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1
Matic, Mislav. "Concerning feminine and feminite approaches to ethics". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ32938.pdf.
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Rodrigues, Cláudia Susana Tavares. "Feminine/ Feminist Reflections on Fairy Tales". Master's thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/15244.
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Mestrado em Estudos InglesesTo analyse some fairy tales such as Beauty and the Beast and Snow White and the Seven Dwarfs from the perspective of modern feminism is like revising the paradigms which form our romantic expectations and illustrate psychological ambiguities that frequently confuse contemporary women. Portraits of adolescents waiting and dreaming, patterns of enchantment, and the romanticism of marriage contribute to the power of fairy tales. However, such fantasies praise the heroines’ incapacity to act independently, the reliance on exterior rescue and the binding to the father or to a prince. Although many readers recognise obvious elements of fantasy, they sometimes still identify themselves with the heroes and especially with the heroines. Unconsciously, women can transfer from the fairy tales to the real world cultural norms, which exalt passivity, dependency and self-sacrifice as feminine virtues. Intrinsically, fairy tales perpetuate the male status quo, making female subordination seem a desirable fate from which it is impossible to escape. It is this feminine perspective and feminist criticism that I intend to expose in my thesis, touching on the importance that fairy tales still have today, in the 21st century, not only on child rearing but also on the adults’ behaviour. In this thesis, I briefly explain how fairy tales emerged several centuries ago and how they evolved until our time in several versions, with several perspectives. My purpose is to analyse how fairy tales, on the one hand can influence us positively, showing us what is good and what is evil, and on the other hand, can influence us negatively because they present us with the “socially” accepted behaviours expected from women. In fairy tales, women are almost always represented as stepmothers and bad witches or as sweet, passive princesses dependent on the male image (father or prince) in order to be happy. It is this representation of female image that I intend to explore and analyse, showing my point of view of how fairy tales continue to represent behavioural models considered adequate to the female sex and to mirror a female image which is still accepted and seen as the most adequate – the image of a submissive, passive woman waiting for her prince charming to save her and bring her the desired happiness.
Analisar alguns contos de fadas como A Bela e o Monstro e A Branca de Neve e os Sete Anões sob a perspectiva do feminismo moderno é como rever os paradigmas que formam as nossas expectativas românticas e ilustrar ambiguidades psicológicas que frequentemente confundem as mulheres contemporâneas. Retratos de adolescentes à espera e sonhando, padrões de encanto, e o romantismo do casamento contribuem para o poder dos contos de fadas. Contudo, tais fantasias exaltam a incapacidade das heroínas em agir independentemente, a confiança na salvação exterior e a ligação ao pai ou a um príncipe. Apesar de muitos(as) leitores(as) reconhecerem elementos de fantasia óbvios, eles(elas) por vezes ainda se identificam com os heróis e especialmente com as heroínas. Inconscientemente, as mulheres podem transferir dos contos de fadas para o mundo real normas culturais que exaltam a passividade, dependência e auto-sacrifício como virtudes femininas. No fundo, os contos de fadas perpetuam o status quo patriarcal, fazendo a subordinação feminina parecer um destino desejável e ao qual é impossível escapar. É esta perspectiva feminina e de crítica feminista que eu pretendo expor na minha tese de mestrado, abordando a importância que os contos de fadas continuam a ter hoje, em pleno século XXI, não só na educação das crianças como no comportamento dos adultos. Nesta tese, faço um breve resumo explanando como os contos de fadas surgiram há vários séculos atrás e como eles evoluíram até aos nossos dias em várias versões, com perspectivas diversas. O meu intuito é analisar a forma como os contos de fadas, por um lado nos podem influenciar positivamente, mostrando-nos o que é o bem e o mal, e por outro lado nos podem influenciar negativamente pois apresentamnos os comportamentos “socialmente” aceites e esperados das mulheres. Nos contos de fadas, as mulheres são sempre representadas como madrastas e bruxas más ou então como princesas meigas, passivas e dependentes da imagem masculina (pai ou príncipe) para serem felizes. É esta representação da imagem feminina que eu pretendo explorar e analisar, expondo o meu ponto de vista de como os contos de fadas continuam a representar modelos comportamentais considerados adequados ao sexo feminino e a espelhar uma imagem feminina que ainda hoje é aceite e vista como a mais adequada – a imagem da mulher submissa, passiva e à espera do seu príncipe encantado para a salvar e lhe trazer a felicidade tão ambicionada.
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Boff, Ediliane de Oliveira. "De Maria a Madalena: representações femininas nas histórias em quadrinhos". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-20052014-123753/.
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Trata das representações de protagonistas femininas nas histórias em quadrinhos, enfatizando exemplos de histórias que abordam concepções identitárias distintas. Com o intuito de compreender como o feminino aparece em determinadas criações, esta tese se apoia nos pressupostos metodológicos da Hermenêutica de Profundidade, de John B. Thompson (2011). Assim, a pesquisa apresenta dois momentos dorsais, sendo que o primeiro aborda as construções femininas, a partir da perspectiva de autores masculinos; e o segundo aborda tais construções a partir da perspectiva de autoras-mulheres e do autor transgênero Laerte. Em princípio, foram enfatizadas as personagens das obras Rê Bordosa, Mara-Tara, As skotinhas, Radical Chic e Aline. Posteriormente, tratou-se de destacar também as criações Mulher de 30, Amely: uma mulher de verdade, Uma Patada com carinho e Muriel. Dessa forma, constatouse que grande parte dessas narrativas oscilam entre criticar, debochar e apoiar uma ideia de feminino fundamentada na mística feminina, desenvolvida pela pensadora Betty Friedan (1971).The feminine issue within today\'s society is an essential part of the communication field. In comics, the female representations are even more intricate. Based on that, and emphasizing cases that present differents conceptions of identity, this research is constituted by two dorsal moments: the first of which covers the female constructs from the perspective of maleauthors; and the second discusses such constructions from the perspective of the femaleauthor and Laerte, who is, by the way, a transgender author. In order to understand how the female shows up in several creations, this thesis is based on the methodological assumptions of John B. Thompson (2011). First of all, were objects of this work the characters Rê Bordosa, Mara-Tara, As skotinhas, Radical Chic and Aline. Later, were added the works Mulher de 30, Amely: uma mulher de verdade, Uma patada com carinho; and Muriel. Thus, there is a large evidence that the most part of these narratives swings between scoffing and supporting the idea of female, based on the feminine mystic, by Betty Friedan (1971).
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Jones, Marie F. "Academic Libraries as Feminine and Feminist Models of Organization". Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1920.
