Teses / dissertações: "Serie Feminismo"

1

Anthony, Tyler Robert Daniel. "Análisis de la representación de la mujer en la serie Las chicas del cable (Netflix 2017-20XX)". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu15556849066262.

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2

Sundström, Emma, e Johanna Kaisäter. "“Having a vagina doesn’t stop me from believing that my balls are bigger than yours” : en kvalitativ studie om kvinnorna i TV-serien Suits". Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-33182.

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Historically, women have been given significantly less space than men on the TV screen andtheir roles have often been secondary to men's. The woman's role has often been a passive supporting role alongside the man's main role that drives the action forward (Greene, 2010, ss.1066–1071). This distribution of gender representation aroused the interest to study a television series from the 2010s with three female lead roles. The choice fell on the American series Suits, which takes place in New York's legal profession, an industry that, according tostatistics, is dominated by the male gender (American Bar Association, 2019). In this essay, a qualitative film analysis is performed, focusing on the three female maincharacters in Suits. The study is based on theories of representation, gender and stereotypes and takes a feminist perspective. The study also delves into Laura Mulvey's psychoanalytic perspective which is used to analyze the female representation. The purpose is to create anawareness of how fiction produces gender and how it affects masculinity and femininity. The study examines how women in a male-dominated profession are portrayed on television and how their roles are consistent with, what according to the study's theories, are considered to be female coded. The material has been analyzed focusing on mise-en-scene, cinematography and editing. The analysis is presented in four different themes based on how the women are portrayed and each theme is exemplified by a number of scenes. The analysis shows that there is an imbalance between the male and female representation. The male characters are dominant and the female usually plays a passive and submissive role.
Historiskt sett har kvinnor fått betydligt mindre plats än män i tv-rutan och deras roller har ofta varit sekundära till männens. Kvinnans roll har ofta varit en passiv biroll bredvid mannens huvudroll som driver handlingen framåt (Greene, 2010, ss. 1066–1071). Denna fördelning av könens representation väckte intresset att studera en tv-serie från 2010-talet med tre kvinnliga huvudroller. Valet föll på den amerikanska serien Suits som utspelar sig i New Yorks advokatbransch, en bransch som enligt statistik domineras av det manliga könet (American Bar Association, 2019). I denna uppsats genomförs en kvalitativ filmanalys av Suits med fokus på de tre kvinnliga huvudkaraktärerna. Studien bygger på teorier om representation, genus, stereotyper och intar ett feministiskt perspektiv. Undersökningen fördjupar sig även i Laura Mulveys psykoanalytiska perspektiv som den kvinnliga framställningen analyserats utifrån. Syftet är att skapa en medvetenhet om hur fiktion framställer genus och hur det påverkar vår syn påmanlighet och kvinnlighet. I studien undersöks hur kvinnor i ett mansdominerat yrkeframställs på tv och hur deras roller stämmer överens med vad som enligt studiens teorier anses vara kvinnligt kodat. Materialet har analyserats med fokus på mise-en-scene, cinematografi och redigering. Analysen presenteras i fyra olika teman baserade på hur kvinnorna framställs och varje tema exemplifieras med ett antal scener. Analysen visar att det råder obalans mellan den manliga och kvinnliga representationen. De manliga karaktärerna är dominerande och de kvinnliga intar oftast en passiv och undergiven roll.

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Croona, Beatrice, e Hedvig Hägglöf. "Superkvinnorna : En semiotisk innehållsanalys av Andra Avenyn och Bonusfamiljen ur ett genusperspektiv". Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-38797.

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Målet med denna studie är att med hjälp av en semiotisk innehållsanalys av två svenska tv-serier skapa medvetenhet kring genusutvecklingen. Detta genom att undersöka hur kvinnor framställs i tv-serierna Andra Avenyn och Bonusfamiljen. Framställningen av två kvinnliga huvudkaraktärer från vardera serie granskas i avseende på könsroller, stereotyper och normer för att besvara frågan om och hur framställningen skiljer serierna åt. Studien syftar även på att besvara om Bonusfamiljen är normbrytande i jämförelse med Andra Avenyn, detta med tanke på deras olika produktionsår. Frågorna besvaras genom analys av utvalda scener. Dessa granskas utifrån en denotativ och en konnotativ nivå. Som stöd till analysen har även ett analysschema utformats. Detta baseras på två teman: ”interaktioner” och ”personlighet”. Det teoretiska ramverk som används innefattar genusteori och feministisk teori. Resultatet visar att karaktärerna är skapta med stor medvetenhet kring genus och feminism. Kvinnorna är självständiga och starka och återspeglar således ”den moderna kvinnan”. En av de kvinnliga huvudkaraktärerna i Bonusfamiljen speglar dock en mer könsstereotyp bild i jämförelse med karaktärerna i Andra Avenyn. Gemensamt för serierna är att de bryter könsmaktsordningen.
The goal with this qualitative semiotic analysis is to enlighten awareness regarding gender development. This, by examining how women are pictured in two Swedish tv series, Andra Avenyn and Bonusfamiljen. Two female main characters from each series are examined in terms of gender roles, stereotypes and norms in order to see if and how the female role differs between the series. The study also aims to answer whether Bonusfamiljen is normative or not in comparison to Andra Avenyn. This, in consideration to their different production years. The questions are answered through analysis of selected scenes. These are examined based on a denotative and a congenational level. In support to the analysis, a schedule has been developed. This is based on two themes: "interactions" and "personality". The theoretical framework used in this study includes gender and feminist theory. The result shows that the characters are created with great awareness regarding gender and feminism. The women are independent and strong and thus reflect the "modern woman". However, one of the female main characters in Bonusfamiljen reflects a more gender stereotypical image compared to the characters in Andra Avenyn. Although, both series show a more modern look on gender roles.

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4

Burris, Sarah M. "Creatures series of sculptural costumes /". [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227280056.

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Thesis (M.F.A.)--Kent State University, 2008.
Title from PDF t.p. (viewed Jan. 5, 2010). Advisor: Paul O'Keeffe. Keywords: sculpture, performance, fabric, beauty, sewing, feminine. Includes bibliographical references (p. 28).

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Killander, Susanna. ""Are you mad 'cause you couldn't get hard?" : En narrativ analys av huvudkaraktären Hannah Horvath i TV-serien Girls ur ett genus-och (post)feministiskt perspektiv". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30770.

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Medieinnehåll bidrar till uppfattningen om hur man som kvinna är och bör vara. Syftet med denna uppsats är att undersöka hur den kvinnliga huvudkaraktären Hannah Horvath framställs i Girls säsong 5. Detta för att se hur hennes femininitet kommer till uttryck genom vänner, kärlek, sexualitet och karriär. Vidare kommer att utläsas hur hon utmanar samt knyter an till den traditionella bilden av kvinnor i TV. Uppsatsen använder sig av en narrativ analysmetod hämtad från How to Study Television (1995), som specialiserar sig på hur man studerar innehållet i TV och TV-serier. Analysen kommer att göras utifrån ett genus-och (post)feministiskt perspektiv för att möjiiggöra utläsningen av traditionella och stereotypa egenskaper, attribut samt beteenden kopplat till femininitet och kvinnor. Analysen består av sex scener från sex olika avsnitt ur den femte säsongen av Girls. Analysen har visat hur karaktären Hannah Horvath både utmanar och knyter an till traditionellt framställda bilder av kvinnor i TV. Detta genom att hennes karaktär tillskriver sig, samt skapar en dialektisk relation mellan både maskulint och feminint förväntade egenskaper och beteenden. Utöver följande aspekter går det att utläsa att Hannah Horvath uttrycker sig både inom feministiska, och postfeministiska ramverk.

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Marcucci, Virginie. "Desperate Housewives, miroir tendu au(x) féminisme(s) américain(s) ?" Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2014/document.

