[pt] O objetivo deste trabalho é refletir sobre como se dá a atualização do racismo à brasileira (Gonzalez, 1984, Munanga, 2010) pelo dispositivo de poder da branquitude (Bento, 2002, 2022, Carneiro, 2005, Schucman, 2012, Schucman; Cardoso et al., 2014, Muller; Cardoso et al., 2017, Conceição, 2020) em performances discursivas de mulheres brancas da classe média crítica (Souza, 2017). Para tal, esta tese segue metodologia qualitativa-interpretativa da Análise de Narrativas (Bastos; Biar, 2015) visando observar as performances raciais e afetivas brancas (Ahmed, 2004, Melo, 2019, 2021) das participantes, nas pequenas histórias (Georgakopoulou, 2015) compartilhadas por elas em conversas exploratórias (Miller, 2003), nas quais refletimos crítico-afetivamente sobre o que significa ser branca no Brasil e onde mora o privilégio branco em suas trajetórias de vida. Em minha escrita, ventilo questões relativas ao fazer acadêmico no contexto da Linguística Aplicada INdisciplinar (Moita Lopes et al., 2006, 2013) e ao sentir crítico (Borges, 2017a, 2017b, 2020, 2021), conceito que trabalho desde a minha dissertação, que se refere ao devir de sensibilidade que nutre e é nutrido nos processos de letramento crítico, cujo foco é a reflexividade crítico-afetiva (foco no afeto), de forma amalgamada ao pensamento crítico (foco cognitivo) e à ação crítica (foco político). As notas reflexivas desta pesquisa trazem a inexorabilidade do dispositivo de poder da branquitude na atualização do racismo em performances raciais e afetivas de mulheres do grupo racial branco, apontando para seu papel fundamental nesse processo, mesmo no contexto da academia dita crítica. Ciente disso, trago reflexões sobre a importância do letramento racial crítico (Ferreira, 2022), do sentir crítico (Borges, 2017a, 2017b, 2020, 2021), do estudo e da coalizão nos abaixo-comuns da Universidade (Harney; Moten, 2013, 2021), a fim de mitigar os efeitos dessas performances na Academia Cubo-Branco (Kilomba, 2019a). / [en] The aim of this paper is to reflect upon how Brazilian racism (Gonzalez, 1984, Munanga, 2010) is actualized by whiteness (Bento, 2002, 2022, Carneiro, 2005, Schucman, 2012, Schucman; Cardoso et al., 2014, Muller; Cardoso et al., 2017, Conceição, 2020) as an apparatus of power (Foucault, 1978) in discursive performances by white women who belong to what Jessé Souza (2017) classifies as critical middle-class in Brazil (Souza, 2017). To this end, this thesis follows qualitative-interpretative methodology from Narrative Analysis (Bastos; Biar, 2015) to investigate how whiteness shapes participants white racial and affective performances (Ahmed, 2004, Melo, 2019, 2021) in the small stories (Georgakopoulou, 2015) shared by them in exploratory conversations (Miller, 2003), in which we reflect critically-affectively on what it means to be white in Brazil and where white privilege resides in their life stories of accomplishment. In my writing, I vent issues concerning the critical academic doing in the context of INdisciplinary Applied Linguistics (Moita Lopes et al, 2006, 2013) and critical feeling (Borges, 2017a, 2017b, 2020, 2021), a concept I have been working on since my dissertation, which refers to the becoming of sensibility that nurtures and is nurtured in critical literacy processes, whose focus is critical-affective reflexivity (focus on affect), which merges with critical thinking (focus on cognitive aspects) and critical action (focus on political aspects). The reflexive notes of this research confirm the inexorability of whiteness as an apparatus of power which allows the actualization of racism in performances of race and affect by women who belong the white racial group in Brazil, pointing to their fundamental role in this process, even in the context of the so-called critical academia. Furthermore, it indicates that focus on undergoing processes of critical racial literacy (Ferreira, 2022), fostering critical feeling (Borges, 2017a, 2017b, 2020, 2021) and joining study with coalition in the under-commons of the University (Harney; Moten, 2013, 2021) may be a way to mitigate the effects of these performances in the White-Cube Academy (Kilomba, 2019a).

