element in society, thematising, influencing and being influenced by culture, science can at the same time act upon conceptions of the body and construct it through a prescriptive discourse. Beforehand considered only in comparison to male bodies, the place of female ones can be highlighted within the universe of Womens and Rhythmic Gymnastics, bodily practices originally designed for women. The historical analysis of the first Brazilian handbooks of such practices, dating from the mid-twentieth century, including their contexts and elements of the trajectories of their authors, allowed us to understand the bearing of some visions of science on expectations about the female body and ways of intervening on it. In addition to noting the presence some ideas and contents related to certain sciences, such as notions of evolution and experimentation, here we show how the handbooks are based on a certain vision of science that leads to claims of systematicity, as well as structures their arguments and use of images. In the handbooks, women, their bodies, and the feminine are represented as having a natural essence, one that is nevertheless subject to intervention and care through Womens and Rhythmic Gymnastics

For a long time, most women believed they had to choose between their Muslim or Arab identity and their belief in social equality of sexes. It was almost impossible to choose between either betraying their religious beliefs or their desires for social, political and economic justice, up until an upsurge of a feminist sentiment started to grow among women who were seeking to reclaim the Islamic paradigm and the Quran for themselves in the late nineteenth century (Bardan, 2005). During that time, contemporary female artists from the Arab and Muslim worlds started to create their own tools in their fight against oppressive patriarchal societies in order to express their feminine powers and renegotiate their identities. In this thesis, I analyze the feminist tools used in paradigmatic photo-based artworks by three contemporary female artists from the Arab and Muslim worlds: Mona Hatoum, Shirin Neshat, and Lalla Essaydi.

Made available in DSpace on 2016-08-10T11:21:45Z (GMT). No. of bitstreams: 1 ESDRA BASILIO.pdf: 4073998 bytes, checksum: 261a0d5895baf338b38b432cc8879e41 (MD5) Previous issue date: 2015-06-22 / In this work we aimed to discuss the representation of woman, in order to be propagated in Jornal Daqui- regional newspaper in Goiania. In Gente famosa section and also Artista lá de casa section. It was intended to notice the profile of these women and the forms of treatment about the female body expressed in the newspaper.For the theoretical support, were used definitions about gender from Joan Scott, visual culture with Ulpiano Bezerra de Meneses and the concept of representation of Roger Chartier. The methodology used it is the analysis of images transmitted by the Jornal Daqui from editions of International Womens Day and Mothers Day, the years from 2009- 2014.Our analysis is guided from the perspective of gender studies according as we seek to reflect about certain dogmas and concepts established through roles for men and women. By analyzing the images transmitted by Jornal Daqui, in Artista Lá de Casa section, it is noticed a difference between the images conveyed in the previous section, Gente Famosa, we aimed to capture the conceptual and symbolic values that are passed to the newspaper consumers by the reading of these images.The way the Jornal Daqui exposes the image of woman, undoubtedly, influence the way the consumers men and women recognize and are recognized in the society.By exposing representation of the female body, in specific, the Jornal Daqui, participates of the creation of representations of these bodies in case of women. / Neste trabalho buscamos discutir a representação da mulher, propagada no Jornal Daqui jornal regional da cidade de Goiânia na seção Gente Famosa e também na seção Artista Lá de Casa. Pretendeu-se perceber o perfil dessas mulheres e as formas de tratamento sobre o corpo feminino expressas no jornal. Para o suporte teórico utilizamos definições sobre gênero a partir de Joan Scott, cultura visual com Ulpiano Bezerra de Meneses e o conceito de representação de Roger Chartier. A metodologia utilizada é a análise de imagens veiculadas pelo Jornal Daqui das edições do dia internacional da mulher e do dia das mães, dos anos de 2009 a2014. Nossa análise se pauta na perspectiva dos estudos de gênero na medida em que buscamos refletir sobre certos dogmas e conceitos estabelecidos através dos papéis destinados a homens e a mulheres. Ao analisar as imagens veiculadas pelo Jornal Daqui, na seção Artista Lá de Casa, percebe-se uma diferença das imagens veiculadas na seção anterior, Gente Famosa, buscamos então captar os valores conceituais e simbólicos que são passados para os consumidores do jornal através da leitura dessas imagens. A forma como o Jornal Daqui expõe a imagem da mulher, sem dúvida, influencia na forma que os consumidores homens e mulheres se reconhecem e são reconhecidos na sociedade. Ao expor representações do corpo feminino, em especifico, o Jornal Daqui participa da construção das representações desses corpos, no caso o das mulheres.

