Dissertations / Theses on the topic 'Femininity'
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Gleason, Kristin Mary. "Faulty femininity /." Online version of thesis, 2004. http://hdl.handle.net/1850/12180.
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Witz, Teresa. "Portraiture : femininity and style." Thesis, University of East London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532901.
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When I started the doctorate programme in 2002 I had a long-standing interest in vanitas paintings, both historical and contemporary. This developed into an interest in creating contemporary iconic images of celebrity personalities. I also started to explore ways of portraying 'iconic unknowns', which involved transforming ordinary, working women into modem icons. In the first year I was interested in celebrity icons, such as David and Victoria Beckham, Kylie Minogue and Cher. I was interested to portray these celebrities as more anonymous as people, but more familiar as brand images . . Also at this time I was developing an interest in what I have termed 'localised celebrities'; these were the wealthy women of Essex. I made paintings of the glamour and style of these Essex women and their' chic kitsch' . The work evolved with experiments in ways of portraying women, attempting to subvert the conventions of the male gaze by portraying women in a highly ambiguous manner. The conventions of clothing and 'styling' are exaggerated versions of the kind of sexualized to-be-Iooked-at-ness associated with the male gaze and yet the women in the paintings are refusing to be positioned as the to-be-Iooked-at-by men. They are defying the spectator to dare to consume her image in that way. I have attempt~d to complicate the relationship between the male spectator and the female image as well as opening up new ways in which women might assume the position of spectator. Laura Mulvey, a feminist film theorist, published an article in 1975 called 'Visual Pleasure and Narrative Cinema' in which she employed the term 'the male gaze'. Mulvey's analysis was concerned with the cinematic gaze, but certain parallels may be drawn with conventions of portraying women, for example in paintings and photography. She was primarily interested in the relationship between the image of woman and the 'masculinisation' of the position of the spectator. By this, she means that images of women are constructed according to patterns of pleasure and identification that assume masculinity as the 'point of view' (Mulvey: 1989: 29-38). Later, however, Mulvey began to think about how women could occupy the position of spectator.
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Rudolfsdottir, Annadis Greta. "Construction of femininity in Iceland." Thesis, London School of Economics and Political Science (University of London), 1997. http://etheses.lse.ac.uk/2458/.
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In this study it is argued that femininity is mediated by historical and cultural factors. I explore how rapid changes in the social structure of Icelandic society have introduced challenges to many cultural constructions. The theoretical framework draws from the work of Michel Foucault, in particular the idea that the individual emerges through the practices and discourses s/he is constituted in, and that these incur power relations. Several entrance points have been selected into the Icelandic culture and its ideas of femininity. One is through a random sample of 209 obituaries, published from 1922 to 1992. The other is through semi-structured interviews with 18 women, aged 16 to 88, conducted in 1992. A discourse analysis reveals two dominant discourses for constituting the "Self', with different implications for men and women respectively. "The discourse of the Chieftain" constructs the "Self' as independent, self-reliant and central. In this discourse, it is argued, the "Self' is a dominantly masculine ideal. In contrast, the "discourse of the Soul" emphasises the individual who puts others before herself, is self-less, obedient, dutiful and loyal. It is argued that these discourses were necessary for maintaining a particular power structure within the pre-modern Icelandic society, and that they portray particular roles as "natural". Changes in modem Icelandic society have caused a rupture in the harmony between these discourses. New discourses have emerged, and women are increasingly putting their own needs and selves before others. The inter and intra-subjective tensions that these changes have incurred are traced. Women's strategies of resistance that have unfolded in response to dominant ideas are outlined. In their different forms of disciplining sons and daughters, women use their position as mothers to encourage societial changes. Implications of these findings for theories of construction of femininity are discussed.
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Rohrs, Mark. "ELIZABETH TUDOR: RECONCILING FEMININITY AND AUTHORITY." Master's thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2979.
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Elizabeth Tudor succeeded to England's throne during a time when misogynist societal ideology questioned the authority of a female monarch. Religious opposition to a woman ruler was based on biblical precedent, which reflected the general attitude that women were inferior to men. Elizabeth's dilemma was reconciling her femininity with her sovereignty, most notably concerning her justification for power, the issue of marriage and succession, and the conflict over the execution of Mary, Queen of Scots. The speeches Elizabeth presented to Parliament illuminate her successful solidification of her authority from a feminine gendered position. She established and reinforced her status through figurative language that presented her femininity as favorable to ruling England, ultimately transcending her womanhood to become an incarnation of the state. Elizabeth's speeches reflect her brilliance at fashioning herself through divine and reciprocal imagery, which subsequently redefined English society, elevating her to the head of a male-dominated hierarchy. By establishing her position as second to God, Elizabeth relegated all men to a status beneath hers. Elizabeth's solution to the perceived liability of her gender was to recreate herself through divine imagery that appropriated God's authority as her own. She reinforced her power through a reciprocal relationship with Parliament, evoking the imagery of motherhood to redefine the monarchy as an exchange rather than an absolute rule.M.A.
Department of English
Arts and Sciences
English
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Turner, Lewis. "Gender renaissance : re-configurations of femininity." Thesis, Lancaster University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418436.
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Scordari, Giulia <1992>. "Femininity in Philip Roth's American Trilogy." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14451.
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La presente tesi è incentrata sul tema della femminilità nell’American Trilogy di Philip Roth. L'introduzione cerca di illustrare il modo in cui Roth mette in discussione le identità femminili come parte di cambiamenti sociali e storici e come manifestazioni dell'identità nazionale americana. Ogni capitolo è dedicato rispettivamente ad uno dei tre romanzi, con una descrizione accurata di tutto ciò che riguarda i personaggi femminili: dagli abiti, ai discorsi, alle condizioni psichiche. Nonostante la quantità di letture critiche che associano la trilogia a una prospettiva misogina, questo studio mira anche a dimostrare che il trattamento della femminilità, come affrontato da Roth, deve essere visto alla luce del suo particolare metodo narrativo e della sua preoccupazione per la mascolinità all'interno dei romanzi , il tutto filtrato attraverso la voce del narratore-personaggio Nathan Zuckerman. Al centro del primo capitolo, quindi, c'è l'analisi di Dawn Dwyer e Meredith Levov, dal momento che entrambe sono ostacoli fondamentali nella lotta del protagonista, Seymour Levov, per realizzare il suo sogno americano. Delphine Roux e Faunia Farley sono al centro del secondo capitolo, mentre l'ultimo è basato sulla moglie di Ira Ringold, Eve Frame, e sulla figliastra di Ira, Sylphid. Inoltre, è anche fornito un confronto tra le sei donne, tutte figure minacciose nella vita dei protagonisti maschili, per quanto riguarda le caratteristiche ricorrenti che le connettono.