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Ce travail s’attache à étudier les éventuels féminismes de Desperate Housewives. La peinture que la série propose de femmes et mères au foyer américaines désespérées est a priori le lieu d’une dénonciation de leur vie et de leur condition qui n’est pas sans rappeler celle de Betty Friedan dans The Feminine Mystique au début des années soixante. De plus, de nombreuses contradictions du féminisme américain (en fait constitué de nombreuses sous-catégories et sensibilités) y trouvent un écho. Cette multiplicité des interprétations possibles de Desperate Housewives, ainsi que sa composante postmoderne et camp, en font le lieu privilégié d’un féminisme queer propre à la série
This study investigates the feminist messages conveyed by Desperate Housewives. The depiction of desperate American housewives and stay-at-home mothers seems at first to be a scathing indictment of their plight, not unlike that of Betty Friedan in The Feminine Mystique.Furthermore many inner dissensions of American feminism (a term far more pluralistic than one might think) are voiced in the television series. The different ways Desperate Housewives can be interpreted, along with its postmodern and camp components, make it possible for an idiosyncratic brand of queer feminism to emerge

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Castillo, Mateu Laura. "Mujer y memoria en las series de prime time de La 1 de TVE (2008-2017): La Señora, 14 de abril. La República, Isabel y El Ministerio del Tiempo". Doctoral thesis, Universitat Jaume I, 2019. http://hdl.handle.net/10803/666196.

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El objetivo de esta tesis es analizar dónde el discurso dominante ha colocado a las mujeres en historias de ficción sobre diferentes episodios de la historia reciente del estado español. Para ello, hemos analizado cuatro series protagonizadas por mujeres que se han emitido en el canal La 1 de TVE entre 2008 y 2017: «La Señora», «14 de abril. La República »,« Isabel »y« El Ministerio del Tiempo ». La metodología del análisis del discurso crítico feminista se ha utilizado para ver cómo estas narrativas de la televisión pública sintetizan la transversalización del feminismo estatal y la promoción de la legislación para la recuperación de la memoria en nuestro contexto político reciente. En nuestro análisis, sostenemos que las cuatro series han reelaborado el imaginario de la identidad democrática a partir de la agenda institucionalizada feminista socialista, lo que implica el corte de las categorías de mujeres y memoria. En este sentido, las mujeres se presentan como las protagonistas de la memoria democrática a partir de la convergencia de dos perfiles: el burgués liberal y el socialista. Estos tipos de mujeres actúan como referencias mnemónicas para las mujeres en la democracia contemporánea. Además, las historias argumentan la relación entre la feminidad y el poder y la relación entre lo personal y lo político. En este sentido, las historias aportan soluciones creativas que rompen el ciclo de representación de las mujeres revictimizadas y con la idea del empoderamiento como un proceso individual. Lo que encontramos en los guiones son acciones en forma de experiencias de cuidado ficticias que evocan la emancipación femenina de un proyecto colectivo sostenido de lo que tienen en común. Al hacerlo, invitan a reflexionar sobre el alcance estructural y cultural de la violencia patriarcal y permiten un espacio para la representación de estrategias de supervivencia colectiva desde una perspectiva genealógica.
The aim of this thesis is to analyze where the mainstream discourse has placed women in fiction stories about different episodes of the recent history of the Spanish state. To do this, we have analyzed four series starring women that have been broadcast on TVE's channel La 1 between 2008 and 2017: «La Señora», «14 de abril. La República», «Isabel» and «El Ministerio del Tiempo». The Feminist Critical Discourse Analysis methodology has been used to see how these narratives by the public television symptomatize the rise of State feminism and the promotion of legislation for memory recovering in our recent political context. In our analysis, we contend that the four series have reworked the imaginary of the democratic identity from the socialist feminist institutionalized agenda, which entails cutting across the categories of women and memory. In this sense, women are presented as the protagonists of democratic memory from the convergence of two profiles: the liberal bourgeois and the socialist. These types of women act as mnemonic references for women in contemporary democracy. Moreover, the storylines problematize the relationship between femininity and power as well as the relationship between the personal and political. In this regard, the stories contribute creative solutions that break the cycle of representing revictimized women and with the idea of empowerment as an individual process. What we find in the scripts are actions in the form of fictionalized caring experiences that evoke female emancipation from a sustained collective project of what they have in common. By doing so they invite reflection on the structural and cultural scope of patriarchal violence and allow space for the representation of collective survival strategies from a genealogical perspective.

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Wyer, Sarah. "Folk Networks, Cyberfeminism, and Information Activism in the Art+Feminism Wikipedia Edit-a-thon Series". Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22752.

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This thesis explores how the Art+Feminism Wikipedia Edit-a-thon event impacts the people who coordinate and participate in it. I review museum catalogs to determine institutional representation of women artists, and then examine the Edit-a-thon as a vernacular event on two levels: national and local. The founders have a shared vision of combating perceived barriers to participation in editing Wikipedia, but their larger goal is to address the biases in Wikipedia’s content. My interviews with organizers of the local Eugene, Oregon, edit-a-thon revealed that the network connections possible via the Internet platform of the event did not supersede the importance of face-to-face interaction and vernacular expression during the editing process. The results of my fieldwork found a clear ideological connection to the national event through the more localized satellite edit-a-thons. Both events pursue the consciousness-raising goal of information activism and the construction of a community that advocates for women’s visibility online.

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Wetterlöv, Rebecca, e Isabelle Bringert. "Kvinnans tid är nu : En kvalitativ innehållsanalys av kvinnliga karaktärers representationer i TV-serien ”Vår tid är nu”". Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96504.

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Syftet med denna undersökning var att genom en innehållsanalys undersöka hur de kvinnliga karaktärerna Maggan, Nina och Christina representeras i förhållande till deras roll och maktposition i samhället i TV-serien Vår tid är nu. Vidare har vi undersökt hur dessa framställningar skiljer sig åt i första respektive sista säsongen i och med feminismens framväxt.Med ett målstyrt urval av scener som underlag och med ett genusteoretiskt perspektiv, applicerades vårt analysschema på det utvalda scenerna. Analysschemat har vi skapat med hjälp av Keith Selby och Ron Cowderys narrativa analysmodell. Vidare har vi använt oss av semiotiken som analysverktyg för att kunna ge svar på våra forskningsfrågor.Resultaten visade att de kvinnliga karaktärerna skildras som drivna i båda säsongerna. I första säsongen framställs karaktärerna dock som mer begränsade till samhällets ramar och de drömmer om att bli självständiga. I sista säsongen framställs de kvinnliga karaktärerna som starkare, de har större integritet och de vågar gå sin egen väg. Resultaten visade också att skildringarna av de kvinnliga karaktärernas roll och maktposition skiljer sig mellan första och sista säsongen. I första säsongen är deras roll mer präglad av samhällets normer och deras maktposition är underordnad de manliga karaktärernas. I sista säsongen är deras roll mer jämställd med de manliga karaktärernas och deras maktposition är högre, i vissa fall högre än männens. Dessa förändringar i hur kvinnornas roll och maktposition skildras går att sammankoppla med feminismen som växte fram i tidsperioden mellan de två säsongerna.
The purpose of this study was to examine, through a content analysis, how the female characters Maggan, Nina and Christina are represented in relation to their role and position of power in the society in the TV series Vår tid är nu. Furthermore, we wanted to investigate how these representations differ in the first and last season, respectively, with the emergence of feminism.With a targeted selection of scenes as a basis and with a gender-theoretical perspective, our analysis scheme was applied to the selected scenes. We have created the analysis chart with the help of Keith Selby and Ron Cowdery's narrative analysis model. Furthermore, we have used semiotics as analysis tool to provide answers to our research questions.The results showed that the female characters are portrayed as driven in both seasons. In the first season, however, the characters are portrayed as more limited to the society’s rules and they dream of becoming independent. In the last season, the female characters are portrayed as stronger, they have greater integrity and they dare to go their own way. The results also showed that the portrayals of the female characters' role and position of power differ between the first and last season. In the first season, their role is more marked by society's norms and their position of power is subordinate to the male characters. In the last season, their role is more equal to the male characters and their position of power is higher, in some cases higher than the men’s. These changes in how women's role and position of power are portrayed can be linked to the feminism that emerged in the time period between the two seasons.