Esta pesquisa teve por objetivo analisar como certas práticas e representações das ciências influenciaram a concepção de corpo feminino presente nos primeiros livros brasileiros de Ginástica Feminina e Rítmica, objeto circunscrito, assim, pelas temáticas de gênero, corpo feminino e história da ciência. A ciência, considerada como elemento cultural na sociedade, tematizando, influenciando e sofrendo influência da cultura, pode tanto agir sobre a concepção de corpo como produzi-la, através de um discurso prescritivo. Antes tratado somente em comparação ao homem, o lugar do corpo feminino pode ser realçado a partir da Ginástica Feminina e Rítmica, prática corporal elaborada originalmente para as mulheres. A análise de cunho histórico dos primeiros manuais da modalidade no Brasil, de meados do século XX, incluindo a investigação de seus enquadramentos contextuais e de elementos das trajetórias de suas autoras, permitiu a compreensão da influência de algumas visões de ciência sobre expectativas a respeito do corpo feminino e das formas de intervenção sobre ele. Além de notar a presença de aspectos relacionados a ideias e conteúdos de determinadas ciências, como noções de evolução e experimentação, mostramos como os manuais analisados partem de uma certa visão de ciência para almejar sistematicidade, estruturar sua argumentação e empregar imagens. Nos manuais, a mulher, seu corpo e o feminino são representados como dotados de uma essência natural, mas que é passível de intervenção e cuidado por meio da Ginástica Feminina e Rítmica / The aim of this investigation was to analyze how certain practices and representations of the sciences influenced the conception of the female body in the first Brazilian handbooks of Womens and Rhythmic Gymnastics (an object thus circumscribed by the themes of gender, the female body and history of science). Considered as a cultural element in society, thematising, influencing and being influenced by culture, science can at the same time act upon conceptions of the body and construct it through a prescriptive discourse. Beforehand considered only in comparison to male bodies, the place of female ones can be highlighted within the universe of Womens and Rhythmic Gymnastics, bodily practices originally designed for women. The historical analysis of the first Brazilian handbooks of such practices, dating from the mid-twentieth century, including their contexts and elements of the trajectories of their authors, allowed us to understand the bearing of some visions of science on expectations about the female body and ways of intervening on it. In addition to noting the presence some ideas and contents related to certain sciences, such as notions of evolution and experimentation, here we show how the handbooks are based on a certain vision of science that leads to claims of systematicity, as well as structures their arguments and use of images. In the handbooks, women, their bodies, and the feminine are represented as having a natural essence, one that is nevertheless subject to intervention and care through Womens and Rhythmic Gymnastics

This thesis examines the phenomenon of feminicide in Ciudad Juarez, Mexico, and the representation of female victims in U.S. and Mexican mainstream media and performance activism. Specifically analyzing representations of maquiladora workers and feminicide victims in film, fashion and photography, this thesis explores the simultaneous fetishization and devaluation of border women in patriarchal society. By broadening the base of pressure for justice, via performance and internet activism, misogynist governments and policies can and will change.

No description available.

In her article “Visual pleasure and narrative cinema” (1975) Laura Mulvey explains how film portrays the female characters as passive sexualised objects, on display for the male (erotic) gaze. Although, Mulvey did make amendments to the original article after it was criticised, her original article is still influential and referenced in academic writing on film. This dissertation investigates how the three selected mainstream American films, namely, Alice in Wonderland, Monster and Transamerica, have female protagonists who deviate from Mulvey’s initial standpoint and enact a new dynamic, whereby the female characters possess active bodies. In order to explain this new dynamic, the dissertation provides an overview of relevant theory in order to establish the necessary analytical tools to investigate the representation of the female body. These tools are taken from feminist notions of the body, most importantly Mulvey’s notions, in order to establish what constitutes an active female body that subverts the male gaze. This subversion is most notable when examining the iconography of the active female body. The dissertation also draws from the overview the importance of place and space, the embodiment of the characters’ inner workings in specific locations, and their relationship with the locations in which they are depicted. Since all three films include a physical journey on which the respective protagonists embark the examination of borders and border crossings is included. The dissertation shows that journeys bring with them the opportunity for the body to be active, as each female protagonist is on a journey to self-discovery. The changing settings in which the protagonists find themselves are an embodiment of their inner workings. Topographical borders mark the entering of new locations. However, concomitant symbolic and epistemological borders are also crossed. The female protagonists need to make choices concerning their lives and as a consequence alter the representations to reflect bodies that subvert the male gaze. These female bodies are active. However, they are active in different ways. Alice, from Alice in Wonderland, delves into her psyche to emerge a changed and independent Victorian woman. Bree, from Transamerica, heals the relationships with her family and is able to have her gender reconstructive surgery to become a physical woman. These two female protagonists have positive representations of the active female body. The protagonist from Monster, Aileen, is represented in a constant state of abjection and her active body is portrayed in a negative light. Whether represented in a positive or egative light, these chosen films all portray an active female body that does subvert the male gaze, and hence represent a new dynamic different from the one Mulvey described. / MA (Language Practice), North-West University, Vaal Triangle Campus, 2014