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Santhakumaran, Priyadharshini. "Transforming ideologies of femininity : reading women's magazines." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25156.
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This dissertation is a discourse analytic study of how women talk about reading women’s magazines, and is based on interviews with forty women. I examine the ways in which my informants construct the nature of the magazines and their target readers, and how they position themselves in relation to the perceived target reader. In doing so I explore how, and to what extent, women’s negotiation of their own identities is mediated by popular images and discourse of femininity. Firstly, I examine the way many women ‘talk themselves out’ of the target readership of the magazines they read. To do so they construct differences between themselves and the perceived target reader on the basis of social factors such as class, age and sexuality. When positioning themselves in relation to the magazines, my informants tend to draw on discourses of individuality, accounting for the differences between themselves and the target reader as a matter of individual experience, interests and preferences. When defining the target reader, on the other hand, they are more likely to invoke generalisations and stereotypes. One of the main features of my informants’ talk on the subject of taking advice from women’s magazines was the construction of a distinction between ‘practical’ and ‘personal’ advice; they would consider taking advice they considered ‘practical’, but not advice on ‘personal’ matters from a magazine. Finally, I use a membership categorisation analysis (MCA) to explore how my informants orient to notions that certain activities and interests are tied to gender categories. Women’s magazines construct certain activities and interests, such as fashion and (heterosexual) relationships, as being normatively associated with women. Using MCA I explore the way in which women reproduce or reconstruct these associations when negotiating identities both for themselves and for the target reader.
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Cheddie, Janice Mae. "Arresting black beauty, fashion and black femininity." Thesis, University of Sunderland, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295772.
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Blanchard, Julie Louise. "Feeling your age : pre-teen fashionable femininity." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/422172/.
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This thesis explores the importance of clothing in the lives of pre-teen girls; how do girls of 8 to 9 and 10 to 11-years-old understand both the discourses of fashion, that suggest how girls’ bodies should be dressed, as well as the material garments that they chose to put on their bodies, and make sense of these meanings on and through their bodies? What part does clothing play in their understanding of personhood and in particular the interconnection of gender, age, class, ethnicity and sexuality? What might the study of young girls and fashionable clothes tell us about the creation and negotiation of contemporary young feminine identities? Much popular discussion in the twenty-first century, including government policy debate, has focused on the sexualisation of young girls, and the wearing of certain fashionable dress is seen as a contributory factor in this sexualizing process. Academics have begun to assess what fashion means to those who consume it, yet this literature usually assumes an adult consumer. Turning to the sociology of childhood and the recognition of childhood agency, this thesis suggests that girls’ own relationship with fashion needs to be investigated in order to consider if, and to what extent, this sexualisation is taking place, to add to our knowledge both in childhood, and fashion, sociology. This thesis examines girls as meaningful consumers of fashion and explores the relationship between clothes and identity for these girls. By carrying out focus groups, asking participants to photograph their clothes and undertaking interviews with those photographs, this research asks girls what fashion means to them. In response to concerns raised in popular debate about the ‘loss of childhood innocence’ through fashion consumption, the girls’ consumption of dress is explored in relation to the following of fashion trends, the emulating of pop stars and parental influence. This thesis refutes any simplistic mapping of these influences onto girls’ ways of dressing, demonstrating the complexities of girls’ interactions with popular ideas about what to wear and how clothes are understood. Rather, I argue that girls’ negotiations of sexuality, subject positions and fashion are complex and nuanced. This thesis addresses key themes arising from my data that show that girls in my research are alert to social expectations and deem dress to be context-dependent. The sample demonstrated a thoughtful, thorough sense of learned social rules and taste, and individual aesthetics. Moreover, evidence from this study shows that girls are able to create multiple, fluid identities through dress, from the habitual, everyday self to the hetero-sexualised ‘girlie’ girl and back again. Clothes prove useful tools in thinking through what it means to be different types of person, but also enable girls to display kinship and friendship. Another crucial element of fashion arising from this research is that of materiality and temporality. Dress is inextricably linked to memory and biography, acting as a memento of past events or important relationships but also enabling girls to articulate their own biographical narratives. The materiality of clothes on the body also informed them of the passing of time, acting as transitional objects. An original contribution of this thesis is a demonstration of the ways in which girls positioned themselves in the present, through previous interactions between body and garments, and the increasing tightness of those garments as the girls grew. Yet girls also tried on future identities through experiencing certain clothes on their bodies. The sensuous experience of dress allows girls to feel that they are growing up and therefore to situate themselves temporally on their life course as, this thesis argues, we may all do.
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Arend, Patricia. "Dream Weddings: Fantasy, Femininity and Consumer Desire." Thesis, Boston College, 2011. http://hdl.handle.net/2345/3740.
