本文對台灣2010-2015.6期間的女性內衣電視廣告進行符號學研究，探討其中的符號與敘事規則，女性及其身體的符號意義、以及符號結構如何建構內衣的消費迷思。研究認為，廣告多元地講述了女性在男女關係、公共關係、朋友關係和個人關係中所體驗的情緒和情感，呈現較為豐富的女性角色和個性，很多文本亦表現出對傳統陰柔特質和男性權威的挑戰，藉由女性個人風格和獨立意識的展現，內衣廣告積極透過文本的搭建闡釋女性自主。研究文本將身體謀劃運作為自我認同的過程，女性因為身體資本而獲得肯定和賦權， 但同時也不斷重複著女體標準的階級化霸權，符號擇用透露了新舊結構的拉扯中，父權體制、資本主義商業邏輯與女性消費者進行著女性主體性的協商。內衣之為符號，被塑造成與外界發生關連的媒介（medium），同時是許多正面積極意義的載體（vehicle），內衣電視廣告繼續深化內衣的性感迷思、美麗迷思，還敘述了自信自主的迷思、自我意識的迷思，個性化迷思，滿足女性對主體性的想像，對生活夢想的期望。 / This is a semiological study of lingerie TV commercials in Taiwan from 2010 to June 2015, which explores the symbolic structure and narrative rules, symbolic significance of women and their bodies, and how lingerie myth constructs. Research suggests that ads show the various emotions and feelings females experiencing in different relationship, including male-female relationship, friendship, public relations and self-relation, while females appearing in relatively rich characters and personalities. Many ads present the challenge to traditional femininity and masculine authority. Though demonstrating the personal style and sense of independence, lingerie ads attempt to bulid a positive interpretation of female autonomy. Self-identity is shaped during practising one`s body plan, as a result, women get recognition and empowerment because of the physical capital in these ads. However, we can see the repetition of the body standard, which constructs hegemony of body. Overall, the research finds the wrestling between the old and the new social and cultural structure, in other words, a negotiation of expressing subjectivity among patriarchy, capitalist business and women customers in lingerie TVC. In terms of its symbolic value, lingerie is portrayed as a medium to connect females with the external world, and a vehicle carrying lots of positive implication. Furthermore, these ads deepen sexuality myth and beauty myth of lingerie, at the same time, add the myth of self confidence, independency and personality to it, meeting women's imagination of subjectivity and expectations for life.

This report examines the ways in which Cesare Pavese and Italo Calvino use images of the foreign woman as other. Specifically, both authors inscribe foreign territories onto the bodies of their female characters in order to confront complex cultural differences. Italy is the site of this gendered inscription in Pavese’s Il carcere, while various real and imagined foreign lands are made female in Calvino’s Se una notte d’inverno un viaggiatore and Le città invisibili. In Pavese’s novella, the satyr-like Concia and the overly maternal Elena are embodiments of Southern and Northern Italy, respectively, and the failure of the protagonist to form a relationship with either woman represents his failure to assimilate into the mezzogiorno and his simultaneous rejection of northern society. In Calvino’s two works, female characters and attributes are consciously used to embody various foreign countries so that the protagonists may grasp the unknown, both physically and psychologically. By linking woman and terrain, Pavese and Calvino attempt to dominate distant lands, which are otherwise enigmatic and incomprehensible, in the typical Orientalist fashion. / text

Made available in DSpace on 2016-12-23T14:34:12Z (GMT). No. of bitstreams: 1 DISSERTACAO- CARLA DE PAULA SANTOS.pdf: 769797 bytes, checksum: 38e112f416c7781405ff9132bd82905a (MD5) Previous issue date: 2009-05-29 / Analizing the behavior of three characters of the eight hundreds in Brazil Lúcia, Sofia and Lenita , it will be pointed out as the woman body was approached regarding eroticism and sexuality by José de Alencar (Lucíola), Machado de Assis (Quincas Borba) and Júlio Ribeiro (A carne). We will focus on the way those characters used their bodies as an object of pleasure to accomplish their goals and satisfy their desires, transgressing or not moral codes and standards in force / A partir da análise do comportamento de três personagens do Oitocentos brasileiro - Lúcia, Sofia e Lenita -, apontaremos como o corpo da mulher foi abordado à luz do erótico e do sexual por José de Alencar (Lucíola), Machado de Assis (Quincas Borba) e Júlio Ribeiro (A carne). Enfocaremos o modo como tais personagens lançaram mão desse objeto de prazer o corpo para realizar seus propósitos e satisfazer seus desejos, transgredindo ou não padrões e códigos morais então vigentes

Dans les œuvres des artistes Majida KHATTARI, Shadi GHADIRIAN et Shirin ALIABADI, le corps féminin concentre à lui une large panoplie de conceptions actuelles et traditionnelles des sociétés de culture musulmane. Leurs pratiques artistiques présentent un support où se manifestent des pouvoirs politiques et religieux, de diverses contraintes sociales et de traditions, de publicités, de consumérisme, d’aspirations à un « monde meilleur »... À travers le dispositif plastique et à travers quelques données d’ordre historique et sociologique, cette thèse vise à étudier les formes et les modalités des différentes strates de cette surcharge symbolique dégagée par le corps des femmes, et qui se conjugue à travers certains codes vestimentaires, de parures et de maquillage. / In the works of the artists Majida Khattari, Shadi Ghadirian and Shirin ALIABADI, the female body focuses its broad range of current and traditional conceptions of Muslim societies. Their artistic practices have a medium where appears strong political and religious powers, various social constraints and traditions, advertising, consumerism, aspirations to a « better world »... Through the artistic layout and through some historical and sociological data, this thesis aims to study the forms and modalities of the different layers of this symbolic overload released by the female body, which is combined through certain dress codes, ornaments and make-up.