In this dissertation, I present three manuscripts in which I integrate race into an ambivalent sexism framework using experimental, correlational, and cross-sectional methods. The first paper tests whether a female's race acts as a subtype to differentially elicit benevolent sexism (BS). Two experiments demonstrated that BS is more strongly associated with White women than Black women. The second paper explores the relationship between protective paternalism (a subcomponent of BS), anti-minority attitudes, and threat. Threat was associated with stronger endorsement of protective paternalism and a corresponding increase in anti-minority attitudes, particularly for White men, implicating BS in the maintenance of racial inequality. Finally, my third study investigated potential real-world consequences of the differential application of BS to Black and White women in the context of police responses to intimate partner violence (IPV). Officers were more likely to file supplemental paperwork for White victims than Black victims, and were most likely to do so when encountering a White victim and a Black suspect. White victims were also written about with a greater "risk focus", consistent with BS. In sum, chapter II establishes racial differences in who receives BS, chapter III demonstrates how paternalistic protections of White women are racialized, and chapter IV reveals how the intersection of BS with racial stereotypes may impact women seeking help from police. This dissertation is the first investigation in the social psychological literature of how race informs the targets, function, and consequences of BS.

This thesis argues that through bringing together two branches of inquiry???the literary work of Katharine Susannah Prichard and Eleanor Dark and socio-feminist theory on health, contagion and the female body???the discursive body of the mother-figure in their novels serves as a trope through which otherwise unspoken tensions???between the personal and the political, between family and nation and between identity and race in Australian cultural formation???are explored. The methodology I use is to analyse the literary mother-figure through a ???discourse on health??? from a soma-political, socio-cultural and historical perspective which sought to categorise, regulate and discipline women???s lives to ensure that white women conformed to their designated roles as mothers and that they did so within the confines of marriage. The literary mother-figure, as represented in Prichard???s and Dark???s novels, is frequently at odds with the culturally constructed mother-figure as represented in political and religious discourses, and in popular forms of culture such as advertising, film and women???s magazines. This culturally constructed ???ideal??? mother-figure is intimately linked to nationalist discourses of racial hygiene, of Christian morality, and of civic and social order controlled by such patriarchal institutions as the state, the church, the law and the medical professions during the period under review. This is reflected in Prichard???s and Dark???s inter-war novels which embody unresolved tensions in a way that challenges representations of the mother-figure by mainstream culture. However, their post-war novels show a greater compliance with nationalist ideologies of the good and healthy mother-figure who conforms more closely with an idealised notion of motherhood, leading up to the 1950s. Through a detailed analysis of the two writers??? changing representations of the mother-figure, I argue that the mother-figure is a key trope through which unspoken tensions and forces that have shaped (and continue to shape) Australian culture and society can be understood.

This thesis argues that through bringing together two branches of inquiry???the literary work of Katharine Susannah Prichard and Eleanor Dark and socio-feminist theory on health, contagion and the female body???the discursive body of the mother-figure in their novels serves as a trope through which otherwise unspoken tensions???between the personal and the political, between family and nation and between identity and race in Australian cultural formation???are explored. The methodology I use is to analyse the literary mother-figure through a ???discourse on health??? from a soma-political, socio-cultural and historical perspective which sought to categorise, regulate and discipline women???s lives to ensure that white women conformed to their designated roles as mothers and that they did so within the confines of marriage. The literary mother-figure, as represented in Prichard???s and Dark???s novels, is frequently at odds with the culturally constructed mother-figure as represented in political and religious discourses, and in popular forms of culture such as advertising, film and women???s magazines. This culturally constructed ???ideal??? mother-figure is intimately linked to nationalist discourses of racial hygiene, of Christian morality, and of civic and social order controlled by such patriarchal institutions as the state, the church, the law and the medical professions during the period under review. This is reflected in Prichard???s and Dark???s inter-war novels which embody unresolved tensions in a way that challenges representations of the mother-figure by mainstream culture. However, their post-war novels show a greater compliance with nationalist ideologies of the good and healthy mother-figure who conforms more closely with an idealised notion of motherhood, leading up to the 1950s. Through a detailed analysis of the two writers??? changing representations of the mother-figure, I argue that the mother-figure is a key trope through which unspoken tensions and forces that have shaped (and continue to shape) Australian culture and society can be understood.