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Lundgren, Madelene, e Lotta Sundin. "Supergirl vs. Superman : En genusanalys av tv-serien Supergirl". Thesis, Stockholms universitet, Institutionen för mediestudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144081.

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Superhjältar har länge varit sinnebilden för hegemonisk maskulinitet, det manliga idealet, i den västerländska populärkulturen, vilket gör det svårt för kvinnor att ta sig in på området. Många kvinnliga hjältar som har försökt tillägna sig traditionellt maskulina karaktärsdrag har fått betala genom att istället bli sexualiserade. Det postfeministiska synsättet menar dock att kvinnliga hjältar kan få vara sexiga och bära traditionellt feminina markörer som smink och höga klackar om det är på deras egna villkor och om de samtidigt är tuffa och går sin egen väg. Tv-serien Supergirl har feministiska mål och producenterna säger sig ha skapat en kvinnlig hjälte som behandlas likadant som sina manliga motsvarigheter. Då karaktären Superman, som har samma krafter som Supergirl, förekommer i samma tv-serie ger det möjligheten att kunna jämföra de två karaktärerna på lika villkor. Genom att analysera narrativ och konstruktion har vi undersökt vilka skillnader som finns. Vi har även undersökt om, och i så fall hur, karaktären Supergirl tillägnar sig traditionellt maskulina drag. Resultaten visade att Supergirl, istället för att sexualiseras, framställdes som en ung och osäker flicka trots att hon är en vuxen kvinna. Det visade sig också vara tveksamt om Supergirl passar in på definitionen av en hjälte eftersom hon inte har de tuffa drag som hjältar traditionellt har. Hennes osäkerhet och brist på initiativförmåga är också det som gör att hon inte passar in på definitionen av den postfeministiska superhjälten. Narrativet i tv-serien placerade Supergirl i underläge från början genom att skicka henne till jorden långt senare än sin kusin. Både samhällsmedborgarna i tv-serien och Supergirl själv placerar Superman på en tron, medan hon själv oftast blir bemött som en ung flicka. Även kameravinklar och klippning hjälper till att förstärka denna bild. Vår slutsats blir att karaktären Supergirl inte hjälper den kvinnliga superhjälten att bryta ny mark. Hon har superkrafter, men hennes traditionellt feminina drag försvagar henne och hon framstår inte som intelligent eller som en ledare.

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Larsson, Isabelle, e Sanna Sörman. "Kvinnorna och SKAM : En kvalitativ studie om hur kvinnorna porträtteras i den norska tv-serien SKAM". Thesis, Högskolan i Gävle, Media- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-27886.

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Den här uppsatsen kommer att utreda hur kvinnor porträtteras i den norska tv-serien SKAM. Serien SKAM har varit en av de senaste årens största succé när det kommer till tv-serier. Serien har fått både kritik och hyllningar under de senaste åren. En stor del av kritiken som riktats mot SKAM handlar om hur serien porträtterar kvinnorna. Uppsatsen vill undersöka om den kritiken har en poäng. Frågorna vi ställde för att få fram resultatet var; - Hur framställs de unga kvinnornas relation till killar och kärlek? - Hur framställs de unga kvinnorna utifrån sitt utseende och beteende? Analysen har olika feministiska filmteorier som utgångspunkt, och semiotiken som metod. Feministisk filmanalys är ett relativt behandlat område men eftersom att SKAM är en så pass ny serie som inte många skrivit om så hoppas vi att den kan bidra med någonting nytt inom området. Serien SKAM är unik på grund av sina långa scener och användning av sociala medier i handlingen. När en serie blir så pass framgångsrik, så finns det en stor chans till att den påverkar samhället på något sätt. Det kan också vara så att serien också på något sätt speglar olika föreställningar i samhället. Det är anledningen till varför vi tyckte att SKAM var en relevant serie att analysera. Resultatet visade oss att kvinnor i SKAM blir porträtterade väldigt olika utifrån hur de ser ut. Kvinnornas relation till killar och kärlek var också mycket olika beroende på hur nära de var normen för hur en kvinna ska se ut. Noora, som är kvinnan närmast det perfekta utseendet, får den populäraste killen i skolan. Chis, som är den kvinnan som dock är längst ifrån det perfekta utseendet, blir porträtterad som motbjudande och överdriven i sin sexualitet. Det framställs som att ingen karaktär i serien tar hennes känslor på allvar.

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Adrovic, Ninella. "Sex and the City : En kvalitativ studie om serien och karaktärerna". Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK. Medie- och kommunikationsforskning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-14966.

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Syftet med denna studie är att undersöka hur de kvinnliga huvudkaraktärerna i den amerikanska dramaserien Sex and the City framställs. En analys har gjorts på sex avsnitt av serien. Analysmaterialet studerades utifrån ett feministiskt samt stereotypiskt perspektiv. En av utgångspunkterna har varit antagandet om att karaktärerna är olika. Undersökningen syftar också till att analysera serien och se om den är en traditionell eller en modern såpopera. Studien grundar sig på en innehållsanalys. Resultatet kommer att delvis vara generellt för hela serien, eftersom karaktärerna följer med alla säsonger men utvecklas under seriens gång. Resultatet av undersökningen stärker antagandet av att karaktärerna är olika. Kvinnorna representerar stereotyper av olika slag. Resultatet visar även att kvinnorna också har mycket gemensamt. Serien kan varken placeras i den traditionella såpoperan eller i den postmoderna såpoperan. Sex and the city är en serie som har element från båda subgenrerna.

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Rydqvist, Ryan Ebba. "Kvinnliga monster och abjekt femininitet : En semiotisk och psykoanalytisk studie av femininitet, feminism och monsterkroppen i tv-serien Penny Dreadful". Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131165.

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Studien undersöker hur kvinnliga karaktärer representeras i relation till skräcktematiken i tv-serien Penny Dreadful (2014-). Syftet har varit att studera huruvida det som är typiska kännetecken för skräck kan kopplas till kvinnlighet, femininitet och feminism (det senare då man kan uppfatta ett genuskritiskt samtal i serien). Med hjälp av psykoanalytiska teorier kring abjektion visar analysen hur det som är skrämmande med kvinnor, är skrämmande på andra sätt än vad som är skrämmande med män. Det som är abjekt med kvinnan definieras ofta utifrån hennes sexualitet och biologiska egenskaper, och skapar därmed en feminin monstrositet och således är helt olik den manliga. Detta har till stor del växt fram genom historiska myter, religioner och konst, som har bidragit till könsspecifika monster utifrån stereotyp femininitet, så som häxor, sirener eller Medusa. Genom att utforska tv-seriens karaktärer med hjälp av semiotiska och psykoanalytiska verktyg avslöjas möjliga tolkningar som visar hur nämnda feminina monster tycks grunda sig i manlig rädsla och kvinnan som hot. Kastrationskomplexet som bidragande faktor och den manliga blicken tycks därför kväsa uttryck för kvinnlig frigörelse i serien, genom att sexualisera, plåga och göra kvinnan abjekt och monstruös i direkt genmäle till dessa. Serien tycks därför trots sin genuskritiska diskurs kontrolleras av en manlig blick och ett skoptofiliskt seende, något som möjligtvis bidrar till att kvinnlighet och femininitet kodas som abjekt, och i värsta fall stigmatiserar den feministiska kvinnan.

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Scherman, Knutsson Evelina. "Illusioner av en kropp : En undersökning om feministiska och kroppsaktivistiska tecknade serier". Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74624.

