Since 1991 government control of textbooks no longer takes place and the pedagogical framing is influenced by production relations in a rectified global mass culture where impressions and role models from the media have greater influence on students’ worldview and their socialization. Norms, ideas, values and attitudes are conveyed through language which is therefore seen as central in the creation of ideas about what is considered male or female. The purpose of the study is to examine, from a gender perspective, how girls/women and boys/men are portrayed and represented in both text and image in two textbooks in the subject of Swedish for kids in the third grade. Furthermore, the study aims to investigate the type of professions and/or activities occurring as masculine and feminine. The theories used for the analysis of the material are Yvonne Hirdman’s gender theory, Raewyn Connell's conception of gender relations and Bronwyn Davies sociological theory. The questions that are answered in the study are the following: * In what way is gender constructed in the representation of girls/women and boys/men by image and text in textbooks? * Which professions and/or activities are linked to masculinity and femininity? I have in my investigation concluded that boys/men and girls/women are represented differently in both textbooks. In the textbook ”LäsDax 3” I found that both genders are represented in a stereotypical way, while the other textbook “ABC-klubben, Nyckeln till skatten” is trying to move beyond the stereotypical representation. In the latter mentioned textbook, men and women are both allowed to exceed the prevailing genus contract of society by describing girls as active and men as emotional. Regarding professions and/or activities I could also find that they differ in the textbooks. ”LäsDax 3” follows the norms of society regarding what is seen as masculine or feminine, while “ABC-klubben, Nyckeln till skatten” exceeds society’s norms.

Orientador: Fernando Cury de Tacca / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T08:23:45Z (GMT). No. of bitstreams: 1 Jeolas_LuizCarlosSollberger_D.pdf: 126246647 bytes, checksum: 505828c024893f274e07b537a691cb82 (MD5) Previous issue date: 2014 / Resumo: O objetivo desta pesquisa foi o de depreender convenções estéticas matizadas pela produção e circulação de um conjunto de imagens corpóreas de misses. Interponho ao projeto o conceito, por mim elaborado, de síndrome fotográfica de misses ¿ conjunto de sinais e sintomas resultantes dos processos de observações cinestésicos e sinestésicos das candidatas colaboradoras. Reinterpretei as observações e as reincorporei aos ensaios fotográficos depreendidos dos tri/binômios: miss deficiente visual travesti, miss travesti e miss mulher. Iniciei a pesquisa revolvendo bancos de imagens, álbuns de fotografias pessoais, revistas, sites e minha própria participação como fotógrafo documental em alguns desses eventos. Além disso realizei entrevistas com elas para sub-objetivar suas trajetórias de vida materializadas nas imagens aqui presentes. Através do conceito de síndrome fotográfica aproximei a dinâmica do ensaio fotográfico ao textual, ora pela ficcionalidade controlada, ora pela foto-etnografia, tentando não perder de vista o rigor em conceituar as devidas referências bibliográficas sem, entretanto, fixá-las. Um esforço em zelar pela fruição e polissemia entre texto e imagem resultantes da pesquisa. O resultado final sugerido pelo formato de um Novo Testamento, que também significa "boas novas", busca desestabilizar, pela inversão cronológica das trajetórias de vida neles constantes, a ideia de que esses concursos ou performances são anacrônicos ou apócrifos. A convenção sobre o anacronismo desses jogos de beleza que, via de regra, ocorrem em Centros de Convenções ou ginásios de esportes, refere-se ao formato dos concursos e, portanto, neles se encerra. Anacrônico ou convencional podem ser os eventos ou as performances estéticas dos corpos, mas o mesmo não se pode dizer dos conteúdos corpóreos contingentes em disputa. Hoje, exatos 150 anos depois do primeiro concurso de beleza da era moderna e dos mais de 3000 concursos oficiais espalhados mundo afora, audiência que só perde para a do futebol, esses concursos se revelaram e se revelam indissociáveis do advento do daguerreótipo e da fotografia, respectivamente. Se justapõem. Neles, "modelos" de beleza fruíram, replicaram e transformaram, em boa medida, arquétipos e tipos, através da intermitente fricção das imagens agenciadas nas trajetórias de vida das misses que instituíram "boas novas" visibilidades através de performances sempre políticas / Abstract: The aim of this research is to infer aesthetical conventions hued by the production and circulation of a set of corporeal images from participants in beauty contests (misses). In this project, I interpose the concept, elaborated by me, of photographic syndrome of misses ¿ a set of signs and symptoms resulting from synesthetic and synaesthesic processes of observations of the candidates who collaborated in the research. I reinterpret those observations and reinsert them in my photographic essays produced on the tri/binomials: miss visual impaired transvestite, miss transvestite and miss woman. I have started the research by searching about image banks, personal photographic albums, magazines, websites and my own participation, as one of these events¿ documentary photographer. Besides that, I interviewed the misses in order to sub-objectify their trajectories of life embodied in the images presented here. Through the concept of photographic syndrome I bring the dynamics of the photographic closer to the textual essay, sometimes by means of a controlled fictionality, sometimes through photo-ethnography, always looking for a rigorous conceptualization of the appropriate bibliographic references, and yet without making them steady. There was an effort to keep an observant eye on the fruition and polysemy between the texts and images resulting from the research. The final result suggestive of the format of a New Testament, which also means "good news", aims at destabilizing, by the chronological inversion of life trajectories it comprises, the idea that they are anachronic or apochryph contests or performances. The convention about the anachronism of these beauty contests ¿ which usually occur in Convention Centers or sports gymnasiums ¿ refer to the format of these contests and therefore are circunscribed by it. Anachronic or conventional might be the events or aesthetic performances of the bodies, but the same can¿t be said about the corporeal content in dispute. Today, exact 150 years after the first beauty contest of the modern era and after more than three thousand official contests held worldwide, with an audience that only loses for football, these contests revealed themselves inseparable from the advent of the daguerreotype and the photography, respectively. They are closely juxtaposed. These "standards" of beauty fructified, were replicated and have deeply changed archetypes and types, through the agency of recurrent friction of images in the course of their lives, which established "good new" visibilities through their always political performances / Doutorado / Artes Visuais / Doutor em Artes