M.A. / The overall objective of the global research project of which the present study is a part, is to create a greater awareness and understanding of the association between physiology and psychology, specifically with regard to IBS. Investigations are being conducted into the contribution of such factors as stress, anxiety, depression, somatization, psychopathology. early sexual abuse and physical abuse to the development and management of IBS. The present study aims to assess the incidence of co-morbid psychopathology in patients with IBS as compared to the general population. 1.3.2 Specific Aims. The aim of the present study is to compare the incidence of concurrent psychopathology in a sample of white, female patients, aged from 25-55 years and diagnosed to have IBS, with the incidence of psychopathology in a sample of white female non-IBS controls aged 25-55 years. Of initial concern will be whether the results of this study confirm the findings of the numerous research projects which attest to the high incidence of comorbid psychopathology in patients with IBS (Chaudhary & Truelove, 1962; Liss et al., 1973; Young et al., 1976), or add support to the limited evidence that disputes these claims (Talley, Kramlinger et al., 1993; Thornton, McIntyre et al., 1990). The study then aims to consider whether the variable of gender has a significant effect on the incidence of co-morbid psychopathology in patients with IBS. As will be discussed in Chapter 3, most of the studies do not differentiate between male and female subjects even though this may well prove to be an important determining factor. As mentioned in section 1.2.1, there is a dearth of research in South Africa into IBS and, more specifically, into the incidence of co-morbid psychopathology and IBS. By restricting participants in this study to those of the white race, the aim of this study is to initiate a process in which the incidence of co-morbid psychopathology in IBS patients of all races will be assessed and compared. In addition, the present study aims to assess whether age and level of education are significant variables in determining the incidence of co-morbid psychopathology in patients with IBS. Inter-group comparisons will be made between three groups of patients with IBS divided first according to age and then according to level of education. Finally, the present study aims to be more methodologically sound than certain of the earlier research projects as reported in the literature. As will become clear in Chapters 2 and 3, a common thread running through much of the literature is the concern that the validity of results may be questionable due to methodological flaws in the design of certain research projects. Small sample size has been a problem in some studies (Liss et al., 1973; Young et al., 1976) whilst in others, the absence of a control group has limited the relevance of data (Liss et al., 1973). Furthermore, a diversity of measuring instruments have been used in the past with little if any standardisation or control of specific variables being assessed. The measuring instrument used in this study, namely the Personality Assessment Inventory (PAI), allows for an accuracy and comprehensiveness of assessment not found in many previous studies (see Chapter 6, section 6.2.1.4). The PAI assesses psychopathological trends in personality functioning. The word "psychopathology" will be used in this study as substitute for the phrase "psychopathological trends in personality functioning".

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis examined the body images of Black and White women at an urban university. Self perception of body image may be positive or negative, healthy or unhealthy, and may be influenced by various factors. Qualitative interviews were completed with eight Black and eight White non-Hispanic female college students. A common theme emerged regarding images of beautiful and ideal bodies. The women held similar standards of beauty for White and Black women with one exception: White women were expected to be thinner whereas Black women were expected to be heavier. In addition, the women were of a common mind with regard to the influence of men, fashion, and relationships with female family members on their body images. Racial differences emerged when the women discussed male perceptions of female bodies. Women of both races believed that racial and ethnic minority men were more accepting of women with diverse body types than were White men. Familial influences on body image included the mother-daughter relationship and a new finding of the sister-sister relationship. Finally, an emergent and unexpected finding centered on a woman's history of sexual and physical abuse. Each of the six women who experienced sexual or physical abuse reported some level of negative body imagery. These findings are discussed in the context of the existing body image literature and recommendations are made regarding directions for future research.

Student Number : 7805464 - MA dissertation - School of SLLS - Faculty of Arts / This dissertation interrogates Anne Landsman’s The Devil’s Chimney. The novel is narrated by the poor-white alcoholic, Connie, who imagines a story about Beatrice, an English colonist living on a farm in the Little Karoo. Connie, who is a product of the apartheid era, interweaves her own story with that of Beatrice’s and, in this way, comes to terms with her own memories, her abusive husband and the new South Africa. Connie deploys the genre of magical realism to create a defamiliarised farm setting for Beatrice’s narrative. She thus challenges the stereotypes associated with the traditional plaasroman and its patriarchal codes. These codes are also subverted in Connie’s representation of Beatrice, who contests her identity as the authoritative Englishwoman, as constructed by colonial discourse. In addition, Beatrice’s black domestic, Nomsa, is given voice and agency: facilities denied to her counterparts in colonial and apartheid fiction. Nomsa’s relationship with Beatrice is also characterised by subversion as it blurs the boundaries between colonised and coloniser. In this regard, the text demands a postcolonial reading. Connie, in narrating Beatrice’s and Nomsa’s stories, reinvents their invisible lives and, by doing so, is able to rewrite herself. In this, she tentatively envisions a future for herself and also potentially ‘narrates’ the nation, thus contributing to the new national literature. The nation is inscribed in the Cango caves, whose spaces witness the seminal episodes in Beatrice’s narrative. In these events, the caves ‘write’ the female body and women’s sexuality and the text thus calls for an engagement with feminism. The caves also inscribe South African history, the Western literary canon, the imagination and Landsman’s own voice. Hence, the caves assume the characteristics of a palimpsest. This, together with the metafictive elements of the novel, invites an encounter with postmodernism.