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Because academic libraries are primarily staffed by women and are relatively autonomous entities in colleges and universities, they offer a unique model of workplace gendering and feminism. This qualitative, ethnographic study examined 3 small college libraries in 3 regions of the United States and explored issues of bureaucracy and gendering in these libraries. Feminist challenges to bureaucracy emerged in the areas of hierarchy, division of labor, competition and collaboration, decision-making, and communication. Feminine practice in the libraries reflected private sphere attitudes toward work (values of community, emotionality, and caring) and an affirmation of feminine roles in the workplace. The organizational cultures of these libraries affirmed flexible scheduling, emotions and friendship at work, and parenting talk and behaviors. The library workers also engaged in an ethic of care for library users and colleagues. Individuals in the organizations expressed motivations for work not based in monetary or status gain and endorsed women's power in leadership roles. The gendering of libraries also placed strong masculinity outside of the norm, creating expectations for men to engage in androgynous or feminine behavior. Overall, the study gives voice to feminine and feminist practice in the workplace.
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Mantecon, Laurie. "Feminine Rhyme". PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5220.
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'Feminine Rhyme' is a sequence of objects and paintings that resonate with women's experience in contemporary culture. The components I have used are: the structure of the grid, aggressive surface handling, and language derived from text. I have reconfigured these elements to direct the viewer in exploring layers of information that can be viewed in fragments as well as understood within the containment of a sound whole. I have explored the relationship of gender identity in our culture, and the role women play in association to masculine power. Through repetitive use of the grid, combined with isolated words and images, I have created paintings that can be read either in a formal manner through the use of structure and materials that are visually pleasing, or in context to a visual dialogue of contemporary gender myths. By fragmenting text in the form of torn book pages, I have altered and personalized the order, lending weight to chaos. Words become a form of mark making, a lyrical device to be read at random. I have obscured the imagery by hiding the text, leaving only scattered bits of information. These bits are derived from a 'therapeutic model' found in self help books, diet books and romance novels which exploit "feminism" as a commodity, serve as cultural documents, and influence women as to how they should perceive their bodies, their minds, their freedom. The end result is a visual interplay of form and color within the context of personal testimony and societal conditioning of the female experience in contemporary culture.
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Eileen, Clements. "Re(dis)covering the creative power of eros : finding liberation from neoliberalism through the feminist awakening of aphrodite-demeter consciousness". Thesis, Federation University Australia, 2019. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/173363.
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There is a problem with western patriarchal capitalist narratives of love and connected models of subjectivity which some feminisms, in particular, neoliberal (post)feminism, continue rather than criticise. This is a problem, not only because these feminisms uphold existing patriarchal structures and values, but because models of patriarchal subjectivity are founded on a repression and devaluation of love that contributes to what I am naming a ‘crisis of love’ in neoliberal societies. While some solutions to this problem have been offered, including by feminist love studies scholars, none of the solutions address the whole issue – for example, feminisms that ignore issues of spirituality and the female subject’s relationship to the divine, and the impact of myth on the psyche. Until these aspects are included in a rethinking of both female subjectivity and narratives of love, the problem will not be solved. There are many kinds of love but Eros in particular, which is such a charged narrative in western patriarchal capitalist society, is the kind of love that most urgently needs to be rethought and re(dis)covered. Through examination of the major founding myth of female subjectivity for western patriarchy – the Madonna/whore binary – a pathway to addressing this problem of love becomes possible. Rethinking this binary according to reinterpretations of the myths of Aphrodite and Demeter offers a rethinking of Eros as a creative, life-affirming power. This renewed narrative of Eros creates new models of female subjectivity – and the potentiality for new models of ethics – that challenge the contemporary neoliberal paradigm.Doctor of Philosophy
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BOCLIN, MONICA CARVALHO PINTO. "TIME, FEMININE AND IDENTITY: THE FEMININE IDENTITY IN OLD AGE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4436@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOA velhice é uma categoria que adquiriu recentemente maior visão social, e apesar de muitos já terem e voltado para o estudo dessa população , a imagem do velho, no Brasil, ainda sofre com alguns preconceitos consequentes da falta de informação e divulgação. Os idosos formam uma população em que o número de mulheres é dominante e mais disponível na busca de melhorias para a sua qualidade de vida. A mulher, ao longo do tempo, sofreu com uma desvalorização social de suas capacidades, considerada como inferior ao homem e por esse motivo depentente dele. Tal condição histórica e cultural teve , não só grande influência nos estudos de Freud sobre o feminino, como desdobramentos na formação da população de mulheres neste estudo, que se apresentam na clínica. Tomando a psicanálise como referêncial teórico, esse trabalho tem como objetivo pesquisar a imagem feminina na velhice. Utilizando para isto, a clínica psicológica das mulheres atendidas em um ambulatório para idosos da UFRJ- Instituto de Psiquiatria- CDA. Devido à preocupação com a qualidade de vida dessa população que vem se tornando mais extensa, a clínica psicológica adquiriu grande importância como agente facilitador de um equilíbrio na saúde das mulheres que buscam atendimento por se sentirem tristes, ansiosas e amedontradas. Através do estudo sobre o feminino e o envelhecimento, baseado na escuta desse sofrimento pudemos traçar uma imagem do feminino na velhice e considerar algumas possibilidades que atenuem esse mal- estar. Ainda aliada à psicanálise, com base nas teorias que ressaltam a importância do corpo e das marcas afetivas pré- verbais na formação psíquica do indivíduo, concluímos que a imagem feminina é sustentada, na fase de decadência do corpo jovem, símbolo do feminino em nossa cultura, por um processo de formação de identidade satisfatório, ou como resultado de um resgate desse afeto por um tratamento de análise.
Old age is a very recente category, in spite of many people having studied already this sector of the population. Nevertheless, the image of na elder in Brazil is still the object of prejudice as a consequence of lack of information and communication. In the population of old persons, the contingent of women is more willing to express itself and struggle for a better quality of life. Women have suffered throughout history because their value as individuals was not appreciated by society, since they were considered inferior to men and therefore, dependent on them. S. Freud has shown that this historical and cultural prejudice has had great influence on the psychology of women. It is obvious in the education of the female population tha presents itself at the clinic where this study has been conducted. Using psychoanalyses as a theoretical reference , this paper has as an object the research of feminine image in old age. The population used in this study is that of the women treated at the psychology clinic in an ambulatory for the elder of the UFRJ-Instituto de Psiquiatria- CDA. The quality of life of this population, which has been growing, has been the main objective of the psychology clinic. The clinic has gained in importance as an agent that is helping the acquisition of mental health and equilibrium by the women who look for help because thy feel sad, anxious and afraid. Listening to their suffering, we were able to draw an image of women facing old age and consider some of the possible causes of their unhappiness. In association with psychoanalyses, and based on theories that emphasize the importance of the body and of non-verbal signs of affection in the psychic development of individual, we have concluded that the feminine image, which is sustained in the period of life that corresponds to the decadence of the young body, symbol of the feminine in our culture, is the result of a satisfactory process of identity acquisition in early life or of an adequate process of analysis in later life, when the previous identity acquisition was not satisfactory.