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The purpose of this survey is to study how one can use comics as a medium for body activism and how it can be related to feminism. The material of choice is the book “Det kändes lungt när mina känslor dog” by Bim Eriksson, which is an illustrated autobiography. The intention is to analyse and interpret the comics “Talking Body” in a gender and body activistic perspective, by using semiotics and image analysis. The main chapter includes a presentation of the artist Bim Eriksson. The chapter also includes a description, analysis and interpretation of the sequential story “Talking Body”. By using the concepts of body activism, body positivism and feminism I study the comics and analysed the signs which point to the meaning within the content of the comic. The study tries to understand if there is a connection between body activism and feminism within the comics of Bim Eriksson. The comic “Talking Body” as a whole, as well as the choice of specific pictures and the main character. The study concludes how the Bim Erikssons comic “Talking Body” can be interpreted as both body activist and feministic, due to its choice of artistic representation and content.

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Nicklow, Stacy Olivia. "Sisterly Sleuths: The Hidden Cultural Work of Serial Modernism". OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1195.

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Over the last two centuries, mass-produced serial narratives, especially those created for women, have been vilified or ignored by literary and cultural critics. Serial narratives, which include continuing stories published in installments and independent tales that form part of an overarching plot, have been maligned for their content, for the material realities of their mass production, and most simply for their popularity. Serial texts aimed at female audiences have been subjected to further criticisms: they have been judged as being trivial or insipid in content and as lacking aesthetic merit or cultural weight. Despite these criticisms, serial narratives were exceedingly popular with audiences in the late nineteenth and early twentieth centuries and by the end of the twentieth century became the dominant mode of storytelling across nearly all media. Popularity, far from being a reason to disparage these works, suggests the enormous power serial narratives have to both reflect and shape the culture that produces and consumes them. This cultural agency has long been overlooked, and this study hopes to change that. Serial narratives, it will be argued, train readers and viewers in various ways to actively participate in the narrative and in parallel ways in real life, an outcome especially noteworthy for modern female audiences. Ongoing and repetitive, serial narratives invite long-term engagement that enables audiences to participate imaginatively in the story itself and to embody the attitudes and behaviors of the serial protagonists in their own lives. In addition, because they are published on a potentially infinite basis, serial narratives are a medium through which modern audiences come to understand themselves and the world they inhabit. This connection between the reading and viewing choices of the modern citizen and their lived experiences, what I call serial modernism, provides a way of understanding how serial texts enact this connection particularly in relation to the modern woman’s increasing sense of agency and her continually evolving identity. Several serial texts from different eras and in different media that powerfully engage with evolving expectations of American women over the last 150 years will crystallize this connection: Louisa May Alcott’s Little Women series (1868-1886) and her serialized novel Work (1873); two silent film serials, The Perils of Pauline (1914) and The Hazards of Helen (1914-1917); two teenage sleuth series, Carolyn Keene’s Nancy Drew (1930-2003) and Margaret Sutton’s Judy Bolton (1930-1967); and Sara Paretsky’s adult detective series V.I. Warshawski (1982-present).

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Liljeqvist, Hanna. "Royal Subjects : Feminist Perspectives on Diary Writing and the Diary Form in Meg Cabot's The Princess Diaries Series". Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131228.

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Meg Cabot’s young adult (YA) novel series The Princess Diaries (2000-2009) is one of many modern-day examples of attempts to redefine what Western society considers the classic princess narrative: the story of a beautiful princess passively waiting for Prince Charming. As critics such as Kay Stone and Sarah Rothschild emphasize, the fictional princess is traditionally linked to notions of ideal femininity which, in turn, makes princess stories interesting texts from a feminist perspective. Rothschild notes a surge in YA princess novels in recent years, with YA writers such as Cabot aiming to challenge the traditional image of the princess as a passive feminine stereotype in their re-workings of the princess story. Previous feminist research on The Princess Diaries series celebrates the main character Mia as a symbol of third wave feminism and as such, a positive role model for Cabot’s predominantly young, female readers. Mia’s characteristic Dr Martens boots are frequently cited as an example of how greatly Mia differs from her princess predecessors. However, these critics ignore important changes in Mia’s personality over the course of the series. By the end of the series, the Dr Martens-wearing heroine introduced in the first book has replaced her combat boots with high heels. In my thesis, I will argue that Mia’s transformation in terms of appearance and preoccupation with mainstream fashion, from quirky outsider to stereotype girly girl, complicates the idea of The Princess Diaries series as feminist texts. Moreover, previous feminist research largely ignores diary writing’s prominent role in the series, and the ways in which the diary format influences the reader-narrator relationship in the novels. In my feminist reading of The Princess Diaries series, I therefore use Mia’s diary writing and the diary format of the series as my starting points. I argue that while Mia’s diary writing is portrayed as empowering, and thereby inspiring, the diary format as a narrative structure creates a rather ambiguous tone and effect; questioning but simultaneously conforming to traditional, restricting notions of femininity.

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Roux, Shanleigh Dannica. "A social semiotic approach to multimodality in the Vagina Varsity YouTube campaign series". University of the Western Cape, 2019. http://hdl.handle.net/11394/6928.

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Philosophiae Doctor - PhD
This study investigated the semiotic resources used by Vagina Varsity, a campaign by sanitary towel brand Libresse on the social media platform YouTube to construct meanings around the female body. Vagina Varsity is a South African online advertising campaign on YouTube which marketed their sanitary products, whilst educating, as well as breaking the social stigma, around the black female body. In this study, YouTube was utilized as a space in which to analyze online identities and communication. The study was located within the field of linguistic landscape (LL) studies, including the sub-field virtual linguistic landscapes (VLL), later reformulated as virtual semioscapes. The conceptual framework was undergirded by multimodality/multisemioticity and feminist theory. The study used a mixed methods approach to data collection, and used a virtual linguistic ethnography (VLE) framework to collect the data sources, which included YouTube videos, YouTube comments, and emails. A focus group interview was also conducted, where the Vagina Varsity videos were shown to a group of diverse youth at the University of the Western Cape, South Africa. The embodied discourses which emerged, as well as the discourse strategies of the commentators, were multimodally analysed. The study found that the Vagina Varsity course makes use of multiple modes, including embodied semiotics such as gestures and stylizations of voice, visual modes such as cartoon figures, as well as the strategic use of sound. In addition, the study found that educational content and marketing strategies are both embedded in this campaign, with the educational content overshadowing the advertising aspect. It is for this reason that the YouTube comments and focus group interview were centered on the program itself and not the advertisement. Furthermore, when looking at the medium this campaign used, one sees that the virtual space allows for the teaching of taboo topics, which would not be allowed in traditional educational domains. The virtual space is not only bridging the knowledge gap in the topic of sex education, it also bridges the gap between different communities, as the YouTube comment section allows for people to interact across regional, national and even cultural boundaries. This study also found that Vagina Varsity not only recontextualized the educational genre, but they have also recontextualized the production and consumption of a topic which would otherwise be considered taboo. In terms of the implications for the study, one finds that the stigma that is attached to this subject is removed from this content. Although one cannot say for certain that this type of education will take over the African traditional initiation ceremonies for girls, for example, it can be used to complement some of the content that traditional counselors and social workers use to teach young African women. The fact that the program is formalized in a curriculum that can be found online opens up possibilities for open dialogue across cultures and nations in terms of feminine hygiene. This study contributes to the field of Linguistic Landscapes studies, with specific focus on virtual linguistic landscapes. The study also illustrates that the affordances of the online space allows for a hybrid edutainment space where people can learn about topics which are considered taboo in the domain of formal education. This study also extends the concept of multimodality, by including notions such as semiotic remediation and resemiotization, as well as immediacy and hypermediacy, as tools of multimodal analysis. This study also contributes to studies on gender and sexuality.
2022-08-31

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18

Lundby, Frida. "„As long as we can cry about the misery we can joke about it too“ : An intersectional and queer theoretical analysis of a Swedish female-fronted humor series". Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-20123.