Cette thèse de doctorat renouvelle les réflexions autour du « carcéral » afin de le repenser comme un instrument politique et social coercitif, qui saisit et emprisonne des sujets, des collectivités, des alternatives émancipatrices et des capacités imaginatives. S’appuyant sur des récits de femmes du « tiers monde » (We Lived to Tell : Azadeh Agah, Sousan Mehr, Shadi Parsi, 2007 ; Memoirs from the Women’s Prison : Nawal El Saadawi, 1984 ; Imaginary Maps : Mahasweta Devi, 1994 ; Zoo City : Lauren Beukes, 2010 ; Moxyland : Lauren Beukes, 2008), nous explorons de multiples tropes et sites d’emprisonnement, d’enfermement, de sujétion et d’immobilisation, qui renforcent les logiques carcérales et qui entravent l’agence collective. Nous présentons une critique genrée des mécanismes locaux et mondiaux, micropolitiques et macropolitiques de la violence contre les sujets captifs et les communautés précaires. Ce dispositif de déconstruction se base sur une analyse multidisciplinaire des arrangements carcéraux, qui incluent des institutions punitives, des États-nations hétéronormatifs, des discours patriarcaux, le trafic sexuel, la servitude pour dettes, le capitalisme, la surveillance numérique, la privation économique et la déshumanisation politique. Ce travail de recherche invite également à une relecture de récits carcéraux qui permettent la réinvention des vocabulaires, des pratiques et de l’éthique de résistance, ainsi que l’émergence de projets collectifs de libération qui transgressent les confins politiques, sociaux, discursifs et épistémologiques de l’agenda néolibéral. À travers ses différents cadres théoriques, notre lecture s’engage dans un dialogue critique entre les études littéraires, féministes, postcoloniales et matérialistes, afin d’élucider de nouvelles façons de penser la carcéralité, la liberté et la résistance. / This dissertation seeks to produce new understandings of the “carceral” as a mode of subject formation and social production that captures and contains subjects, collectivities, emancipatory alternatives, and imaginative capacities. Drawing on “Third-World” women’s narratives (We Lived to Tell : Azadeh Agah, Sousan Mehr, Shadi Parsi, 2007 ; Memoirs from the Women’s Prison : Nawal El Saadawi, 1984 ; Imaginary Maps : Mahasweta Devi, 1994 ; Zoo City : Lauren Beukes, 2010 ; Moxyland : Lauren Beukes, 2008), this dissertation investigates multiple tropes and sites of imprisonment, enclosure, subjection, and immobilization that reinforce carceral logics and impede collective agency. Through a multidisciplinary examination of carceral arrangements that include punitive institutions, heteronormative nation states, patriarchal discourses, sexual trafficking, debt bondage, global capital, political dehumanization, digital surveillance, and corporate violence, this dissertation offers a gendered critique of the local and global, micropolitical and macropolitical mechanisms of violence against captive subjects and precarious communities. The dissertation also invites a rereading of carceral narratives that enable the reinvention of vocabularies, ethics, and practices of resistance and the emergence of collective liberatory projects that transgress the political, social, discursive, and epistemological confines of the neoliberal agenda. Through its different theoretical frameworks, this dissertation engages in a critical dialogue between literary, feminist, postcolonial, and materialist studies in order to elucidate new ways of thinking about carcerality, freedom, and resistance.

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Mon mémoire de recherche porte sur les représentations sur scène des différents types de folie féminine se retrouvant dans les pièces Hamlet de William Shakespeare et The Changeling de Thomas Middleton et William Rowley. Ceci est principalement réalisé par la rencontre de notions comme le genre, le corps féminin et les espaces domestiques. Dans mon analyse, je me base sur les conceptions de la folie qui prévalaient durant la Renaissance, en tandem avec les connaissances actuelles sur les traumatismes et les troubles mentaux. J’ai considéré dans ce mémoire la folie des personnages, simulée ou réelle, comme des formes d’(in)capacité mentale. Ce mémoire offre donc un point de vue nouveau sur la perception de la détresse féminine au début de l’époque moderne. Divisé en deux chapitres, le premier traite des causes engendrant le passage de la psyché d’Ophélie d’un état de lucidité à un état de folie, en mettant l’accent sur l’effet de sa jeunesse sur sa santé mentale. Le second chapitre s’intéresse aux états mentaux d’Isabella et de Beatrice-Joanna, respectivement, à travers l’intégration de concepts comme les troubles mentaux forgés, le ravissement et les traumatismes. Il est à mentionner à propos de cette démarche que ces personnages brouillent les distinctions entre la lucidité et la folie. / My thesis examines the on-stage manifestations of the different types of female madness presented in William Shakespeare's Hamlet and Thomas Middleton and William Rowley’s The Changeling. This is mainly accomplished through the exploration of the interwoven relations between notions such as gender, the female body, and domestic spaces. In my analysis, I primarily draw on the Renaissance understanding of madness in tandem with modern trauma and disability theories. I read the madness of these characters, feigned and real, as forms of mental (dis)ability. This thesis thus offers novel insights on the perception of early modern female distraction. Divided into two chapters, the first deals with the causes engendering the metamorphosis of Ophelia’s psyche from a state of sanity into a state of madness, placing emphasis on the effect of her youth on her mental transition. The second explores Isabella and Beatrice-Joanna’s mental dispositions, respectively, through the incorporation of concepts such as dissembled disability, ravishment, and trauma. In this endeavor it is noteworthy that these characters blur the lines between sanity and madness.

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