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Sleeman, Lauren. "The forgotten feminine". Click here to access this resource online, 2007. http://hdl.handle.net/10292/422.
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The topic of my research is the lived experiences of eight psychotherapists and counsellors who consciously work with unusual phenomena as it arises in the therapeutic encounter. Unusual phenomena in this thesis refers to felt experiences which are considered to be beyond the everyday in the Cartesian paradigm and are often referred to as spiritual and/or mystical phenomena. Exploring these phenomena brings to light the potentialities in the vastness of consciousness which is considered to be an integral aspect of human existence in the thesis. I chose Heidegger’s hermeneutic phenomenological methodology for the research because it gives credence to the many and varied possibilities and potentialities both in particular lived experiences and in human existence as a whole. Van Manen’s lived existential provides the framework in which the participants’ experiences are explored. What emerged from the research is that unusual phenomena are not unusual for the participants. Although such phenomena are less visible and therefore less familiar in the everyday world, they are recognizable through their consistent presentation. This includes the participants having a powerful sense of ‘knowing’ which is all-encompassing and is beyond familiar landmarks such as the linear models of time and space. The participants bring their ‘knowing’ into the everyday world through embodiment and through their acknowledgment of the interconnectedness of existence. The expression of interconnectedness is experienced by the participants as lovingness, from which the ability for immediate healing in their therapeutic work becomes apparent. The participants’ accounts show a capacity for accessing the subtleties of human existence which emerge in the phenomenological process as the forgotten feminine of consciousness. The feminine of consciousness is a term used to describe a fundamental state of ‘being’ in contrast to the everyday masculine principle of ‘doing’. The research has implications for psychotherapy and counselling as it illuminates the need for a holistic approach which acknowledges the multidimensionality of human existence.
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Miller, Rosalena L. "The Feminine Ideal". Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/17.
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While footwear was originally meant to protect the feet and enable the wearer to span larger distances and rough materials, today shoes are often seen as a fashion statement and a sex symbol for women. In his book, Of Cigarettes, High Heels, and Other Interesting Things, Marcel Danesi examines how high heels have moved away from the original purpose of shoes and now “seem to contravene this function. They are uncomfortable and yet millions of women wear them." They have moved from practicality to a sign of femininity, sexuality, and power.
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Tilley, Jane Lucinda. "Feminism and the feminine in Yolande Villemaire's La vie en prose". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28553.
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Exposing the fallacies of the existing ideological system founded upon a linguistic system of signifieds, recent women's writing has aimed to deconstruct the numerous hierarchies and stereotypes used against women, thus clearing a space for the hitherto repressed feminine and the marginal. The inclusion of a vast range of intertextual borrowing in La Vie en prose, by Yolande Villemaire, challenges the elitist boundaries erected by the closed academic literary world, incorporating elements from all genres and levels. Thanks to the diversity and number of these borrowings. La Vie en prose refuses the setting up of any new hierarchy, constantly questioning any classification to the extent that the whole concept of valorisation becomes ridiculous and irrelevant. This variety is imitated on an "intratextual" level as the text appears to be made up of a number of diverse texts produced by a dozen or so women writer-narrators. Again, the process of classification is thwarted as the idea is shown to be not only patriarchal, but also a result of a fundamental need or insecurity which apparently motivates the patriarchal obsession with nominisation and labelling. Similarly, the deceptive nature of the discourse which expresses this ideology, traditionally seen as concrete and infallible, is exposed and deconstructed. The "one word for one meaning" doctrine is replaced by a myriad possibilities of signification and language, as the text plays with the power of association which constitutes the text's digressive quality, exploiting both the phonetic and the graphic. This treatment of language represents an attempt to destroy the phallocracy through a dismantling of its discourse, seen as a powerful political and repressive tool. The "feminine", traditionally seen as the antithesis is reinscribed in a fluid and infinite discourse which patterns the rhythms and indeterminacy of women's jouissance. This is reiterated in a focus given to women's sexuality and to a fragmented feminine subject, considering the question of "nature versus nurture", the "maternal instinct", women’s sexual pleasure and their relationships with men. The text refuses all possibilities of hierarchisation on the literary, sexual and any other level, while the "laugh of the Medusa" echoes throughout.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Stabile, Sergei. "The seduction of the feminine : Irigaray and Baudrillard on feminine subjectivity /". Title page, contents and thesis outline only, 1996. http://web4.library.adelaide.edu.au/theses/09AR/09ars7753.pdf.
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Gillespie, Betty Lynn. "Stress and the feminine self-concept : responses to feminine and gender-neutral stressors as a function of feminine self-evaluation /". Diss., This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-02052007-072446/.
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Sybylla, Rose. "Feminism, Foucault and menopause : the construction of the modern western feminine subject /". Title page and contents only, 1989. http://web4.library.adelaide.edu.au/theses/09AR/09ars981.pdf.
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Ranger, Holly Anne. "The feminine Ovidian tradition". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7116/.
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While the growing body of literature on the relationship between feminist theory, classical myth, and classical scholarship has contributed to an understanding of general scholarly trends, there has not been a sustained examination of the relationship between feminist scholarship and classical receptions. Furthermore, the field of classical reception studies focuses almost exclusively on male authors and widely ignores female voices. This thesis addresses these lacunae through detailed discussions of the Ovidian receptions of four women writers active between 1950 and the present: Sylvia Plath, Timberlake Wertenbaker, Josephine Balmer, and Saviana Stănescu. The thesis tracks the ‘difference made’ by feminist scholarship on their varied receptions, and the ways in which recurrent concerns in their engagements prefigure, echo, or explicitly draw upon feminist theory and feminist Ovidian scholarship. This thesis poses the argument that women’s classical receptions offer a critical tool to advance feminist classical scholars’ attempts to ‘reappropriate the text’, by reclaiming female narrative authority from the male poet and interpellating the ‘resisting reader’. This diverse, yet characteristically feminine, Ovidian tradition challenges existing reception traditions based upon male practitioners alone, and reawakens the political and aesthetic critique at the heart of Ovid’s poetry.
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MONCHOTTE, ISABELLE. "Hperprolactinemie et infertilite feminine". Montpellier 1, 1990. http://www.theses.fr/1990MON11215.