The literature survey reports that persons electing cosmetic plastic surgery for aesthetic or medical reasons, or those persons not electing any form of surgery, often experience physical, psychological and socio-cultural problems. The complexity among the associated variables, body images, identity status, fashionable clothing behaviour and social self-consciousness were investigated comparatively, using a biopsychosocial approach. The samples consisted of cosmetic surgery patients (n=25), Black and White female fashion participants (n=60) and breast oncology case studies (n=3). The research methods included descriptive and inferential statistics. A maximum of six questionnaires was administered per individual. The results indicated that a positive body image perception was related to identity integrity, fashionable dressing and a sense of social acceptance. Insight into the importance placed on the body as a means of self-expression can contribute to successful cosmetic and breast oncology surgery and also promote intercultural harmony, by reducing body-based prejudice. / Psychology / M.A. (Psychology)

This thesis explores the question, “What literary strategies can be employed to allow as many people as possible to identify themselves positively with South Africa as a nation and a country?”. I focus in particular on the possibilities for identification open to white South African women, engaging with Antjie Krog's English texts, A Change of Tongue, Down to My Last Skin and Body Bereft. I seek to identify the textual strategies, such as a fluid structure, shifts between genre and a multiplicity of points of view, which Krog employs to examine this topic, and to highlight the ways in which the literary text is able to facilitate a fuller engagement with issues of difference and belonging in society than other discursive forms. I also consider several theoretical concepts, namely supplementarity, displacement and diaspora, that I believe offer useful ways of understanding the transformation of individual subjectivity within a transitional society. I then explore the ways in which women identify with, and thereby create their own space within, the nation. I investigate the ways in which Krog represents women in A Change of Tongue, and discuss how Krog uses „the body‟ as a theoretical site and a performative medium through which to explore the possibilities, and the limitations, for identification with the nation facing white South African women. I also propose that by writing „the body‟, Krog foregrounds her own act of writing thereby highlighting the construction and representation of her „self‟ through the text. I proceed to consider Krog's use of poetry as a textual strategy that enables her to explore the nuances of these themes in ways which prose does not allow. I propose that lyric poetry, as a mode of expression which emphasises the allusive, the imaginative or the affective, has a capacity to render in language those experiences, emotions and sensations that are often considered intangible or elusive. Through a selection of poems from Down to My Last Skin and Body Bereft, I examine the way in which Krog constantly re-writes the themes of belonging and identity, as well as interrogate Krog's use of poetry as a strategy that permits both the writer and the reader access to new ways of understanding experiences, in particular the way apparently ephemeral experiences can be rooted in the body. I also briefly consider the significance of the act of translation in relation to the reading of Krog's poems. I conclude by suggesting that in A Change of Tongue, Down to My Last Skin and Body Bereft Krog engages with the project of “[writing] the white female experience back into the body of South African literature” (Jacobson “No Woman” 18), and in so doing offers possible ways in which white South African women can claim a sense of belonging within society as well as ways in which they can challenge, resist, re-construct and create their identities both as women, and as South Africans. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

The literature survey reports that persons electing cosmetic plastic surgery for aesthetic or medical reasons, or those persons not electing any form of surgery, often experience physical, psychological and socio-cultural problems. The complexity among the associated variables, body images, identity status, fashionable clothing behaviour and social self-consciousness were investigated comparatively, using a biopsychosocial approach. The samples consisted of cosmetic surgery patients (n=25), Black and White female fashion participants (n=60) and breast oncology case studies (n=3). The research methods included descriptive and inferential statistics. A maximum of six questionnaires was administered per individual. The results indicated that a positive body image perception was related to identity integrity, fashionable dressing and a sense of social acceptance. Insight into the importance placed on the body as a means of self-expression can contribute to successful cosmetic and breast oncology surgery and also promote intercultural harmony, by reducing body-based prejudice. / Psychology / M.A. (Psychology)