This dissertation analyses, through a rhetorical framework and a literary approach, texts written in Catalan and Castilian by four Catalan female writers (Dolors Monserdà, Maria Aurèlia Capmany, Esther Tusquets, Monserrat Roig ), whose works cover from 1900 to the 1980. Utilizing this urban feminine literature, it discusses the historical-geographical vision about the changes in Catalan society during the twentieth century with its consequences for the urban space, especially the space occupied by women. It is also established that Barcelona’s recovery and literary vindication by women has been done through the written text, as literary affirmation and as a matter of conscience in which the city could not be summed up as a backdrop, but rather as an active part of a literary creation, active in the double sense, as a socio-historical space in the novel and as characteristic of their works. The primary purpose of this dissertation is to demonstrate that the use of the city as a setting for the novels determines and characterizes those female writers’ texts. Consequently, these writings are literary material relevant and essential to the understanding of the Barcelonian women’s space. However their use of space is not arbitrary, on the contrary it corresponds to a social order established by the patriarchy where the relation of women to the world is embodied in the intentional and socially restricted space and movements of their bodies. The theoretical perspectives of this study are based on Montserrat Roig’s feminist urban space theories. Her theory advocates the right to individuality, denouncing the patriarchal and hierarchical social system present in gendered space from the outside male world to the domestic feminized space. I also turn to the writings of Maria Aurèlia Capmany, who addresses cultural aspects of women’s roles revealing a purposive controlled patriarchal society according to a historical-geographical analysis. This study of texts permits a new reading of the Catalan capital and demonstrates that Catalan women writers have consciously willed to give birth to a new history of the city: the history of women as protagonist citizens, producers, reproducers, and consumers of the space represented by the Catalan capital