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Trimble, Anna Claire, i Donna Marie Venardos. "Feminine socialization or codependency". CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/822.
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Williams, Rose M. A. "Feminine fictions: An embodied autobiography : navigating feminine embodied ontologies with/in aesthetic autobiography". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1822.
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“In Speculum I wrote that to re-establish a political ethics a dual dialectic is necessary, one for the male subject and another for the female subject (pp223-4). Today I would say that a triple dialectic is necessary: one for the male subject, one for the female subject and one for their relationships as a couple or in a community. The weak and strong point of this quest concerns the issue of subjectivity and objectivity for women.”
Pg 39 Irigaray, L (1994) Thinking the Difference: for a peaceful revolution trans Karin Montin, Routledge New York
The Feminine Fictions project takes on Irigarays challenge for "A Peaceful Revolution” to find its genesis between men and women through enabling dialectics - an interaction between masculine and feminine subjectivities at the point of difference and within the context of relationship and community.
For Irigaray, historically repressed feminine subjectivities must continually be (re)constructed/ transgressed in order for such dialectics to be both possible and empowering. In Feminine Fictions I take up Irigarays engagement in the hope that doing so will re-create bonds of relationship and community for and with women that yield such enabling returns. To do so I use the axes of symmetry and scale that Irigaray identifies - working from the subject to the transcendent, from the cosmic to the divine and from the microcosmic to the macrocosmic. Masculine and Feminine appear as continually coalescing co-ordinates rather than limits in these axes, moments of opportunity rather than fixed references points and using subjectivity as a portal for viewing the cultural construction of “objective” experience. I adopt Irigarays mechanisms of mimesis, alterics and transgression (Irigaray 1981 a & b, 1985 a & b, 1986,1987 a&b, 1989, 1990, 1994, 1999,2000) through autobiography (Miller 1991, Benstock 1988, Brodzki & Schenk 1988) to inquire into my own embodied, engaged subjective experiences. I work from that position to cross and re-cross ontological thresholds, and through that continual movement, to articulate feminine subjectivities that arise in dialogue with the Other, amongst community.
Feminine Fictions poses a series of questions: What can embodied aesthetic engagement reveal through/for “the feminine” as a site of difference? How does this impact through/on my particular ontological and subjective experiences (and vice versa)? How is this significant for contemporary feminisms?
I use written and factured terms – aesthetic practice and performance - to re-member, generate and extend my subjective experience and finally articulate and record that experience of being-in-the-world in response to these concerns (MacDonald: Swindells 1995). The project culminating in an embodiment of the ontological research through an installation and performance event at Fremantle Prison on December 8 2002 involving 55 members of my epistemic community (Babbit: Alcoff & Potter), including my family.
The evening provided an opportunity to undertake multiple ‘readings’ of the work and a way to mimetically re-construct my personal inquiry process in collective terms. The organising metaphorical structure of the event, the Stations of the Cross, foregrounded the incarnational aesthetic of embodied difference, ontological construction and transgression central to the project (Bozarth 1997, Irigaray 1986 & 2000). The prison became a laboratory that could be used collectively and personally by each participant to explore their own embodied experiences of being-in-the-world and explore their own ontological orientations and philosophies-in-action.
The entire project was then produced into an exegetical theses as a CD ROM in website format to extend the proposal of embodied ontology into cyberspace and contemporary technological constructs (Wiley: Price & Shildrick 1999). The website format also allowing for a labyrinthine structure that can bring together the factured and conceptual work through geographical space into the alteric space of the internet.
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Barros, Cristiane Amaral de. "Iemanjá e pomba-gira: imagens do feminino na umbanda". Universidade Federal de Juiz de Fora (UFJF), 2006. https://repositorio.ufjf.br/jspui/handle/ufjf/3261.
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No atual cenário religioso do Brasil, a umbanda seria, dentre as demais religiões afrobrasileiras, aquela considerada como verdadeiramente brasileira, por ter sido constituída neste país, a partir do encontro das tradições dos cultos africanos, católicos, kardecistas, esotéricos e ameríndios, dentre outros. Nessa religião, que reflete em seu culto grande parte dos anseios, demandas, conflitos, contradições e perspectivas da sociedade na qual se desenvolveu, compõem seu panteão dois símbolos femininos intrinsecamente distintos, mas igualmente fortes e significativos da condição feminina. Iemanjá, originariamente Grande Mãe africana, com notável poder, e modelo feminino, por excelência, de todo o panteão afro-brasileiro, apresenta, na umbanda, uma associação de vários atributos diferenciados que engendraram uma imagem complexa de mãe, mulher, virgem, sereia e santa, transformando-a em entidade essencialmente maternal, feminina, mas quase assexuada. De outro lado, surge Pomba-gira, personagem feminina com forte conteúdo sexual, erótico e sedutor, presente e atuante nesse culto como também uma grande imagem de feminino, representante de atributos distintos, diversos e bastante contrastantes daqueles representados por Iemanjá. Não ao lado de Iemanjá, mas junto com esta, Pomba-gira assume, na umbanda, a condição de grande entidade feminina, compondo um modelo complementar e contrastante de atributos inerentes à sexualidade feminina. Dessa forma, pretende-se compreender o que, realmente, a referida religião vem propor em termos de imagem ou modelo feminino em seu culto, distanciando de modo tão ostensivo o imaginário feminino da mãe – Iemanjá – e o da mulher sexualizada – Pomba-gira. O presente estudo se propõe a encontrar algumas respostas que contribuam para identificar e compreender qual vem a ser, na atualidade, a imagem proposta de feminino dentro da umbanda, a partir da compreensão dos conteúdos valorativos e conceituais contidos nessas duas representantes míticas, por excelência, da condição feminina de seu panteão, e em que medida essa imagem se apresenta e se insere no cotidiano da vida das mulheres umbandistas.