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The aim of this thesis is to use intersectional queer theoretical analysis in order to investigate if the Swedish female-fronted humor series "Mia och Klara" can be understood as feminist. Through semiotic analysis of discourses in the material, the appearance and non-appearance of different social location and the portrayal of these can be established. The social location-analysis coupled with the Bechdel test will show us that the show can be perceived as female-focused but that certain characters are paradoxical and challenge the primacy of the male gaze through storyline and camera angles. The TV-series can to the most part be seen as a liberal- and post-feminist storyline that reinforces and re-affirms a white, Swedish, femininity project.

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Carlqvist, Felicia. "’’Why is my boy playing with a barbie?’’ -En kvalitativ innehållsanalys om hur könsstereotyper konstrueras i tv-serien Friends". Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-71924.

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The aim of this study is to investigate the popular tv-serie Friends to perceive how gender stereotypes are constructed within the serie. The study consists of seven different episodes with various scenes involving gender stereotypes. These were selected to demonstrate how the stereotypes are constructed and how these stereotypical behaviors are presented. The analysis makes use of theories about third-wave feminism, semiotics and gender representation. Using these tools, one longer scene from each episode have been analyzed and interpreted by the author. The results indicate that non-stereotypical behaviors connected to the characters are often used in a context where the purpose is to create humor. It’s often used to make fun of the way that these behaviors depart from gender stereotypes.

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Hellman, Tilda. ""Strong like a woman" : En kritisk diskursanalys av Netflix kategori "Serier med en stark kvinnlig huvudkaraktär" utifrån ett feministiskt medieteoretiskt ramverk". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37438.

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Uppsatsens syfte är att analysera och problematisera Netflix kategori ”Serier med en stark kvinnlig huvudkaraktär” utifrån valda begrepp inom feministisk medieteori. Det valda teoretiska ramverket och tidigare forskningen låg som grund för hur problemformulering skapats. Den valda metoden var kritisk diskursanalys baserat på den formulerad av Norman Fairclough och genomfördes med hjälp av dennes verktyg den tredimensionella modellen, som undersöker diskursiv praktik och text i relation till den sociala praktiken. Detta kombinerades även med en innehållsanalys för att ge en bredare förståelse för materialet, samt verktyg för att kunna nå en mer övergripande konklusion över kategorins struktur och dess innebörd. Resultatet visade både på en historisk utveckling, men även på en komplex reproduktion av maktförhållanden inom medieproduktion.

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Pereira, Germana da Cruz. "As representaÃÃes do gÃnero feminino no seriado televisivo A grande famÃlia: uma anÃlise crÃtica do discurso imagÃtico-verbal". Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13191.

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nÃo hÃ
A cada ano/temporada sÃo produzidos diversos seriados televisivos com grande aceitaÃÃo por parte dos espectadores. Estas sÃries veiculam e legitimam, utilizando seu discurso imagÃtico-verbal, representaÃÃes, reforÃando papÃis sociais que podem ser orientados por certas ideologias. Essa construÃÃo e propagaÃÃo de representaÃÃes e ideologias acontece por meio de estruturas linguÃsticas e discursivas presentes no discurso midiÃtico e utiliza recursos simbÃlicos e materiais, levando ao questionamento sobre como ocorre a articulaÃÃo entre construÃÃo discursiva, cogniÃÃo e sociedade, de modo a inserir-se na cadeia discursiva, afetando-a. Baseados na observaÃÃo das transformaÃÃes midiÃticas e nos deslocamentos discursivos no que tange Ãs questÃes de gÃnero e, sobretudo, aos papÃis desempenhados pelas mulheres em nossa sociedade, levamos a cabo uma investigaÃÃo cuja temÃtica Ã o discurso imagÃtico-verbal do seriado televisivo e as representaÃÃes de gÃnero. Mais especificamente desenvolvemos um trabalho de anÃlise crÃtica do discurso imagÃtico-verbal do seriado televisivo brasileiro A Grande FamÃlia, exibido no perÃodo de 2001 a 2014, com foco no exame da dimensÃo ideolÃgico-discursiva das representaÃÃes sociais do gÃnero feminino. Para tanto, tomamos como base os Estudos CrÃticos do Discurso de van Dijk (2003; 2006; 2008) e seu conceito de Ideologia, os estudos das RepresentaÃÃes Sociais, de Denise Jodelet (2001), de Serge Moscovici (2009) e Doise (2001), bem como os estudos sobre imagem e anÃlise fÃlmica de Aumont (1993), Joly (2007) e Metz (2004), e os estudos de gÃnero de Scott (1995) e Buttler (2010). A partir destes autores traÃamos um construto teÃrico-metodolÃgico com o estabelecimento de categorias discursivas e sociais de modo a desenvolver um estudo analÃtico-interpretativista de abordagem qualitativa, confirmando a proposiÃÃo inicial da pesquisa de que o discurso imagÃtico-verbal do seriado televisivo A Grande FamÃlia constrÃi e partilha papÃis sociais, bem como representaÃÃes, sobretudo do gÃnero feminino, por meio da estereotipaÃÃo das personagens e pelo alinhamento de seus discursos com uma ideologia vigente nos contextos de produÃÃo e recepÃÃo da sÃrie.

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Svensson, Jennie. ""I just wanna wear this dress" : En studie av hur kvinnor porträtteras i reality-serien The Hills". Thesis, Stockholms universitet, Institutionen för journalistik, medier och kommunikation (JMK), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-39942.

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Denna uppsats syftar till att kvalitativt undersöka hur kvinnor porträtteras i fem utvalda avsnitt av The Hills (MTV), med fokus på deras beteende och uppträdande i frågor som karriär, utseende och relationer till män. Detta undersöks med hjälp av ett analysschema som har utformats utifrån Keith Selbys och Ron Cowderys analysmodell för att studera television. Undersökningen vilar på en genusteoretisk grund och teorier som används är bland annat R.W. Connells hegemoniska maskulinitet, Yvonne Hirdmans genuskontrakt, Laura Mulveys ”the male gaze” och en vidare utveckling av Foucaults teori om ”the panopticon”. Detta kompletteras med forskning av bland annat Rosalind Gill, Angela McRobbie och Hillevi Ganetz. I min analys framkommer att det förekommer väldigt få skildringar av kvinnor vars beteende utmanar en traditionell syn på kvinnligt uppförande. Vidare betonas kvinnors utseende starkt och karaktärerna visar ett flertal gånger fokus på äktenskap. Sammantaget leder analysen fram till en slutsats att kvinnor i The Hills inom samtliga undersökta områden till stor del skildras på ett sätt som befäster en stereotyp genusstruktur.

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Rodrigues, Ana Carolina de Mello Alves 1985. "Análise do desempenho muscular do quadríceps e dos isquiotibiais em função da série temporal e da amplitude de movimento de atletas amadoras de futsal feminino = Analysis of muscle performance of the quadriceps and hamstrings as a function of the times series and range of motion of amateurfemale futsal athletes". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/275093.