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Thesis advisor: Juliet B. SchorThesis advisor: Leslie Salzinger
White Weddings: Fantasy, Femininity and Consumer Desire Patricia Arend Advisors: Juliet B. Schor and Leslie Salzinger The white wedding, the dominant form of marriage ritual in America, is a key site for the study of gender inequality because it ritualizes, dramatizes and makes pleasurable patriarchal gender relations. While men and women are becoming more equal in education, the labor force and other social institutions, many women are opting for a traditional, highly gendered wedding ritual. This dissertation unpacks this paradox through the use of qualitative methodology on women's subjectivity and subconscious experience. My methodological strategy includes participant observation, survey research, free association narrative interviewing and photo-elicitation. These varied methods reveal not only that the majority of my respondents desire a traditional, white wedding complete with a standard package of goods and practices, but that in so enacting heteronormativity they seek a singular emotional and romantic experience. Study participants express varied attitudes to their own desire, however. Those without major ambivalence--both straight and a few lesbians--take their desire for a white wedding for granted, an attitude emerging with apparent seamlessness from their emotional experiences attending other people's weddings, the sharing of wedding-related evaluations, perspectives and activities through female-centered social networks, and their prior consumption of wedding related media. Wedding media are consumed by engaged women like an instruction manual, while others often view it with other women, socially. Not all of the participants' relationships to this ritual is so straightforward. Some feel guilty for wanting a wedding they have come to see as sexist or wasteful. They cope with this guilt through a complex process of dissociation and projection focused on other women- a process we find in other aspects of consumer society as well. In addition, a much smaller number of women who identify as lesbian selectively do not conform to the full white wedding format and feel good about their choices. Yet none of these women desire the "camp" elements found in previous studies of lesbian commitment ceremonies and most incorporate some aspects of the white wedding, indicating a trend toward greater conformity. Identifying as a feminist was not correlated with a desire for a particular type of wedding or the experience of desire, which I argue relates to the complex historical context of the movement for marriage equality, the cooptation of feminism by advertising as the "new consumer feminism" and contemporary third wave feminism, which emphasizes individual identity and a liberal politics of choice
Thesis (PhD) — Boston College, 2011
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Sociology
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Oxenham, Helen. "Perceptions of femininity in early Irish society." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648757.
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Johnson, Ann. "PRESCRIBING DIFFERENCE: MASCULINITY AND FEMININITY AT CROSSFIT." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/dissertations/1737.
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Most institutional structures are organized along the lines of gender, including the economy, state, law, religion, politics (Lorber 1994) and sport, where they were historically and are presently dominated and defined by men. With that being said, we have not yet achieved gender equality. In a time, where there has been both progress and challenges to the conventional gender order, how do men and women construct their own gendered identities, manage their performances of gender, and understand masculinity and femininity in society?
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Hammarberg, Sofia. "DO NOT COVER : Störst av allt är feelingen. Om att frigöra sig från skam genom Corpus/Jewellery." Thesis, Konstfack, Ädellab/Metallformgivning, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5549.
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Some things you cant touch, see or grab. But they are there. Always and everywhere. Silently invading every part of you, your everyday life and the things in it. The less you speak of it the more you have it. The more you have it the less you want and can address it. Shame is not logic, it is not the brain reacting, hardly our conscience, it's the body. It is truly and fully a physical feeling. For the first time I give myself permission to dig into all of these materials, I indulge in the styles and tastes that I've long felt forbidden for me. I wont be limited in my choices of symbols, coloration or aesthetics in ways that good taste and patriarchal structures have taught me to be. I am letting that guard down and diving in, using it in advantage for my work and my theme. I feast on fake pearls, glitter, shells and plastics. I turn towards what is considered shameful or bad taste and work with it, embrace it and elevate it. Not to show that is the new "right" but to justify for all of the times that I have turned away from it because of shame. To be a person with feelings of shame is to be a person that automatically will try to turn from itself. Shame is intimately entwined with femininity, it is silently inherited from generation to generation. It is experienced only by some bodies and not others. It is not being able to see your own value. It is the loneliest feeling in the world, but really a marker for something much bigger and deeper than one individual. It is materialized everywhere around us. It is not me, but it is not not me.
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Hill, Sarah. "Young femininity in contemporary British cinema, 2000-2015." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59610/.
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Girls and young women have become more ubiquitous than ever in twenty-first century media culture. This is particularly true of cinema, as some of the most successful recent films are centred around young female protagonists, such as The Hunger Games franchise (Ross, 2012) and Fifty Shades of Grey (Taylor-Johnson, 2015). British cinema has also witnessed a proportionate increase in girl-centred films since the millennium, some of which are contemporary British cinema’s most successful films. This includes commercial hits such as StreetDance 3D (Giwa and Pasquini, 2010) and St Trinian’s (Parker and Thompson, 2007), as well as an increasing number of critically acclaimed films by female filmmakers, such as Fish Tank (Arnold, 2009) and The Falling (Morley, 2014). However, these films have so far received little or no academic attention. This thesis explores how young femininity is constructed in female-centred British films between 2000 and 2015 in an era defined as postfeminist. It examines key themes such as girls’ ambitions, education and friendship. I use a combination of textual analysis and critical reception study, as well as analysis of extra-textual and paratextual materials where appropriate, to examine how discourses of girlhood are mediated both within the films themselves and outside of them in order to discern how these films and their critical reception contribute to, and are informed by, ideas about girlhood that circulate within the wider culture. In doing so, I argue for a nationally-specific postfeminist framework, and consequently provide a greater understanding of how postfeminism is articulated within a British context. I also seek to counter the author-led, masculine bias within British cinema through positioning critically respected films alongside critically maligned films, particularly those aimed at young girls, in order to provide these films with much-needed academic attention and demonstrate that they are worthy of consideration in relation to British cinema’s output in the twenty first century.
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Danker, Jennifer. "Spenser's revaluation of femininity in the Faerie Queene." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56950.
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Renaissance patriarchy maintained very clear distinctions between what was appropriately "masculine" and "feminine." Modern feminist criticism and research have tried to dispel some of the old illusions, and so they offer a fresh approach to evaluating the personal and social implications of gender in the Renaissance. Such perspectives can be specifically applied for enhanced appreciation of Spenser's Faerie Queene, after an initial assessment of Renaissance patriarchy itself.The Faerie Queene, we find, questions many important conventions of gender roles in Renaissance patriarchal society. Spenser crosses the familiar boundaries of appropriate or accepted female social status and options, and situates both males and females in roles which seemingly challenge the existing conventions by advancing the possibility of a new perspective. Spenser examines femininity from a specifically feminine point of view and invites a broadened understanding of the feminine. He portrays many different aspects of femininity and his titular heroine, Britomart, approximates the modern androgyne. The poem suggests a variety of alternative gender roles for both females and males, and also uses symbolic aspects of gender, so that characters ultimately cease to be gender-specific in their significance. That too tends to soften distinctions between males and females, by allegorically representing the self in such a way that it is seen to have both masculine and feminine aspects.
Spenser's attempt to broaden his readers' understanding and valuation of the feminine and his suggestions of alternative roles for both genders, helped open the door to new freedom and equality for women by inviting redefinition or revision of culturally received notions of gender and its personal and social implications.