Among all the Afro-Brazilian religions composing the religious scene in Brazil, Umbanda is the only one to be considered truly brazilian, as it originated in this country, combining elements of African religions, Catholicism, Kardecist Spiritualism, Esotericism, and South American Indian practices, among others. The Umbanda religious cult reflects a great part of the aspirations, demands, conflicts, contradictions, and perspectives of the society where it developed. Its pantheon includes two intrinsically distinct female symbols, which are equally strong and significant of the feminine condition. Yemanja, originally an African mother goddess with notable power, is a feminine model par excellence of all the Afro-Brazilian pantheon, and presents, in Umbanda, an association of various distinct attributes which engendered her complex image of mother, woman, virgin, siren and saint, making her an essentially maternal and feminine, but almost asexual, entity. On the other side, there is Pomba-gira, a female figure with strong sexual, erotic and seductive content, present in this cult as another important symbol of femininity, representing different attributes, in contrast with those represented by Yemanja. Together with Yemanja, rather than by her side, Pomba-gira assumes, in Umbanda, the condition of great female entity, composing a contradistinctive complementary model of attributes inherent to feminine sexuality. The present study seeks to comprehend what Umbanda actually proposes in terms of image or model of femininity in its cut, separating so ostensively the feminine images of mother – Yemanja – and sexed woman – Pomba-gira. We intend to identify and understand the female image currently proposed by Umbanda, starting from the comprehension of evaluative and conceptual contents present in these two mythical figures, representing the feminine condition par excellence of their pantheon; and to what extent this image is present in the everyday life of Umbandist women.
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Guyon, Elisabeth Louise. "The New Feminine Rhetoric: Wollstonecraft, Austen, and the Forms of Romantic-Era Feminism". Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2324.pdf.
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McCabe, Janet. "Addicted to distractions : imagined female spectator-participants and the early German popular cinema as discourse, 1910-1919". Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369685.
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Reboul, Dominique. "Activite professionnelle feminine et prematurite". Université Louis Pasteur (Strasbourg) (1971-2008), 1989. http://www.theses.fr/1989STR1M241.
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Irvine, Robert P. "Walter Scott and feminine discourse". Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/21317.
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This thesis examines the relation between Scott's fiction and the late eighteenth-century feminine domestic novel as it appears at the interlinked levels of discourse and plot in the Scottish Waverley novels themselves. Scott's fiction brought a new sort of realism to the novel in its enlightenment understanding of society and history as objects of knowledge, but the plots of the novels are not used to signify social or historical reality. Because social history has no ending, narrative closure is provided instead by extra-historical agents in the text. In Part One I examine how this autonomous agency is derived from the autonomy of young women characters in Waverley, Guy Mannering and The Black Dwarf, an autonomy they owe to their status as signifiers of the domestic fiction which dominated the novel in the decades before 1814. The language of the feminine domestic novel appears within the first half of each text in opposition to the realist discourse of the general narrator. This feminine discourse then disappears from the text, but remains as an other to its realist discourse in the form of an agency which can bring the plot to a proper ending as its realist discourse alone cannot. In the last two instances this agency is associated with folk-culture and the supernatural, and I suggest that its owes its survival within the text to its availability as an object of knowledge in that realist discourse, even while it owes its efficacy to the discourse of the domestic novel. Thus the plots of these novels suppress feminine discourse while ultimately depending on it for their closure. It might be, of course, that Scott is obliged to locate his new type of fiction in relation to this established genre in the early novels as a way of making his texts accessible to an as-yet unestablished readership.
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Boyes, Emma Louise. "The masquerade of the feminine". Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16250/1/Emma_Boyes_Thesis.pdf.
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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
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Boyes, Emma Louise. "The masquerade of the feminine". Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.
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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
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Santos, Maria Aparecida Conceição Mendonça. "A domesticação do corpo e a subversão da sexualidade feminina na literatura: do Iluminismo ao Naturalismo". Universidade Federal do Maranhão, 2015. http://tedebc.ufma.br:8080/jspui/handle/tede/1514.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
This work consists in showing a reflection about the female sexuality through a rich dialogue between History and Literature in order to highlight the assimilation and spread of the imaginary about the female body through literary works and movements. For this purpose, it was highlighted, first, some symbolic constructions that promoted the conception of an alleged ontological existence of a feminine nature, resignified in this research by the idea of an eternal feminine, that it would be appropriate and disseminated through various legitimating discourses, among them, the very literary discourse. In addition, it aims to emphasize not only the external influences exerted on literary discourse in the representation of a particular conception of reality guided by the hierarchical difference between sexes, but it also highlighted the active character of the literature in the construction and propagation of those values. Concomitantly with this, it was emphasized during the research, the mechanisms of control and repression that acted upon the female body and sexuality, which would be gradually produced, operated and improved according to the needs and interests of each society. In this perspective, in order to analyze the views on femininity propagated by the literature of the Nineteenth Century, it was evidenced the ruptures and continuities in relation to both social imaginary as the behaviors and meanings that were directed and imputed to women, taking another times as reference, observing, as well, its transformations along time, which would be ruled not only by the substitution of a discourse by another, but, mainly, by the continuous overlapping of a discourse by another, forming, in this way, a long-term structure. For this purpose, it demonstrate the perception of some authors of the Enlightenment regarding this issue, as well, as how the writers of the Romantic and Realistic movements worked this theme. Finally, it aimed to prioritize the analysis of the Naturalist School, relating it to the theme worked through the production of authors such as Émile Zola, Aluísio Azevedo and Júlio Ribeiro, highlighting how the nuances about female sexuality were manifested in their productions and the way which the various institutionalized knowledge of the Nineteenth Century sought todeny it, idealize it, and, finally, objectify it.
O presente trabalho consiste em apresentar uma reflexão sobre a sexualidade feminina a partir de um rico diálogo entre a História e a Literatura, com a finalidade de evidenciar a assimilação e propagação de um imaginário sobre o sexo feminino por meio de obras e estéticas literárias. Para tanto, destacou-se, primeiramente, algumas construções simbólicas que promoveram a concepção de uma pretensa existência ontológica de uma natureza feminina, ressignificada nesta pesquisa pela ideia de um eterno feminino, que seria apropriada e disseminada por meio de vários discursos legitimadores, dentre os quais, o próprio discurso literário. Ademais, buscou-se enfatizar não apenas as influências externas exercidas sobre o discurso literário na representação de determinada concepção de realidade pautada na diferença hierarquizante entre os sexos, mas, também, evidenciar o caráter ativo da Literatura na construção e propagação deste mesmo ideário. Concomitantemente a isto, enfatizou-se no decorrer da pesquisa os mecanismos de controle e repressão que atuavam sobre o corpo e a sexualidade feminina, que seriam, gradualmente, produzidos, operacionalizados e aperfeiçoados de acordo com as necessidades e interesses de cada sociedade. Nesta perspectiva, com a finalidade de analisar as visões de feminilidade propagadas pela Literatura do século XIX, evidenciou-se as rupturas e permanências em relação tanto ao imaginário social quanto aos comportamentos e significados que foram direcionados e imputados às mulheres, tendo por referência outras épocas, observando, assim, suas transformações ao longo do tempo, que seriam pautadas não apenas pela substituição de um discurso por outro, mas, principalmente, pela sobreposição contínua de um discurso sobre outro, vindo a formar, assim, uma estrutura de longa duração. Para tanto, buscou-se demonstrar a percepção de alguns autores do Iluminismo sobre tal questão, assim como a forma como tal tema foi trabalhado pelos literatos da estética Romântica e Realista. Por fim, priorizou-se a análise da Escola Naturalista, relacionando-a ao tema trabalhado a partir da produção de autores como Émile Zola, Aluísio Azevedo e Júlio Ribeiro, destacando de que forma as nuances acerca da sexualidade feminina foram apropriadas em suas produções e a maneira a partir da qual os mais variados discursos e saberes institucionalizados do século XIX buscaram negá-la, idealizá-la e, por fim, objetificá-la.