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Orientador: Sérgio Augusto Cunha
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Física
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Resumo: A análise do desempenho muscular por dinamometria hipocinética comumente utiliza-se de valores de torque máximo de quadríceps e isquiotibiais. Porém com a utilização dos valores de torque em função da amplitude de movimento, bem como o cálculo da potência e do desequilíbrio muscular desta maneira torna possível observar o comportamento muscular e a capacidade de estabilização do joelho ao longo de toda amplitude de movimento, e possibilita identificar amplitudes que há risco de lesão de LCA. O objetivo deste estudo foi analisar a série temporal da produção de torque do quadríceps e dos isquiotibiais e calcular a potência e o desequilíbrio muscular de atletas de futsal feminino em função do ciclo de movimento de flexão e extensão do joelho no membro dominante. A amostra foi composta de 19 atletas amadoras de futsal feminino, com idade média de 20 ± 2,83 anos. A avaliação consistiu em 2 série de 5 repetições máximas de extensão/flexão do joelho unilateral de forma concêntrica, em 2 velocidades angulares (180°·s-1 e 210°·s-1) através de um dinamômetro isocinético (Biodex System Pro4). As análises foram baseadas nos valores de torque e potencia do quadríceps e dos isquiotibiais em função da amplitude de movimento, e foram calculadas a razão entre essas musculaturas em função da amplitude de movimento. Foram comparados os valores de torque, potência e razão em função do ângulo do joelho, para ambas as velocidades através da ANOVA e teste de Tukey post hoc. As variáveis foram analisadas em rotinas de ambiente Matlab®, com o valor de significância de 5%. Os valores de torque e potencia do quadríceps apresentaram-se maiores de 40% a 80% do ciclo de movimento nas velocidades de 180°·s-1 e 210°·s-1 que corresponde aos ângulos de 50° a 70° de flexão do joelho. Os valores do torque dos isquiotibiais foram maiores de 80% a 100 % do ciclo, que corresponde aos ângulos de 70° a 80° de flexão do joelho em ambas as velocidades, enquanto que a potencia dos isquiotibiais foi constate até 70% do ciclo, com menores valores de 70% a 100% do ciclo, que corresponde aos ângulos de 65° a 80° de flexão do joelho. Com relação a razão em função do ciclo de movimento, 6 atletas apresentaram em algum instante do ciclo de movimento valores abaixo de 60% na velocidade de 180°·s-1, e 4 atletas a 210°·s-1. O estudo mostra que análise do torque, potência e razão ao longo do ciclo de movimento caracteriza melhor o desempenho muscular destas atletas e identifica desequilíbrios entre isquiotibiais e quadríceps que poderiam não ser encontrados com o método de análise convencional, além de fornecer informações sobre desempenho em ângulos específicos do movimento de flexão e extensão do joelho que podem ser utilizados no treinamento e reabilitação destes grupos musculares
Abstract: The analysis of the muscle performance by isokinetic dynamometry is commonly used by peak torque of quadriceps and hamstrings. However, with the use of the torque values as a function of the amplitude of motion, as well as the calculation of the power and muscle imbalance in this way makes it possible to observe the behavior and the ability muscular stabilization of the knee over the entire range of motion, and helps identify amplitudes there is risk of ACL injury. The aim of this study was to analyze the time series of the torque production of the quadriceps and hamstrings and calculate power and muscle imbalance of female soccer athletes due to the cycle of movement of flexion and knee extension limb dominant. The sample consisted of 19 athletes amateur futsal, mean age 20 ± 2.83 years. The evaluation consisted of two series of five repetitions maximum extension / flexion of the knee-sided concentrically in two angular velocities (180°·s-1 e 210°·s-1) using an isokinetic dynamometer (Biodex System Pro4) . The analyzes were based on the values of torque and power of the quadriceps and hamstrings due to the range of motion, and we calculated the ratio of these muscles due to the range of motion. We compared the values of torque, power and reason as a function of knee angle for both speeds by ANOVA and Tukey post hoc. The variables were analyzed in Matlab ® routines, with the significance level of 5%. The values of torque and power of the quadriceps were higher than 40% to 80% of the cycle of motion at speeds of 180°·s-1 and 210°·s-1 which corresponds to angles of 50° to 70 ° of flexion knee. The hamstring torque values were greater than 80% to 100% duty cycle, corresponding to angles of 70° to 80° of knee flexion at both speeds, whereas the power hamstring muscles were finds up to 70% of the cycle, lower ratios of 70% to 100% duty cycle, corresponding to angles of 65° to 80° of knee flexion. Regarding the ratio as a function of the movement cycle 6 athletes had at some point in the movement cycle values below 60% at a rate of 180°·s-1 and athletes 4 at 210°·s-1. The study shows that analysis of the torque, power and reason throughout the movement cycle is a better muscle performance of athletes identifies imbalances between hamstring and quadriceps that could not be found with the conventional method of analysis, in addition to providing information about performance specific angles of flexion and extension of the knee that can be used in the training and rehabilitation of such muscle groups
Mestrado
Biodinamica do Movimento e Esporte
Mestra em Educação Física

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Still, Katie. "The Mystery of the Body: Embodiment in the Nancy Drew Mystery Series". unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-07302009-145625/.

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Thesis (M.A.)--Georgia State University, 2009.
Title from file title page. Megan Sinnott, committee chair; Sarah Gardner, Meg Harper, Amira Jarmakani, Julie Kubala, committee members. Description based on contents viewed Feb. 11, 2010. Includes bibliographical references (p. 76-80).

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Pinto, Jessica Marie. "Resistance from Within: Domestic violence and rape crisis centers that serve Black/African American populations". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6744.

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This thesis uses feminist critical discourse analysis to find and understand the discourses embedded in the mission statements and program documents of three domestic violence and/or rape crisis centers that primarily serve Black/African American populations in three distinct geographic locations in the United States. Existing literature addresses the discourses present in domestic violence and sexual assault service provision, but no literature addresses the discourses present in the mission statements of domestic violence and rape crisis centers, leaving a considerable gap in the literature. This project uses frameworks of feminist understandings of Foucauldian discursive patriarchal power, intersectionality and material feminism to analyze the mission statements and put them in conversation with each other. The three organizations chosen, Our House, Jenesse Center and Black Women’s Blueprint, each are 2015 award grantees of one of two federal Office of Violence Against Women’s grants to provide services to culturally specific populations. I argue the mission statements of Our House, Jenesse Center, and Black Women’s Blueprint have a discourse of resistance articulated through embedded discourses of Black feminism, neoliberalism, community and cultural competency, and storytelling. This larger discourse of resistance draws on Black/African American historical structures of resistance. Understanding Black/African American serving domestic violence and rape crisis centers as sites of resistance allows for a deeper understanding of Black/African American women’s unique expression of power and domination.

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Araujo, Adrianna Paula de Medeiros. ""Bordados do Serid?" : uma experi?ncia etnogr?fica com as bordadeiras do munic?pio de Caic?-RN". Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12286.

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The narratives that circulate Caic? tell us that the activity of embroidery would have come to town by the eighteenth century, by the Portuguese colonizers. Initially, the embroidery worked as a constitutive element in the formation of women, especially in the construction of the role of "talented ladies", was later characterized in a income generating activity moving strongly the informal sector of the local economy. In addition to source of income, the practice of embroiderers is redefining the craft tradition, transforming the embroidery on one of the symbols of identity of the city as it reaches other markets, carrying the name "Caic? embroidery". The research aims to investigate the dynamics of artisanal embroidery production, within the family circle and its consequences after its entry in the commercial sphere. It also seeks to investigate how the activity operates within a context in which the subjects (embroiderers and intermediaries) and their distinct negotiations trigger certain discourses, particularly those related to identity and authenticity on behalf of economic, political and cultural purposes
As narrativas que circulam por Caic? contam-nos que a atividade de bordar teria chegado ? cidade por volta do s?culo XVIII, atrav?s dos colonizadores portugueses. Inicialmente, o bordado funcionou como elemento constitutivo na forma??o feminina, sobretudo, na constru??o do papel da mo?a prendada , posteriormente, foi caracterizando-se como atividade geradora de renda, passando a movimentar fortemente o setor informal da economia local. Al?m de fonte de renda, a pr?tica das bordadeiras vem ressignificando a tradi??o artesanal, transformando o bordado em um dos s?mbolos identit?rios do munic?pio ao projet?-lo para outros mercados, carregando o nome de bordados de Caic? . A pesquisa tem como objetivo investigar a din?mica da produ??o artesanal do bordado, dentro do c?rculo familiar e em seus desdobramentos ap?s a sua entrada na esfera comercial. Tamb?m busca investigar como a atividade opera dentro de um contexto em que os sujeitos (bordadeiras e intermedi?rios) e seus distintos agenciamentos acionam certos discursos, sobretudo aqueles relacionados a identidade e autenticidade, em nome de fins econ?micos, pol?ticos e culturais

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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.