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Wellby, Poppy Loesje Kaitlin. "Fairies, frying-pans and fetishism : fables of femininity." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431437.
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Stent, Sabina Daniela. "Women Surrealists : sexuality, fetish, femininity and female Surrealism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3718/.
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The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
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Sjögren, K. "Transgressive femininity : gender in the Scandinavian Modern Breakthrough." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/20310/.
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This PhD thesis deals with how new discourses on femininity and gender developed in Scandinavian literature during the Modern Breakthrough, 1880-1909. Political, economic and demographic changes in the Scandinavian societies put pressures on the existing, conventional gender roles, which literature reflects; however, literature also created and introduced new discourses on gender. The main focus has been on transgressive female characters in Danish, Swedish and Norwegian novels, which I have seen as indicators of emerging new forms of femininity. The study shows how the transgression of gender boundaries is used in the novels, when presenting their views on what femininity is, should be or could be. In addition to analysing the textual strategies in the representation of these ‘deviant’ literary characters, I have examined how the relevant texts were received by critics and reviewers at the time, as reviews are in themselves discursive constructs. The theoretical basis of this study has mainly been Michel Foucault’s discourse theory, Judith Butler’s theory of performativity and Yvonne Hirdman’s theory of gender binarism. I have also used concepts from several (mainly Anglo-American and Scandinavian) literary gender theorists and historians in the analyses. The four novels analysed in this study are as follows: 1) Danish author Herman Bang’s early decadence novel Haabløse Slægter (1880), where I use a queer theory perspective. 2) Norwegian author Ragnhild Jølsen’s Rikka Gan (1904), where the strong elements of pre-psychoanalysis are analysed. 3) Swedish author August Strindberg’s Le Plaidoyer d’un fou (1887-88), where I make a narratological examination of the narrative voice from a gender perspective. 4) Swedish author Annie Quiding’s Fru Fanny (1904), analysed as an example of ‘negative’ New Woman literature. The thesis shows how literature of the time represented and introduced new forms of femininity, often in the form of ambiguous female characters, and often to the disapproval of the critics. It also shows that gender discourses were much alike within Scandinavia. Furthermore, my study lays bare the skeleton of normative Breakthrough femininity, what can be called the dominant discourse on femininity at the time: a nonexisting sexual desire, feminine immobility/containment in the home and an imperative, self-sacrificing motherliness.
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Gould, Paula A. "Femininity and physical science in Britain, 1870-1914." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272410.
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Provo, Leah M. "The Little Black Dress: The Essence of Femininity." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367943615.
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Boyd, Elizabeth Bronwyn. "Southern beauty : performing femininity in an American region /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Powers, Jordan S. "Femininity, Pinterest, and the Appropriation of Jane Austen." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2373.
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This analysis is an examination of the use of Jane Austen quotes on the social networking site Pinterest in order to explore the messages disseminated by the dismantling of Austen’s works. Austen’s novels contain subtle feminist ideals that empower women to find their own unique paths. Pinterest has a large female following and the messages created and shared by women hold importance because they highlight salient values and ideas. The quotes collected were analyzed using a feminist rhetorical method. Questions of whether women were empowered outside the private sphere and encouraged to engage in independent thought guided the analysis. Findings indicated that Austen’s words are removed from context in order to reinforce hegemonic ideas of beauty, love, and intelligence. Women can engage in independent thought and exist outside the home as long as they follow socially prescribed rules that create unattainable standards and contradictory dichotomies.
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McGill, Anna. "Magic and Femininity as Power in Medieval Literature." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/293.
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It is undeniable that literature reflects much about the society that produces it. The give-and-take relationship between a society and its literature is especially interesting when medieval texts are considered. Because most medieval plots and characters are variants of existing stories, the ways that the portrayals change has the potential to reveal much about the differences between medieval societies separated by distance and time. Changes to the treatment of these recurring characters and their stories can reveal how the attitudes of medieval society changed over time. Perceptions of magic and attitudes toward its female practitioners, both real and fictional, changed drastically throughout the Middle Ages among clergy members and the ruling class. Historically, as attitudes toward women became more negative, they were increasingly prohibited from receiving a formal education and from gaining or maintaining positions traditionally associated with feminine magical power, such as healer, midwife, or wise woman. As the power of the Church grew and attitudes changed throughout the Middle Ages, women’s power in almost all areas of life experienced a proportional decrease. Using a combination of historical and literary sources, this paper will explore whether this decrease in power is evident in literary portrayals of magical female characters in medieval literature. Specifically, it will examine the agency and potency, or the intrinsic motivation and effectiveness within the story, respectively, of female characters within medieval narratives, comparing the characters to their earlier iterations. This research will offer a unique perspective on the roles of magical women in medieval literature.
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Armstrong, Nancy Jane. "Reading girls reading pleasure : reading, adolescence and femininity." Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/661.
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This thesis is concerned with the reading girl and the potential pleasures and transgressions she experiences through popular fiction. Throughout modernity, the western bourgeois girl has been directed towards texts that both validate proper, and caution against improper, forms of femininity. This practice continues within the institutions of family and education as well as through the public library system and commercial booksellers. Although the contemporary girl is subjected to feminism, culture continues to insist on her domestic role. The notion of identification is central to societal fears about the material that finds its way into the hands of reading girls. Because the reading girl can align herself imaginatively with characters, commentators worry that she might absorb passivity from passive characters, wanton habits from wanton characters, or murderous habits from murderous characters. Reading theory tends to reinforce these fears through a particularly disparaging assessment of popular fictions. The girl‘s identifications with characters in popular fiction continue to worry her familial, educational, psychological and moral guardians.Using a methodology based on the psychoanalytic theories of Jacques Lacan, I consider the girl reader as a subject split between her unconscious and the identity she cobbles together through identifications with embodied and representational others. Because of this foundational split, she can never fully articulate reading pleasures and their effects can never be calculated with consequence. Reading participates in the girl‘s struggle to achieve the precarious feminine position, and provides her with pleasures along the way. To demonstrate some of the pleasures available to the girl, I undertake readings of texts associated with adolescence and femininity. I examine young adult fiction that is directed at the adolescent reader to expose the pleasures that lie beneath the injunction to adopt a heteronormative adult identity. From books addressing the girl, I move to melodramatic and sensational adult fictions located in the domestic. In these fictions, the girl is stifled and distorted because she is captive to her family and cannot escape to establish the direction of her desire and seek the recognition of the social Other. Finally, I look at texts marked by violence. Taking one fictional text from the horror genre, and one non-fictional true crime text, I explore the unspeakable pleasures of reading about blood and death.In these readings, I investigate both conservative and transgressive pleasures. These pleasures co-exist in all of the fictions explored in this thesis. All reading tends towards the cautionary, and the book cannot corrupt the normally constituted reading girl. Through identifying with characters, she can build up a repertoire of feminine masks and develop an awareness of the precarious position of womanliness. In the end, I argue, the adolescent reading girl cannot be determined or totalised despite the best efforts of the book and its commentators.