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Meinen, Sarah. "POLITICAL FEMININE STYLE AND FIRST LADY RHETORIC: FEMINIST IMPLICATIONS OF A WHITE-GLOVE PULPIT". Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1051189500.
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Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2003.Title from first page of PDF document. Document formatted into pages; contains iv, 127 p. Includes bibliographical references (p. 107-114).
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Ritzén, Gisela. "The Monstrous Feminine : i Takashi Miikes filmer". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26942.
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I slutet av 90-talet sköljde en våg med asiatisk skräckfilm in över västvärlden. Filmerna handlade om kvinnor som dött en våldsam eller orättvis död och nu var tillbaka för att hämnas. Takashi Miike är en av de mest kända japanska regissörerna som har bidragit till den japanska skräckfilmsgenren som fick så stor spridning i väst. Syftet med den här uppsatsen är att undersöka vilka kvinnoroller som finns representerade i fyra utav Miikes skräckfilmer och hur de framställs. Uppsatsen utgår från klassisk feministisk filmteori och undersöker om Barbara Creeds ”the monstrous feminine” och Carol Clovers ”the final girl” finns representerade i Miikes filmer. Bland uppsatsens slutsatser går det att finna att ”the final girl” delvis finns representerad i Miikes filmer, dock inte i samma utsträckning som i amerikansk skräckfilm, samt att man kan stöta på en viss problematik när man applicerar Creeds och Clovers teorier på filmer som inte följer ett västerländskt berättande.
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Hamilton, Jayne. "Gender representation and textual strategies in the films of Pilar Miro". Thesis, University of Newcastle Upon Tyne, 1997. http://hdl.handle.net/10443/286.
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This thesis aims to demonstrate the interrelatedness of the rebellious form and content of Pilar MirO's first six films - La petición (1976), El crimen de Cuenca (1979), Gary Cooper gue estás en los cielos (1980), Hablamos esta noche (1982), Werther (1986) and Beltenebros (1991). The Introduction provides a brief outline of the director's life and an insight into some of the core themes of her cinema, summaries of relevant theoretical arguments from psychoanalysis and gender theory in the context of sociology and film studies and an outline of the situation of men and women in Spain vis-à-vis the law, social prejudices, attitudes to sexuality and work. Part I (chapters 1-6) examines gender issues and character portrayal in each of the films in chronological order using these theories. Part II deals with the metafictional textual strategies of Miró's works. Chapter 7 outlines features of metafiction, such as stylistic intertextuality, literal intertextuality, mise-en-abime devices and other cinematic strategies which highlight the constructed nature of the films by laying bare the processes of fictional creation and disturb the viewer, making him or her an active reader, who cannot acquiesce in a passive spectatorial position. It also discusses the issue of authorship in film to posit that Miró abdicates from the position of onmiscient auteur through intertextuality and her use of assistant authors, another strategy of metafictional, postmodern art. Chapters 8 and 9 look at specific examples of intertextuality. The first section of chapter 8 examines the thematic and stylistic influence of the American artist, Edward Hopper, on the setting of Beltenebros and José Gutiérrez Solana's tremendista paintings as a visual reference for El crimen de Cuenca: the chapter also takes into account the joint stylistic influence of Carol Reed's The Third Man (1949) on Beltenebros. The second section of chapter 8 applies theories of historiographic metafiction and intrahistory to Miró's depiction of a miscarriage of justice in the Spanish legal system and the imprisonment of two innocent men in El crimen de Cuenca. Chapter 9 outlines a special instance of intertextuality in Miró's employment of stars. Using recent work in star studies, I consider the contributions and implications of her choice of two actresses - Ana Belén and Patsy Kensit - to La petición and Beltenebros. The conclusion suggests that, while Miró demonstrates an active interest in and sympathy for the victims of oppression, her use of intertextuality may be unconscious and that this thesis presents just one possible argument or interpretation. An interview with Miró in 1995 is included in an Appendix, as are relevant stills of Ana Belén.
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Robertsson, Sandra. "Att vara eller inte vara en feminin feminist : En kritisk diskursanalys om förhållandet mellan feminism och feminitet". Thesis, Umeå universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-96686.
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Offentliga diskurser har historiskt framställt feminitet och feminism som oförenliga med varandra. Feminitet framställs vanligen med en kvinna som besitter normativt feminina egenskaper, medan framställningen av feministen skildrat en radikal och manhaftig kvinna. Tidigare forskning visar att ordet feminist, för många individer, har en negativ laddning samt en otydlighet i innebörden av ordet. Detta speglar hur väl individen identifierar sig med feminism. Denna uppsats handlar om hur bloggaren UnderbaraClara, som aktör i den feministiska diskursen, på sin blogg positionerar sig till feminism och feminitet. Metodologiskt och teoretiskt ramverk i uppsatsen är en kritisk diskursanalys samt identifikations-och disidentifikationsbegreppen. Arton blogginlägg har analyserats för att urskilja subjektspositioner, mästersignifikanter och ekvivalenskedjor. Analysen visar att UnderbaraClara identifierar sig med delar av den normativa feminiteten. Främst identifierar sig UnderbaraClara med feminismer som söker förena feminina ideal med feministiska. Vidare identifierar hon sig med feminismer som vill uppvärdera historiskt kvinnliga arbeten. Det framkommer även att hon identifierar sig med feminismer som ifrågasätter hur normativa föreställningar om kvinnan skapar sociala förväntningar på kvinnan samt problematiserar hur kvinnan skapas socialt. Slutligen framkommer att UnderbaraClara disidentifierar sig med en kvinnosyn där kvinnan nedvärderas i relation till mannen.
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Chabot, Joceline. "Le syndicalisme feminin chretien en france de 1899 a 1944 : pratiques et discours d'une culture feminine". Paris 8, 1998. http://www.theses.fr/1998PA081526.