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The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and 80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

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Svensson, Frida. "Hci + Ohja = sant! : En studie om feministiska seriefanzines". Thesis, Högskolan i Borås, Akademin för bibliotek, information, pedagogik och IT, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12423.

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The aim of this bachelor’s thesis is to gain knowledge about thefeminist comic zine, and its meaning for its readers, writers and thelibrary. In order to explore this subject I use feminist theory, and aconcept from a theory which I call Literature as resistance. The method used in this study is qualitative interviews andqualitative content analysis. I have interviewed six individuals,identified as feminists, who read and/or illustrate feminist comiczines. The interview material were transcribed and analyzed throughthemes identified in the material. Four major themes were found;Comics and gender, Feminist role models, Feminist practice and Artistic expression. My results show that the informants in this study find the comic zinemedium to be an appropriate way of sharing experiences andspreading feminist ideas. The feminist comic zine is described as”the ultimate way of laughing together with your feminist sisters”,and it is perceived to make the world bigger and freer. To illustratefeminist comic zines is seen as a possible way to act, and influenceand change norms and structures. The feminist comic zine enablesthe informants to combine reading experiences with feministcommitment, creation and a desire to communicate something withtheir readers.

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Azanu, Benedine. "Transnational Media Articulations of Ghanaian Women: Mapping Shifting Returnee Identities in an Online Web Series". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490962935074027.

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Lindgren, Moa, e Aya Sheikhmoussa. ""Don’t let the bastards grind you down" : En multimodal kritisk diskursanalys av hierarkier i TV-serien The Handmaid’s Tale". Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103897.

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This study attempts to examine how gender roles appear in the adaption of Margaret Atwood’s published book, The Handmaid’s Tale TV series, which introduces the fictional and dystopian society Gilead, where the infertility rates decreased as the result of climate change. This study focuses on the first, second and third seasons of the TV series from 2017-19. A qualitative method was used to study how groups of males and females are portrayed in a hierarchy. This study examines how males and females are represented in The Handmaid’s Tale through a content analysis with multimodal critical discourse analysis as a method, completed with gender system theory and feminist standpoint theory. In the study, we focused on four groups of females and two groups of males that were included in an obvious ranking in the hierarchy of Gilead. All of the groups were analyzed separately to observe how their gender roles were represented in the TV series. Consequently, we compared the male groups to the female groups to examine the differences between their representation and ranking in the hierarchy in Gilead. The results of this study shows that males are dominant and females are submissive in Gilead, which confirms the gender theory used in this study. The low-ranking groups of females, such as the handmaids or the marthas also confirmed the existence of the feminist standpoint theory. It shows that the groups of males were placed in the highest ranking in the hierarchy in Gilead, even though some of the women seemed to be powerful, it was not enough to dominate all of the male groups in the hierarchy.

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Michaelsdotter, Elin. "Den respektabla feministen : En analys av debatten kring Skam-fenomenet Noora". Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323731.

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Uppsatsen undersöker feministisk argumentation i två artiklar publicerade av Expressen. Syftet har varit att ta reda på hur diskussionen om ett slags normerande feministisk kvinnlighet tar form. Analysen är uppdelad i två delar: i den första används Lloyd Bitzers teori om den retoriska situationen samt en pragmadialektisk teori och metod. Den information som utvinns i analysens första del kontextualiseras sedan med hjälp av olika genusvetenskapliga ingångar. I den första delen skisseras argumentationens utgångspunkter och sedan dess argumentationsstruktur. I analysens andra del knyts den ena artikelförfattarens argumentation till en radikalfeministisk tradition, och den andra till en mer postmodern feministisk hållning. Argumentationsstrukturen var till stor nytta för att identifiera hur den första artikelförfattaren räknar upp flera egenskaper som ett kvinnligt subjekt inte kan inneha om hon ska erhålla rätten att kalla sig för feminist. Uppsatsen diskuterar sedan feministers möjligheter att skava, göra fel, och på så sätt tänja gränserna för vad som anses vara respektabelt. Också möjligheter för en bredare feminism som kan inkludera fler och en eventuell dekonstruktion av begreppet feminism är ämnen som uppsatsen argumenterar för. Slutligen resoneras kring de faktorer som samverkar för att skapa normer som både inkluderar och exkluderar kvinnliga subjekt.

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Skinner, Katharine Virginia. "The Castle/Nikki Heat Phenomenon: A Detailed Examination of Female Representation in Entertainment Media". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955124/.

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As entertainment reflects a culture's ideology, it is important for researchers to study its messages and subsequently its potential meanings. Entertainment has the power to inform and persuade, creating models for behavior with which the public interacts. The entertainment texts for the purpose of this study are the Castle television series and the Nikki Heat novels. Together, they create a unique multi-layer fictional world. By using postmodern, feminist, communication, and entertainment theories, the results of this study provide a tightly focused lens which views a narrow aspect of entertainment media. Each text was thoroughly examined using textual analysis, Feminist Poststructuralist Discourse Analysis, and conversation analysis. Contrary to expectations, the results indicated that the Castle and Nikki Heat texts support hegemonic ideology, particularly through the use of exaggerated stereotypes, strict gender roles, imagery, and narrative choices that help perpetuate rape culture. The discussion outlines how these results can be interpreted through the dominant messages presented in the texts. This research is intended to serve as a foundation for future research regarding entertainment media.

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Palmieri, Stephanie Jane. "Assessing Industry Ideologies: Representations of Gender, Sexuality, and Sexual Violence in the Book Versions and Film Adaptations of The Hunger Games Trilogy, The Divergent Trilogy, and The Vampire Academy Series". Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/416269.

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Media & Communication
Ph.D.
In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able-bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women’s ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence. My analysis of these texts reveals that the book series employ a variety of mechanisms that empower the women protagonists including establishing their narrative agency and representing them as gender fluid, while the film series utilize a variety of mechanisms that both objectify and superficially empower women including an emphasis on women’s sexualized physical bodies especially in times of vulnerability, the pronunciation of “natural” sexual differences, and the strict regulation of women’s bodies by dominantly masculine men. I argue that the significant alteration of the books’ original messages are a product of logistical, historical, cultural, and economic elements of the film industry, which has continually constructed women’s roles in terms of their sexual availability, victimization, and need to be rescued by heroic men. In this study, I address the institutional imperatives of the film industry that dictate specific representations of gender, sexuality, and sexual violence, and I address what these representations might mean for audiences.
Temple University--Theses

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Sweet, Anne. "Le Girl Power en question dans Xena Warrior Princess et Charmed : enjeux sociaux et commerciaux dans des politiques de genre". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030159.