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Fong, Ho-yin Ian, and 方浩然. "The return of the feminine: Nietzsche, Freud,Rilke." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38731423.
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Cerny, Z. J. Comino. "Margaret Estelle Barnes And Annie Praed-Australia'S First Women Graduates In Dentistry: Twentieth Century Femininity And Professionalism In Dentistry." Thesis, The University of Sydney, 2000. http://hdl.handle.net/2123/5098.
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Gagliardi, Sarah. "Femininity, faculty and feelings: An investigation of the emotional wellbeing of year 13 women, in the context of school-constructed femininity." Thesis, University of Canterbury. School of Health Sciences, 2015. http://hdl.handle.net/10092/10521.
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The purpose of this qualitative study was to investigate how the emotional wellbeing of female adolescents is influenced by constructions of femininity in a single-sex high school environment. From one single-sex high school, four young women aged 17 and 18 years of age and two teachers were asked to be a part of this study.
A qualitative approach was used in this study to elicit thick description of participants’ constructions of femininity and emotional wellbeing. Underpinning this research is an interpretivist and social-constructivist methodology, whereby social-constructivist researchers attempt to build understanding of phenomena by accessing the meaning that participants assign to themselves through the experiences they have with the world around them. Qualitative data tools were therefore used, including semi-structured individual interviews and focus groups.
Analysis of the data involved a qualitative strategy called thematic analysis. This enabled categories and themes to be taken from the data as they emerged. Key themes from this study demonstrated that the school curriculum, teachers, religious expectations, family experiences and peer group pressures directly influenced student feminine gender constructions. Alongside this, peer pressures to be feminine, negative perceptions of self body image, confusion of self and gender-identity, inadequate school health education and negative stigma surrounding mental and emotional health negatively affected student emotional wellbeing.
From these results, various implications have emerged. First, single-sex schools and its teachers should work to eliminate gendered stereotypes that restrict young women’s interests and opportunities. Second, teachers and schools need to be aware of female peer dynamics and seek ways to facilitate healthy relationships and identity development of its students. Further, health education personnel should factor in female peer group dynamics when implementing emotional wellbeing programmes, curriculum and policy initiatives aimed at female adolescents. Finally, students need realistic and relevant health education that supports understandings and coping strategies for self-esteem, identity confusion and perceptions of body image. Health education also needs to promote a positive view of mental and emotional health and encourage the use of the school’s mental health service.
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Ho, Christiana K. "Femininity and Dance at the Interface of Performance: An Exploration of Femininity through Performance in Suit Up, a Choreographic/Performance Dance Thesis." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/613.
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Femininity and Dance at the Interface of Performance: An exploration of Femininity through Performance in Suit Up, a choreographic/performance dance thesis compiles the research behind Suit Up, a ten-minute dance for six women, which investigates the performance of femininity, and provides a deep analysis of the choreography of Suit Up. This thesis looks at all elements that went into the production of Suit Up and explores the relationship a woman has with her femininity and the performance of her femininity. This thesis focuses specifically on the gestures that the particular women in this piece associate with their femininity and what this means when femininity and dance are explored together as performance. This is by no means a comprehensive thesis about the concept of femininity, but it begins to investigate the idea that women perform femininity in different contexts. What are the various ways in which femininity can be performed, including for one’s own self? A video of Suit Up is available at Scripps Dance.
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Esquirol, Meritxell. "Femininity, neoliberalism and popular culture: the depolitization of feminism." Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/285781.
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This thesis intends to analyze the logics of representation of contemporary femininity in the popular imagery that has instrumentalized feminism. Such is the case of the transmedia narrative The Twilight Saga, the cultural franchise of 50 Shades of Grey, and TV fiction Girls. All of these cultural products have earned an important position in contemporary cultural consumption, invite a form of cultural participation closely linked to the consumer industry, and propose female ideals characterized by a strong sentiment of freedom of choice. However, these ideals are inserted within an androcentric, heteronormative discourse that redirects femininity toward a traditional narrative order. In my analysis we will point out how, under the illusion of a free and autonomous social participation, a meritocratic system of social regulation where feminist criticism stands out as redundant is legitimized. I analyze how the neoliberal economic and socio-cultural project, which develops the idea of an (allegedly) democratic society, promotes the illusion that women enjoy a high social participation and visibility from which they can construct their cultural identity, celebrating feelings of freedom, choice, and female empowerment.
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Benson, Linda G. Trites Roberta Seelinger. "The constructed child femininity in Beverly Cleary's Ramona series /." Normal, Ill. Illinois State University, 1997. http://wwwlib.umi.com/cr/ilstu/fullcit?p9804928.
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Thesis (Ph. D.)--Illinois State University, 1997.Title from title page screen, viewed June 9, 2006. Dissertation Committee: Roberta Seelinger Trites (chair), Jan C. Susina, Heather Brodie Graves. Includes bibliographical references (leaves 227-247) and abstract. Also available in print.
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Porteous, Holly. "Reading femininity, beauty and consumption in Russian women's magazines." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5775/.