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Notre recherche porte sur la naissance et le developpement de syndicalisme feminin chretien en france de 1899 a sa dissolution en 1944. Composees uniquement de femmes, ces organisations regroupaient principalement des employees de commerce, de banque et d'industrie ainsi que des ouvrieres de la couture. Situes dans la mouvance du catholicisme social, les syndicats feminins chretiens se distinguaient des unions et des associations feminines d'action catholique par un certain nombre de facteurs : leurs lieux d'implantation, leur mode de recrutement, leur action orientee vers le terrain professionnel et l'itineraire militant de leurs membres. Dans ce cadre, notre problematique generale cherche a comprendre comment se developpe et se transforme une culture feminine a l'interieur d'un mouvement dont les traditions de luttes et les modes d'organisation empruntent a une culture largement masculine. Le premier temps de notre recherche se situe de la naissance des premieres organisations jusqu'a leur adhesion a la cftc en 1919. Nous y interrogeons les conditions qui marquent la naissance des differentes organisations et qui vont faconner leur identite. La deuxieme partie de notre these porte sur la periode de l'entre-deux-guerres et s'interesse particulierement a la composition sociologique de la base militante de ces syndicats. Le troisieme axe de notre etude questionne l'action revendicative menee par les syndicats feminins durant les annees 1920 et 1930. Le dernier axe couvre la periode de 1936 a 1944. Nous y etudions les bouleversements majeurs auxquels sont confrontes les syndicats feminins durant ces annees dramatiques. Nous nous interrogeons sur le devenir de ce type d'organisations au moment ou les evenements impriment a l'ensemble du mouvement syndical un cours nouveauThis thesis examines the inception and development of the christian women's trade union movement in france from 1899 to its dissolution in 1944. With a membership composed entirely of women, these organizations included mostly employees of businesses, banks and industry as well as workers in the textile industry. Within the context of a changing catholic social movement, a number of factors contributed to making the christian women's trade unions markedly different from the women's catholic action groups and associations : their locations, recruiting methods, professionnal orientations as well as the militant agenda of their members. In light of this, this thesis attempts to resolve the question of how a femaledominated culture develops and evolves within a movement where traditions of struggles and organizational methods are inspired by a largely-male culture. The first part of the thesis examines the birth of the first organizations up to their affiliation with the cftc in 1919. It also examines the conditions underlying the birth of a number of union associations and how they made their mark. The second part focuses on the inter-war period and pays particular attention to the sociological factors of the unions' militant component. The third part of the study is concerned with the advocacy of women's unions in the 1920s and 1930s. The last part covers the period from 1936 to 1944. A number of major upheavals in which women's unions were involved during these critical years are also presented. This thesis also investigates the outcome of this type of organization in an era where events charted a new course for the trade union movement as a whole
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Sloggett, Maria. ""Multicultural" writers and the feminine subject /". Title page and preface only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09ars6343.pdf.
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Sterenberg, Gladys Yvonne, i University of Lethbridge Faculty of Education. "Women and computers : the feminine mystaque". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 2000, 2000. http://hdl.handle.net/10133/142.
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Recent Canadian statistics have shown a dramatic decrease in women enrolling in computer science courses at the university level. This study presents quantitative and qualitative research that forms a profile of the family background, schooling experiences and personal characteristics of women who are successful computer science students at this level. Forty-five male and female technology students were surveyed to determine emerging gender differences and 4 females were interviewed. Contrary to previous studies, the lack of early and extensive computer experience did not limit these women. Recommendations for increasing female participation in computer culture include providing parents, teachers, and students with career information and improving critical problem solving skills in math instruction.ix, 172 leaves ; 28 cm.
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Stoneley, Peter Nicholas. "Mark Twain and the feminine aesthetic". Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303569.
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Wong, Shuk-han Mary, i 黃淑嫻. "New Chinese cinemas and feminine writings". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894410.
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Hart, Nancy Tarr. "Beyond the veil : unmasking the feminine". Thesis, University of Wales Trinity Saint David, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683065.
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Merriam, Carol U. "The feminine world of the Epyllion". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1329153842.
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NEWELL, HEIDI C. "A CONSIDERATION OF FEMININE DEFAULT GENDER". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123162261.
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Merriam, Carol Una. "The feminine world of the epyllion /". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848531361567.
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Weeks, Birgit. "Does Trummerliteratur have a Feminine Side?" University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491558452845952.
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MARQUIER, GABRIEL VERONIQUE. "La morphotypie feminine dans le temps". Aix-Marseille 2, 1992. http://www.theses.fr/1992AIX20053.
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Meakin, H. L. "John Donne's articulations of the feminine /". Oxford : Clarendon press, 1998. http://catalogue.bnf.fr/ark:/12148/cb371084712.
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Wong, Shuk-han Mary. "New Chinese cinemas and feminine writings". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21779041.
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Spreat, Eric. "Beyond the Feminine in Pushkin's Tatiana". Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19257.
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Pushkin's Tatiana tends to be pigeonholed by criticism that acknowledges her dynamism and openness to creative possibilities but restricts her intertextual significance to the heroines of the European novelists she herself reads. I argue that only by viewing her as the construction of a narrator who relies heavily on the stylistics of Karamzin and Zhukovsky can Tatiana be pulled out of such narrow confines. By tracing the thread of these Russian texts in the novel in verse, I will show that they often beg comparison not with their predecessors' heroines but with their male counterparts. Tatiana’s ambiguous characterization when read in conjunction with "Domik v Kolomne" (1830) shows the explicit gender parodies that Onegin only hints at. Using this text, I will ultimately consider Tatiana as an example of the ambivalence of Pushkin's heroine-muse in relation to his own participation in the ‘ballad question’ of the early 19th century.
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De, Biasio Valentina <1991>. "A new feminine in contemporary Japan". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15061.
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Il seguente lavoro si propone di analizzare il cambiamento avvenuto nella rappresentazione della figura femminile nei media giapponesi, con riferimento in particolare a quanto realizzato dalla compagnia Sanrio con i corti "Aggressive Retsuko" e all'opera della mangaka Kusanagi Mizuho "Akatsuki no Yona".
A titolo comprensivo verranno trattate anche la rappresentazione “storica” della figura femminile e la sua evoluzione nel genere shōjo, anche per inquadrare l’opera di Kusanagi Mizuho non solo all’interno degli altri lavori della stessa ma anche al genere in cui ufficialmente si inserisce.
Oltre a ciò, verrà brevemente trattata anche la storia della compagnia Sanrio, per meglio evidenziare quelli che avverto come elementi di novità rispetto al target usuale dell’azienda.
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Boukaftane, Nora. "L'inspiration feminine dans la nouvelle marocaine". Paris 4, 1986. http://www.theses.fr/1986PA040264.