There is no limit to the concessions each woman makes to a man, Lacan (1974) stated in Television. It is possible to observe such cases in history, literature, music and psychoanalytic clinic. This has led writers, musicians and psychoanalysts to produce works on the way women love. They use various semblance to disguise the lack of a signifier that designates what it is to be a woman. Love is considered one of those semblances that can buffer the lack of the female signifier. Given this, the question of the importance of love for women is questioned, and consequently we try to identify what led Lacan (1975-1976) to affirm that the man can be a devastation for the woman. Thus, the present research aims to analyze, from the Lacanian propositions, the concept of female devastation, under the hypothesis that this can be one of the effects of the so-called female enjoyment. For that, a theoretical research was carried out in psychoanalysis. A research was carried out in the work of Jacques Lacan, mainly from Seminar XX On feminine sexuality, the limits of Love and Knowledge (Encore) (1972-1973) and also in texts of contemporary authors that discuss aspects related to devastation, feminine sexuality and female enjoyment. The theorizations about female sexuality have changed since Freud and the beginning of Lacan's teaching. With the notion that feminine sexuality is beyond the phallus, developed by Lacan in Seminar XX, it was possible to discuss the devastation in the amorous partnerships. It is concluded that female devastation can be considered the other face of love, since it is related to the fall of love as a semblant that can provide a limit to female enjoyment. / FAPEAL - Fundação de Amparo à Pesquisa do Estado de Alagoas / Não há limites às concessões que cada mulher faz a um homem, afirmou Lacan (1974) em Televisão. É possível observar casos assim na história, na literatura, nas músicas e na clínica psicanalítica. Isso levou escritores, músicos e psicanalistas a produzirem trabalhos a respeito do modo de amar das mulheres. Elas se utilizam de diversos semblantes a fim de recobrir a falta de um significante que designe o que é ser mulher. O amor é considerado um desses semblantes que pode tamponar a falta do significante do sexo feminino. Diante disso, questiona-se a importância do amor para as mulheres, consequentemente busca-se identificar o que levou Lacan (1975-1976) a afirmar que o homem pode ser uma devastação para a mulher. Deste modo, a presente pesquisa tem como objetivo analisar, a partir das proposições lacanianas, o conceito de devastação feminina, sob a hipótese de que esta pode ser um dos efeitos do chamado gozo feminino. Para isso, foi realizada uma pesquisa de cunho teórico em psicanálise. Realizou-se uma pesquisa na obra de Jacques Lacan, principalmente a partir do Seminário XX Mais, ainda (1972-1973) e também em textos de autores contemporâneos que discutem aspectos relacionados à devastação, à sexualidade feminina e ao gozo feminino. As teorizações a respeito da sexualidade feminina modificaram-se desde Freud e o início do ensino de Lacan. Com a noção de que a sexualidade feminina está mais além do falo, desenvolvida por Lacan no Seminário XX, foi possível discutir a devastação nas parcerias amorosas. Conclui-se que a devastação feminina pode ser considerada a outra face do amor, pois ela está relacionada à queda do amor enquanto um semblante que pode proporcionar um limite ao gozo feminino.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-14T15:38:34Z No. of bitstreams: 1 deborafajardopontes.pdf: 1602460 bytes, checksum: 181d50cf0dfba54cfc37b9ebde967401 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-14T15:55:32Z (GMT) No. of bitstreams: 1 deborafajardopontes.pdf: 1602460 bytes, checksum: 181d50cf0dfba54cfc37b9ebde967401 (MD5) / Made available in DSpace on 2015-12-14T15:55:32Z (GMT). No. of bitstreams: 1 deborafajardopontes.pdf: 1602460 bytes, checksum: 181d50cf0dfba54cfc37b9ebde967401 (MD5) Previous issue date: 2015-01-20 / Essa dissertação tem como proposta identificar as representações da sexualidade feminina em revistas brasileiras contemporâneas dirigidas à mulher. O objetivo é verificar o quanto essas representações distam, ou se aproximam, dos estereótipos femininos construídos ao longo da civilização ocidental. O corpus da pesquisa é formado por três publicações de editoras consolidadas no mercado brasileiro: Nova e Lola (já extinta), da Editora Abril, e Marie Claire, da Editora Globo, colecionadas por seis meses – de janeiro a junho de 2013. A fundamentação teórica inclui trabalhos de estudiosos do feminismo, da história das mulheres no mundo ocidental, da identidade como construção narrativa, das interações sociais e da comunicação. A Análise de Conteúdo categorial, como proposta por Laurence Bardin, foi a metodologia usada para analisar o material selecionado. Procedeu-se ainda a uma pesquisa de recepção com leitoras das respectivas revistas, cujo objetivo é averiguar a sua percepção relativa a esse produto. A pesquisa aponta para a ideia de “modernizar para não transformar” - característica encontrada nas revistas e acentuada nas últimas décadas. / The purpose of this dissertation is to identify different forms of female sexuality representation in contemporary Brazilian magazines aimed at female audiences. The specific aim is to verify how much these representations get close or far from long-standing feminine stereotypes built in Western civilization. The research corpus is composed of three publications by some traditional Brazilian printing houses: the Nova and Lola magazines (the last one already extinct) by Editora Abril and Marie Claire by Editora Globo, collected along six months – from January through June 2013. Theoretical fundamentals used in this work include results of research about feminism, the history of women in the Western world, identity as a narrative construction, social interactions and communication. Categorical content analysis, as a proposal by Laurence Bardin was the methodology used to analyze the selected material. A research work about the reception of this product has also been conducted. The overall conclusion suggests the existence of an idea of “modernizing in order not to transform” a characteristic that has been found in magazines and seems to have been highlighted in the last decades.