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Western-origin women’s lifestyle magazines have enjoyed great success in post-Soviet Russia, and represent part of the globalisation of the post-Soviet media landscape. Existing studies of post-Soviet Russian women’s magazines have tended to focus on either magazine content or reader interpretations, their role in the media marketplace, or representations of themes such as glamour culture or conspicuous consumption. Based on a discourse analysis of the three Russian women’s lifestyle magazines Elle, Liza and Cosmopolitan, and interviews with 39 Russian women, the thesis interrogates femininity norms in contemporary Russia. This thesis addresses a gap in the literature in foregrounding a feminist approach to a combined analysis of both the content of the magazines, and how readers decode the magazines. Portrayals of embodied femininity in women’s magazines are a chief focus, in addition to reader decodings of these portrayals. The thesis shows how certain forms of aesthetic and cultural capital are linked to femininity, and how women’s magazines discursively construct normative femininity via portraying these forms of cultural capital as necessary for women. It also relates particular ways of performing femininity, such as conspicuous consumption and beauty labour, to wider patriarchal discourses in Russian society. Furthermore, the thesis engages with pertinent debates around cultural globalisation in relation to post-Soviet media and culture, and addresses both change and continuity in post-Soviet gender norms; not only from the Soviet era into the present, but across an oft-perceived East/West axis via the horizontalization and glocalisation of culture. The thesis discusses two main aspects of change: 1) the role now played by conspicuous consumption in social constructions of normative femininity; and 2) the expectation of ever increasing resources women are now expected to devote to beauty labour as part of performing normative femininity. However, I also argue that it is appropriate from a gender studies perspective to highlight Russian society as patriarchal as well as post-socialist. As such, I highlight the cross-cultural experiences women in contemporary Russia women share with women in other parts of the world. Accordingly, the research suggests that women’s lifestyle magazines in the post-Soviet era have drawn on more established gender discourses in Soviet-Russian society as a means of facilitating the introduction of relatively new norms and practices, particularly linked to a culture of conspicuous consumption.
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Chew, Wendy Poh Yoke. "Consuming femininity : nation-state, gender and Singaporean Chinese women." University of Western Australia. School of Humanities, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0135.
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My research seeks to understand ways in which English-educated Chinese women in cosmopolitan Singapore bolstered their identity while living under the influences of Confucian values, patriarchal nation-building and racial concerns. My thesis examines women who have themselves been lost in translation when they were co-opted into the creation of a viable state after 1965. Often women are treated as adjuncts in the patriarchal state, particularly since issues of gender are not treated with the equality they deserve in the neo-Confucian discourse. This thesis takes an unconventional approach to how women have been viewed by utilizing primary sources including Her World and Female magazines from the 1960s and 1990s, and subsequent material from the blogosphere. I analyze images of women in these magazines to gain an understanding of how notions of gender and communitarianism/race intersect. By looking at government-sponsored advertising, my work also investigates the kind of messages the state was sending out to these women readers. My examination of government-sponsored advertisements, in tandem with the existing mainstream consumer advertising directed at women provides therefore a unique historical perspective in understanding the kinds of pressures Singaporean women have faced. Blogging itself is used as a counterpoint to show how new spaces have opened up for those who have felt constricted in certain ways by the authorities, women included. It would be fair to say that women?s magazines and blogging have served as ways for women to bolster their self worth, despite the counter-argument that some highly idealized and unhealthy images of women are purveyed. The main target group of glossy women?s magazines is English-educated women readers who are, by virtue of the Singapore?s demographics, mostly Chinese.
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Light, Alison. "Forever England : femininity, literature, and conservatism between the wars /." London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/91000587-d.html.
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Wurster, Jessica. ""Taking 'girly music' seriously" : femininity and authenticity in indiepop." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29527.
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Indiepop was, and is, a musical genre that coalesced around UK punk and post-punk in the early 1980s. From punk, indiepop borrowed certain ideas about the politics of cultural production. What differentiated it from punk was its sound: a decidedly pop emphasis on short, melodic song structures and seemingly simple instrumentation. In embracing independent production, indiepop staked a claim for subculture authenticity over the inauthentic mass products of the mainstream music industry. Yet the defining musical elements were characteristic of the historically feminine pop idiom. The result was indiepop, where masculine authenticity and feminine pop forms melded together and created a music scene that fit uneasily within traditional definitions of subculture. This thesis explores the means by which participants in indiepop, through a concerted project to write their version of musical history, made sense of their particular scene and its place within the larger sphere of (masculine) rock culture.
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Tookey, Helen Jane. "Playing a thousand roles : Anais Nin, fictionality and femininity." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342945.
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Frazer, Elizabeth. "Talking about femininity : the concept of ideology on trial." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293675.
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Major, Emma. "Rethinking the private : religious femininity and patriotism, 1750-1789." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572603.
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Lin, Hoi-to Maurice, and 練海濤. "Time, space and femininity in Wong Kar-wai's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953657.
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Heyat, Farideh. "Career, family and femininity : sovietisation among Muslim Azeri women." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314069.
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Hunter, Maureen Judith. "Fictions of femininity : telling tales of women and power." Thesis, University of Bath, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340980.
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Milovanovic, Dara. "The Fosse Woman : analysis of femininity, aesthetics and corporeality." Thesis, Kingston University, 2018. http://eprints.kingston.ac.uk/42587/.
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Fosse style and ideas regarding gender have radicalised and politicised gender in popular dance on screen. This thesis examines the construction of femininity in Fosse‟s dance repertory for screen through choreography, filmic techniques, and performances by female dancers. Firmly situated in dance analysis, this research relies on an interdisciplinary methodology, which includes dance studies, gender studies, feminist film theory, and post-structuralism. Using theoretical discourses on masquerade, camp sensibility, and feminist film theory the analysis examines the way that female bodies are marked as feminine with choreography and screendance techniques to construct a theatrical performance of hyper-femininity as a political strategy to questions discourses surrounding representations of women in musical films. This thesis critically evaluates the aesthetic properties of spectacle, exaggeration, and artifice in Fosse‟s choreography and its effect on implications of femininity. Representations of femininity are considered in light of aesthetics, specifically excess exhibited through glamour and the grotesque, as a means to comment on gender performativity. This study concentrates on dancing performed by female dancers in Fosse‟s work for screen in order to highlight the construction of femininity as a factor to challenge the hetero-normative, patriarchal system, which surrounds film production and positions images of women as passive. Using poststructural theory, the analysis focuses on the creative labour and corporeal identity of female dancers to challenge Fosse as a sole author of the dances. The examination of historiography indicates that Fosse‟s iconographic dance style and innovation in the way that dance is filmed continues influence on popular dance choreography in the late twentieth and twenty-first century furthers the discussion on authorship and transmission of physical vocabularies through time. Looking through a feminist lens, this study seeks to examine corporeality as subjectivity in order to examine notions of agency and power of female dancers in Fosse‟s work by employing the idea that dance theorises femininity within the film format.