No description available.

O destacado lugar ocupado pelo corpo hoje – jovem, belo/saudável, ativo, feliz –, associado ao fluxo de informações veiculadas na mídia, propondo-nos cuidados necessários, moveu-me a olhar quem, como e o que se fala, na mídia impressa, para as mulheres com mais de 50 anos. Examinei alguns enunciados presentes nos Cadernos Vida (Zero Hora) e Equilíbrio (Folha de São Paulo) no ano de 2009, procurando chamar a atenção para as ―verdades‖ veiculadas, verdades essas que podem atuar como elementos constitutivos das subjetividades dessas mulheres e de seus comportamentos em relação a si. A presente pesquisa inscreve-se no campo dos Estudos Culturais, em suas vertentes pós-estruturalistas. No primeiro momento, falo das experiências que me impulsionaram a um estudo relacionado ao corpo na mídia jornalística e apresento as ferramentas teórico-metodológicas usadas nessa trajetória. No segundo momento, percorro brevemente diferentes modos de nomear o período da vida dos sujeitos vistos como velhos e a velhice – velho, idoso, terceira idade –, procurando mostrar que tais classificações são produções/ construções históricas, existindo, portanto, múltiplas formas de envelhecer, conforme a sociedade e a época. No terceiro momento, ao analisar características atribuídas e ensinamentos relacionados aos cuidados com o corpo das mulheres a partir dos 50 anos e em algumas situações relacionadas à menopausa, discuto como o corpo dessas mulheres vem sendo representado e posto em circulação nos Cadernos dos jornais mencionados acima. No quarto momento, analiso nesses Cadernos os discursos ―verdadeiros‖ direcionados à medicalização dos corpos, discursos que engendram práticas promotoras da pretensa vida saudável – hábitos alimentares, exercícios físicos, suplementos de reposição orgânica/metabólica, relações sociais afetivas, etc. –, destacando-se o papel das práticas sociais na constituição do modo como pensamos e agimos em relação ao nosso corpo hoje. Por fim, retomo o percurso deste estudo, falo sobre o que a pesquisa me possibilitou, as questões que ficaram em aberto e a vontade de que tais aprendizagens criem condições para que minha prática docente seja constantemente problematizada. / The remarkable place occupied by the body nowadays – a young, beautiful/healthy, happy body – associated with the flow of information spread by the media proposing its appropriate care caused me to look at who has talked about, as well as how and what has been said to women over 50 in the written media. I examined some utterances shown in the newspaper supplements called Vida (Zero Hora) and Equilíbrio (Folha de São Paulo) along 2009, seeking to draw attention to the ―truths‖ spread therein. Those truths may act as constituent elements of both those women‘s subjectivities and their behaviors towards themselves. This research was grounded on the field of Cultural Studies, in their post-structuralist streams. Firstly, I approached the experiences that have driven me towards a study of the body as presented in newspapers and I pointed out the theoretical-methodological tools used in this trajectory. Secondly, I approached different ways of naming both the life period of subjects seen as old and old age – old, elderly, third age – in an attempt to show that such classifications are historical constructions/productions, so that there are several ways of getting old, according to society and time. Thirdly, by analyzing characteristics attributed and teachings related to body care among women over 50 and in some situations related to menopause, I discussed how those women‘s body has been represented and shown in the supplements above mentioned. Fourthly, I analyzed in those supplements the ―true‖ discourses directed to the body medicalization. These discourses engender practices that enhance a supposed healthy life – nutritional habits, physical exercises, supplementation for organic/metabolic reposition, affective and social relationships, etc. – emphasizing the role of social practices in the constitution of the ways we think and act in relation to our body nowadays. Finally, I resumed the trajectory of this study, approaching what the research has enabled, the issues that remain to be discussed and the will that such learning allow my teaching practice to be constantly problematized.