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Ce travail se rattache essentiellement a l'ecriture feminine au maroc et tout particulierement a la nouvelle, comme champs de creation privilegie par la femme ecrivain. C'est encore la volonte d'aborder un domaine qui reste encore neglige par la plupart des critiques et ecrivains qui s'interessent a la litterature arabe en general. Pour resumer cette etude, tres brievement, on peut dire que les themes essentiels abordes dans la nouvelle feminine marocaine sont, par ordre d'importance, la femme, l'enfant et le probleme palestinien. La condition de la femme est vue a partir de differents angles. L'heroine intellectuelle denonce la passivite du milieu feminin traditionnel qui ne lutte pas pour sa liberation et accepte la domination masculine comme une evidence. La classification de l'univers feminin en deux mondes opposes, a savoir un moderne et un autre traditionnel est le resultat du passage d'un systeme de valeurs a un autre. C'est l'etape transitoire qui caracterisait le maroc pendant les annees soixante. Le discours sur la femme et l'enfant comporte une denonciation implicite et parfois explicite du systeme patriarcal qui sevit encore dans notre societe
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Han, Catherine Paula. "Reimagining the Brontës : (post)feminist middlebrow adaptations and representations of feminine creative genius, 1996-2011". Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/83347/.
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Investigating conceptualisations of the feminine creative imagination, this thesis examines representations of the Brontës and adaptations of their novels released between 1996 and 2011. I focus on portrayals of Charlotte and Anne Brontë alongside reworkings of Jane Eyre (1847) and The Tenant of Wildfell Hall (1848) in various media. Contributing to existing research on the cultural afterlives of the Brontës and their novels, I position the works discussed within contemporary middlebrow culture whilst considering the influence of feminism. The Introduction discusses the gendering of creative genius before identifying the tensions between critical, middlebrow and popular discourses’ conceptualisations of the Brontës’ imaginations. Thereafter, the first chapter proposes the contemporary usefulness and considers the gendering of the concept of the middlebrow. I demonstrate that middlebrow culture is fascinated by the Brontës’ lives, art and feminine creative imaginations. To further this argument, the second chapter analyses neo-Victorian novels’ engagement with Charlotte Brontë’s life, art and creativity. I illustrate that these works draw from second-wave feminist criticism on Jane Eyre and belong to a tradition of middlebrow feminine writing about the Brontës. The third chapter also examines representations of feminine creativity and discusses how screen adaptations portray the artistry of Jane Eyre’s heroine. Additionally, the legacies of second-wave feminism in a wider postfeminist cultural context are explored. In the fourth chapter, the thesis turns to analyse the cultural dissemination and reputations of Anne Brontë and The Tenant of Wildfell Hall. I delineate how middlebrow culture has rediscovered the youngest Brontë, her novel and her feminism. Ultimately, this thesis suggests that the works examined indicate middlebrow culture’s efforts to engage with feminism through the feminine creative imagination. Yet these works expose a prevailing tension in feminism between the status of the individual and the collective.
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Lewis, Maxwell Boudinot 1952. "The feminine and the spiritual: Renowned spiritual figures studied from a feminist point of view". Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291701.
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The feminine character, shaped by nurturing experience, includes fundamental spiritual training. Feminist spiritual writers value nurturant other-oriented personality characteristics. Although not necessarily having fulfilled nurturing social roles, men may develop spiritually advanced characteristics by undergoing experiences Christ recommended. Examining four spiritual figures, this study sought to ascertain whether exposure to the experiences recommended by feminists and by Christ facilitates development of spiritually advanced characteristics. The findings did not demonstrate that exposure to the experiences recommended by feminists facilitated this development. Nor did exposure to the experiences recommended by Christ predict this development. Females did not develop spiritually advanced characteristics to a higher degree than males. Exposure to a combination of the experiences recommended by Christ and by feminists did correlate with development of spiritually advanced characteristics. Exposure to a modicum of the experiences recommended by feminists may be necessary. Recommendations for counselors are included.
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Hackney, Fiona Anne Seaton. "'They opened up a whole new world' : feminine modernity and the feminine imagination in women's magazines, 1919-1939". Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/7998/.
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“They opened up a whole new world”, or something like it, was a phrase I heard repeatedly when I spoke to women about their memories of magazine reading in the interwar years. How the magazine operated as an imaginative window, a frame, space or mirror for encountering, shaping, negotiating, rethinking, rejecting, mocking, enjoying, the self and others became the central question driving this thesis. The expansion of domestic ‘service’ magazines in the 1920s responded to and developed a new female readership amongst the middle classes and working-class women, preparing the way for high-selling mass-market publications. The multiple models of modern womanhood envisaged in magazines, meanwhile, from the shocking ‘lipstick girl’ of the mid-1920s to the 1930s ‘housewife heroine’, show that what being a woman and modern in the period meant was far from settled, changed over time and differed according to a magazine’s ethos and target readership. In a period that witnessed the introduction of the franchise for women, divorce legislation, birth control, the companionate marriage, cheap mortgages, a marriage bar in the workplace, growth in the number of single women and panic over population decline, amongst other things, magazines helped resolve tensions, set new patterns of behaviour and expectations. This thesis, which examines the magazine as a material artefact produced in a specific historical context, argues that its complex ‘environment’ of coloured pictures, inserts, instructional photographs, escapist fiction, chatty editorial and advertising opened women up to conscious and unconscious desires to be a sports woman, a worker, a mother, a lover, or to look like their favourite film star; a ‘window’, that is, through which women without the benefit of £500 a year and a ‘room of their own’ could gaze and imagine themselves, their lives and those of their families, differently.
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Surewicz, Anita Wioletta. "Theatre of unreason : the French feminist concept of 'L'Ecriture feminine' and woman as the 'irrational other' /". Title page, contents and introduction only, 2000. http://web4.library.adelaide.edu.au/theses/09AR/09ars9613.pdf.
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Ashworth, Karike. "#SoBrave: The crisis of neoliberal feminine bravery". Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132395/1/Karike_Ashworth_Thesis.pdf.
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This creative practice-led research project employs cross-disciplinary methods to examine how neoliberal constructions of feminine bravery reinforce prescriptive and restrictive behaviour standards for women. Using performance, video, textiles and immersive installations to explore conceptions of feminine bravery, the artist has developed a parodic persona, 'Brave Girl', a mock super-hero/medieval warrior, who is inspired by popular culture, online media, cosplay and comic strip characters. Brave Girl embodies some aspects of the artist's journey – however, stepping away from autobiography, into "anti-autobiography," has enabled a distinct critical understanding of how affirmations of bravery function. The research determines that it is possible to use the ambiguities of contemporary art practice to reveal the hegemonic qualities of the feminine bravery construct.