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Mash, Melinda. "The imperfect woman : femininity and British cinema, 1945-1958." Thesis, Middlesex University, 1996. http://eprints.mdx.ac.uk/13594/.
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This thesis investigates the reconstruction of femininity in Britain in the post-war period (1945-1958). This is carried out through an examination of the socioeconomic and cultural formation of the period, contemporaneous cultural commentaries, contemporary critical writing about the cinema audience, and selected British films from the period, including a detailed study of Yield to the Night (1956). The thesis utilises a range oftheoretical approaches to these issues - film theory, feminist theory and epistemology, social and oral history, discourse theory and textual analysis. The methodological framework of the thesis reflects its feminist concerns and, in tum, engages with debates within feminist theory concerning questions of methodology and epistemology. Accordingly, the first chapter outlines the methodological framework of the thesis as well as situating it in relation to published work in similar areas. In addition, this chapter introduces the themes of the subsequent chapters and clarifies certain key terms used throughout. The second chapter concentrates on the socio-economic and cultural formation of the period 1945-1958 and argues that this period is marked by particular discursive formations - 'Austerity', 'Affluence' and' Americanisation'. These are then discussed in relation to the ways that they are gendered and thus promote prescribed forms of femininity and womanliness. Chapter three focuses on the presentation of the period in terms of women's experiences of the time. This is achieved through an analysis of the tensions between domesticity, women's entry into the labour market and the discursive pressures on women at this time. Chapter four extends the arguments presented in the previous chapters with reference to selected films from the period - Dance Hall (1950), Turn the Key Softly (1953) and Woman in a Dressing Gown (1957), which is discussed with reference to Brief Encounter (1945). Chapter five analyses two film publications from the period - Penguin Film Review (1946-1949) and The Picturegoer (1931-1960) - in order to establish the discursive construction of the female cinema audience. Finally, Chapter six is an in-depth analysis of Yield to the Night (1956) with respect to critical and audience reception of the film and the issue of the construction of 'Affluent femininity.'
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Oliver, Harriet. "News and shoes : consumption, femininity and journalistic professional identity." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4762/.
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Almala, Afaf. "Gender and guardianship in Jordan : femininity, compliance, and resistance." Thesis, SOAS, University of London, 2014. http://eprints.soas.ac.uk/20341/.
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This thesis focuses on the role and impacts on women of the system of wilaya (guardianship) - enshrined in Muslim family laws and, more specifically, in the Jordanian Personal Status Law. In this thesis, wilaya over women is treated as crucial to maintaining a system of domination over women, as such designates women as legal minors and forms the basis of women's legal and social subordination. Therefore, I argue that wilaya plays a key role in the reproduction of the gender hierarchy system. The thesis makes three central points with regards to wilaya. First, the systematic inclusion of provisions of wilaya over women serves as a construct of normative femininity. In this light, I address the relevance of the state as a gender regime in analysing how the masculine and feminine selves are constructed and reproduced in the context of Jordan. I also probe how a masculine state works in collaboration with other institutions to give power, founding legitimate operations and procedural methods for institutions such as family and tribe to manage, produce, and construct normative femininity and masculinity. Second, a relationship exists between the extent/degree of wilaya over women and the view of the Self from within, through, or outside the normative construction of femininity. I argue that women's experiences of male authority that intersects with tribal, ethnic and class membership inflect the ways in which women interpret and experience the boundaries of the wilaya system. Therefore, this system impacts the diverse and contradictory constructions of Jordanian women's femininity, where some conform to the system and others contest or embrace a complex combination of compliance, accommodation and resistance. Third, the ambiguous and contradictory state of women's various forms of femininity resulted in women's adoption of practices with a tactical nature, which are also informed by available options, opportunities, and the potential for escaping the wilaya system without facing sanction or punishment. Although these tactics of survival and/or resistance have not ensured a substantive transformation in women's lives at the collective level, they can materialise into strategies aimed at achieving autonomous selves at the personal level, where wilaya is questioned and possibly contested.
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Tristán, Bianca. "Models of body and femininity in a local gym." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/78693.
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Este trabajo explora los ideales de cuerpo y comportamiento femenino presentes en mujeres adultas de nuestra «nueva clase media», que asisten a un gimnasio local o de barrio. Propone que los ideales de cuerpo desarrollados por las alumnas están íntimamente relacionados con tradicionales nociones de roles de género de nuestra sociedad; pero, a su vez, enfatiza el hecho de que ellas, además de buscar alcanzar un cuerpo acorde a las expectativas sociales, también buscan interactuar y/o hacer amistad entre ellas, así como experimentar goce u otras emociones extraordinarias en la realización de la actividad aeróbica en sí, etcétera. De esta forma, el texto explora finalmente cómo el significado que estas mujeres otorgan a su vivencia en el gimnasio no solo no las acerca necesariamente al cuerpo ideal que calza con el estándar social de feminidad, sino que incluso su experiencia se convierte en una oportunidad para discutir y reelaborar los modelos de feminidad en sí mismos y afirmar sus propias narrativas de identidad.The purpose of this work is to explore the ideals of body and behavior among adult women of our new Peruvian middle class attending a gym. It suggests that the ideals of bodies developed in this place are in closely related to traditional notions of gender roles of our society. But, at the same time, emphasizes the fact that they, not only try to have a body in accordance to social expectation, but also to interact or make friends, and to experience a variety of emotions in performing aerobic activity itself. Finally, the paper explores the meaning that these women give to their experience at the gym. Not only does this experience get them closer to the ideal body, fixed by the social standards of femininity, but the experience turns into an opportunity to discuss and remake those models of femininity, and assert their own discourses of identity.
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Lin, Hoi-to Maurice. "Time, space and femininity in Wong Kar-wai's films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262233.
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Conaway, Sasha. "Volunteer Women: Militarized Femininity in the 1916 Easter Rising." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/war_and_society_theses/8.