Rosa Montero's novels Lágrimas en la lluvia and Peso del corazón focus on Bruna Husky, an android private detective living in Madrid in 2109. Husky's career leads her into investigating various sinister plots, both of which she falls victim to. These quests lead her to make discoveries about herself that challenge her beliefs about herself. All the cases that Bruna investigates take her on journeys that mirror Campbell's structure of the monomythic quest. My analysis of the novels focuses on how Bruna follows the model of the Campbellian cycle while at the same time questioning the quest, keeping true to archetypes of the feminine quest as established by Anis Pratt and Dana Heller. My article focuses on three distinctive steps in the quest, the crossing of the threshold, initiation, and the return, as well as the most important characteristic of the feminine quest, the heroine's negation of the patriarchal society.

Abstract Both Pride and Prejudice (Jane Austen) and Bridget Jones’s Diary (Helen Fielding) have been thoroughly examined by literary critics. When discussed from a feminist perspective, critics are ambiguous as some claim that the novels work against feminist values rather than the reverse. This essay aims to add to the existing discussion, with focus on narration, specifically the narrative authority heroines Elizabeth and Bridget claim. Thus, it is situated within feminist narratology, examining the discourse of the narrative rather than the story. Analysis is conducted with Alison Case’s concept feminine narration, where women traditionally have been narrative witnesses without authority. Through acts of plotting and preaching, authority is claimed by which the narrator can control the meaning the reader is meant to derive from the narrative. I argue that Elizabeth and Bridget both assert narrative authority throughout their stories, thus breaking gendered conventions by claiming agency in traditionally male positions. Additionally, the comparative analysis enables discussion on “Chick lit” literary status, which has been questioned by critics.             Analysis shows that both Elizabeth and Bridget assert narrative authority throughout their stories, by acts of plotting and preaching. Often, both heroines meet male characters attempting to usurp narrative authority by assuming the role of master-narrator, a figure who traditionally possesses more authority. By avoiding these attempts, Elizabeth and Bridget escape the position as narrative witnesses and claim authority, thus directing the readers towards the intended meaning of respective narratives. Furthermore, the comparative analysis opens up for a broader discussion of issues women have faced, and continue to face, throughout time.

The master's thesis The Concept of Violence in Kobold, a Novel by Radka Denemarková inquires into a representation of violence in the selected literary text, written by a Czech author, from the perspective of gender analysis. Integral part of the master's thesis is the writing style "feminine writing", in which the double-novel Kobold is written. The analysis is carried out in the context of feminist literary theories. The work is therefore based on the concept of resistant reading, which is inseparably associated with the name of Judith Fetterley, and which allows us to examine the text without being influenced by the author's concept. Other inseparable pillars of this master's thesis are the works of literary theorists Pam Morris, Elain Showalter, Jan Matonoha and Hélène Cixous. Keywords: gender, resistant reading, "feminine writing", violence

This master thesis constitutes the feminist archetypal analyses of a novel Příspěvek k dějinám radosti written by Radka Denemarková. It approaches the problematics with an intesectional point of view focused on rape-revenge. The methodological and theoretical part introduces the work of the novelist Radka Denemarková and her style of writting that is characterized as feminine writting, which is also defined in the thesis and specified by examples. Besides analysis of archetypes which are part of feminist theoretical texts, the analytical part analyses particular characters of the novel that are divided in three groups: the characters that take revenge on rape, those characters who rape or are part of groups that rapes others, the third group links previous two and the characters are part of police investigations of a murder. The thesis analyses archetypes of femininity that prevail in the novel and masculinity that are in minority.

Dans l’œuvre de Samuel Beckett, les personnages féminins qui au début sont quasi absents, prennent de plus en plus d’importance et présentent alors différentes images féminines. L’univers féminin qui apparaît ne cesse de prendre de l’ampleur. Pour aborder le fait féminin, il faut prendre en compte les différents langages esthétiques spécifiques des personnages-femmes. En effet, ces langages - faits de diverses tournures imagées -, mettent en exergue l’identité féminine de ces personnages. Ces langages recouvrent de nombreux domaines : corporel, gestuel, scénique et pictural. Cette recherche permet de mieux comprendre le traitement du féminin dans l’œuvre dramatique de Samuel Beckett et de souligner les aspects majeurs des personnages féminins. / In Samuel Beckett’s works the female characters are seen to be absent at the beginning, but throughout the story their presence becomes more significant, and represents the different images of the female characters.The female characters in his work expand and grow constantly.To understand the female characters, we need to analyze the languages that have been used by each character. The languages provide a different image which highlights the identity of each character. They also cover many areas such as body, gestural, scenic, and pictorial. This research paper helps us to better understand how Samuel Beckett deals with feminine in his works, and highlights the major features of the female characters.