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Women were an integral part to the Easter Rising, yet until recently, their contributions have been forgotten. Those who have been remembered are often women who bucked conservative Irish society’s notions of femininity and chose to actively participate in combat, which has led to a skewed narrative that favors their contributions over the contributions of other women. Historians and scholars favor these narratives because they are empowering and act as clear foils to the heroic narratives of the male leaders in the Easter Rising. In reality, however, most of the women who joined Cumann na mBan or worked for the leaders of the Easter Rising chose to do so knowing they would take on a supportive role. They did so willingly, and even put the cause of Irish independence above the need for women’s rights. Their duties reflected this reality. Once the Easter Rising was underway, women were needed to support the rebels and did so often under fire from British and Irish fighters. For their participation in the rebellion, some women were arrested, while as a whole, the contributions of these women were derided and downplayed by the larger public. Those women not imprisoned would go on to establish the martyr-myth of the heroic and male Irish revolutionaries executed for their part in the Easter Rising. This led to the women’s histories being forgotten or ignored in favor of the heroic narrative. Even when pensions were made available to compensate participants of the Easter Rising, women only applied out of need and for fear of poverty, rather than to receive recognition. To this day, Ireland and Irish history scholars have ignored the participation of gender-conforming women in favor of the more heroic narrative of women whose experiences more closely resemble those of the Easter Rising’s male martyrs.
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Tengberg, Emelie, and Emelie Lindberg. "The man always gets the best and with goddess skin he'll be wrapped around more than just your finger : En semiotisk analys av två reklamfilmer från företaget Gillette." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-43007.
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Syftet med studien är att undersöka och belysa hur det förekommer skillnader kring maskulint respektive feminint, i två utvalda reklamfilmer för varumärkena Gillette och Gillette Venus. Reklamfilmerna som valdes ut sändes på svensk kommersiell TV under april 2016. Studien undersöker och besvarar frågeställningarna om hur varumärkena och biologiskt kön visualiseras i reklamfilmerna och hur språkbruket uttrycker sig för att tilltala respektive målgrupp. Det teoretiska ramverket utgår från genusteori, varumärkesteori och semiotisk teori. För att undersöka alla betydelsebärande element i reklamfilmerna studeras de utifrån det direkta innehållet och därefter det underliggande inom dem. Det direkta innehållet motsvarar de element som kan ses vid första anblick och därefter vilken underliggande betydelse de kan ha. Dessa motsvarar begreppen denotation och konnotation som varit utgångspunkt i studiens analys. Gillettes reklamfilmer innehåller enligt denna studie stereotyper och normer som skapar fack för hur individer ska förhålla sig till skildringar av förväntad maskulinitet och femininitet. Dessa skildringar uppdagades genom att ställa reklamfilmerna mot varandra i analysen, för att se hur de skiljer sig från varandra. Först beskrivs Gillette Venus reklamfilm för kvinnor och sedan Gillettes reklamfilm för män. Båda utgår från det denotativa innehållet för att sedan analyseras utifrån konnotationer. I sammanställningen av analys och resultat av båda reklamfilmerna diskuteras mytbegreppet i förhållande till denotation och konnotation. Här analyseras de gemensamt utifrån studiens teoretiska ramverk, genus- och varumärkesteori. Studiens resultat i förhållande till valda teorier visar att företaget Gillette upprätthåller och reproducerar genussystemet genom att skildra skeva presentationer av kön. Företagets alla betydelsebärande element skildrar tydliga bilder av hur män och kvinnor ska förhålla sig till varumärkena genom maskulina och feminina drag. Gillette har ett starkt varumärkesbyggande genom att de är tydliga med sitt budskap och lyckas tilltala två skilda målgrupper kvinnor och män. Men utifrån ett genusperspektiv reproduceras stereotyper och normer genom att särskilja biologiskt kön utifrån förväntade preferenser av design. Slutsatsen besvarar studiens frågeställningar genom att delas upp i separata rubriker: Visualisering, Maskulinitet och femininitet, Språkbruk. Vår slutsats i denna studie är att Gillettes och Gillette Venus presentationer av biologiska kön, är stereotypa och blir begränsande för individer som uppmanas att placera sig i maskulina och feminina fack.The purpose of this study is to examine and shed light on differences surrounding masculinity respective femininity in two selected commercials for the brand Gillette and Gillette Venus. The commercials were broadcasted on Swedish commercial TV during April 2016. The study examines and answers the formulation of questions of how the brands and biological sex are visualized in the commercials and how language use is expressed to appeal to respective target audience. The theoretical framework proceeds from gender theory, brand theory and semiotic theory. To examine all significant elements in the commercials, they are being studied through the direct content and later the subliminal content within. The direct content corresponds the elements which can be seen at first glance and later which subliminal importance it may have. These correspond to the terms denotation and connotation which has been the benchmark of the study’s analysis. Gillette’s ads contain, according to this study, stereotypes and norms which creates categories for how individuals should act until depictions of expected masculinity and femininity. These depictions are uncovered by contrasting the commercials to discover how they diverse differ from each other. Firstly, Gillette Venus commercial for women is described and later Gillette’s commercial for men. Both proceed first from the denotative content and later analyzed based on connotations. In the compilation of analysis and result of both the commercials, myth is discussed in relation to denotation and connotation. This part analyzes the common basis of the study's theoretical framework, gender and brand theory. The study’s result, in relation to selected theories, indicates how the brand Gillette maintains and reproduces gender order through depraved representation of gender. The company's all important structural elements depict transparent images of how men and women should relate to the brands through masculine and feminine traits. Gillette has a strong brand building in that they are clear about their message and manages to appeal to two different target groups of women and men. However, from a gender perspective reproduced stereotypes and norms by distinguishing biological sex based on expected preferences of design. The end result answers the study’s questions by being divided into separate headlines: Visualisering, Maskulinitet och femininitet, Språkbruk. Our conclusion is that Gillette and Gillette Venus’ presentations of biological sex is stereotypical and becomes limiting to people who are encouraged to allocate themselves to a masculine and feminine category.
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Bates, Charlotte. "Writing out of place : women's fiction of the inter-war period." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/9751/.
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Caswell, Timothy Andrew. "The fear of femininity vs. the fear of death and attitudes towards lesbians and gay men." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=263.
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