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Cette thèse s’interroge sur les enjeux sociaux et commerciaux des politiques de genre. Par conséquent, elle considère la notion de Girl Power définie comme le pouvoir des filles et examine les discours renégociés autour du genre par l’examen d’héroïnes de séries des années 1990. Par contraste avec les séries des années 1970 qui relèvent du féminisme de la 2e vague, les séries des années 1990-2000 s’inscrivent davantage dans la mouvance du féminisme de la 3e vague. Ces séries ont suscité des polémiques autour des questions de féminisme et de violence télévisée et féminisée. Le corpus est principalement composé de deux séries Girl Power, Xena : Warrior Princess et Charmed, qui symbolisent le pouvoir féminin car les héroïnes d'action s’affichent en premier rôle. Ce sont des séries à succès, qui ont été diffusées pendant plusieurs saisons, dont les icônes continuent à circuler dans la culture populaire américaine. L’analyse de ces séries s’organise en deux temps principaux : une première partie considère les représentations du Girl Power et ses ambiguïtés tandis qu’une deuxième partie se concentre sur la négociation des discours de pouvoir et de genre. L'interprétation de ces symboles du pouvoir féminin n'est pas fixe et fluidifie les frontières du genre, notamment en mettant en crise la masculinité. Les séries sur les femmes violentes sont des produits commerciaux. Toutefois elles ont eu un impact sur la culture américaine en soulignant les contradictions et tensions entre les deux vagues du féminisme. Elles ont également eu un effet sur la vie des communautés de fans qui entretiennent des relations avec les séries à travers les sites web et les réseaux sociaux
This thesis investigates the social and economic issues at play in the politics of gender. Hence it delves into the phenomenon of Girl Power, or the « power of girls », and examines the discourses renegotiated around gender through analysis of TV series’ heroines from the 1990s. In contrast with series from the 1970s, which were influenced by the second wave of feminism, the series from 1990-2000 inscribed themselves more in the sphere of influence of feminism’s third wave. These series have provoked debates about issues of televisual violence and feminism. The corpus is principally composed of two Girl Power series, Xena: Warrior Princess and Charmed, which symbolize women’s power because they are centered on action heroines. These were successful series that were broadcast for several seasons and whose icons continue to disseminate in American popular culture. The analysis of these series is organized into two parts: the first part examines respresentations of Girl Power and its ambiguities, while the second part focuses on the negotiation of discourses of power and gender. The interpretation of these symbols of women’s power is not fixed, and blurs gender borders, notably in showing masculinity in crisis. TV series about violent women are commercial products. Yet they have had an impact on American culture in underlining the contradictions and tensions between the two waves of feminism. They have also affected the lives of the communities of fans, who sustain relationships with the series through web sites and social networks

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Schön, Jasmine. "Hermione Granger som “den Andra” : En analys av Hermione som mugglarfödd kvinna". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76153.

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Hermione Granger is the most prominent female character in the Harry Potter series. She is also the only one in the trio of herself, Harry Potter, and Ron Weasley who is muggle-born. She is, therefore, most likely to be discriminated against in two aspects – on the basis of her sex and race. This essay examines Hermione with the help of Simone de Beauvoir’s The Second Sex and Edward W. Said’s Orientalism to show how she is represented and portrayed as “the Other” in these two aspects. In which aspect is she more likely to suffer from discrimination, or is it the combination of the two that is essential? As discrimination on the basis of sex, race, ethnicity, religion, and other aspects continues to grow in Western societies, it is important to look at how this widely popular literary series handles these issues.

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Nyström, Erika. "Typografisk makt : Hur värderas typografi?" Thesis, Konstfack, Grafisk Design & Illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6877.

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Typografi finns överallt. Det är en del av grafisk formgivning som är ramverket som vi på olika plattformar i media och i stadsbilden blir tilltalade och därigenom förstår omvärlden. Typografi påverkar i stor utsträckning hur vi tolkar ett innehåll och hur vi värderar allt från människor till åsikter. I mitt examensarbete "Typografisk makt" undersöker jag relationen mellan samhällets värderingar och typografi. Varför tar vi vissa typsnitt på allvar och andra ses som oseriösa? Jag har skrivit en essä och presenterar texten i två publikationer där jag med formgivningen vill kommentera olika sätt att förhålla sig till idéer om hur typografi bör fungera och se ut. I essän tar jag upp historiska aspekter som påverkat hur typografi värderas. Jag försöker även bena ut vilken roll egenskaper kopplade till kön har för roll i hur typografi värderas.
Typography is everywhere. It speaks to us and makes us understand the world. Why do we regard some typefaces as serious/professional and some as less serious? My project is an investigation of the relation between the values of society and typography.

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Larsson, Emma Maria. "En trojansk My Little Pony : En genusvetenskaplig kulturanalys av Sara Granérs seriebok All I Want for Christmas is planekonomi ur ett gurleskt och skevt perspektiv". Thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-90876.

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Sweden has an active and growing culture of feminist comic book artists that use comedy as a mean of disseminating political ideas and critic. In this essay I do a reparative reading of Sara Granér’s comic book All I Want for Christmas is planekonomi in order to find out if it advocates alternative orders and/or ways of expression. By exploring what the comic book does to me as a reader and how, using the term ”skev” – a hybrid of queer that examines normativity not strictly tied to sexuality – and gulesque theory – a mix of feminism, cuteness, the grotesque and riot grrrl –, I show that the comic book, through the use of comedy, works as a trojan My Little Pony, reclaiming the girly franchise, while challenging several so-called dichotomies, such as: femininity/masculinity; youth/adult; high art/kitsch. I conclude that the comic book contain feminist figures of resistance, and that it creates affects and nourishment that can be used as a means to imagine a feminist other.

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Strömbeck, Wendel. "Error i cisblicken : en normkritisk studie om cisnormen". Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7690.

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The cis norm could be described as the norm that forces everyone to be either female or male and that genitals, gender identity and juridical sex should be constant throughout a person’s lifetime. “Cis” means “on the same side” in Latin, and in this study Wendel Strömbeck, student at the Pedagogy Institution of Konstfack, University College of Arts, Crafts and Design, has coined the notion “the cis gaze”. “The cis gaze” refer to a performative act of sorting bodies into a female or male category. Wendel study how people with trans* experiences could experience gazes and pictures in relation to the cis norm. The study is based on the queer community that Wendel is a part of, and includes interviews and self-reflections. “Trans” means “to move over” in Latin and “trans*” refers to the whole spectra of possible ways of transgressing the cis norm. The study is devided into two parallel works, an essay and an artistic figuration, a comic book. The comic book includes rendering of the interviews that Wendel has carried out and an irreverent study of cis gendered persons. The essay also includes rendering of the same interviews and an analysis of a poster for the Hollywood movie Glen or Glenda from 1953

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Heifner, Pepper J. "Trans Stories, Trans Voices: How the Internet Empowers Transgender Creators to Have Agency in Trans Fiction". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/495.

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Although many advocates believe that the increased representation of transgender people in mainstream fiction will lead to more understanding for the transgender community, many transgender scholars (Page, Richards) are critical of representation that is created without any involvement of actual transgender people. Some fear that the more radical perspectives of trans lives are being erased and replaced with a homogenous idea of the kinds of trans people who are “acceptable” (cárdenas). To avoid this homogeneity, it is important to allow for a multiplicity of trans perspectives and empower transgender people to have agency over their own narratives. The goal of this project is to highlight how trans agency in story telling can benefit trans fiction and take it beyond simply providing a “trans 101” for cisgender audiences. It will also address how the internet has benefitted trans creators by providing a platform for a variety of trans voices to share their stories. By analyzing fiction that centers on transgender experience and is created by transgender people, this thesis will explore the topics and issues addressed in trans stories and the diversity in the perspectives shown. Internet-based fiction such as webcomics and web series will be examined, as well as a trans authored anthology that was funded online. Examining these stories may show us what we are missing by relying on the current homogenous mainstream representation and open our eyes to the importance of empowering transgender people to tell their own diverse, radical stories.

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Alba, Gómez Clarisa, e Rocío Astigarraga. "Resonantes. Serie de podcats de la escena cultural feminista y disidente de Córdoba". Bachelor's thesis, 2020. http://hdl.handle.net/11086/15325.

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Trabajo Final para optar al grado académico de Licenciatura en Comunicación Social, Universidad Nacional de Córdoba (inédita). Calificación: 10 (diez)
Este producto comunicacional de cuatro episodios propone conocer el lugar que ocupan las identidades disidentes y las mujeres en los espacios de producción cultural de la ciudad y también difundir su trabajo, sus prácticas y los sentidos que construyen. El trabajo presenta como conceptos teóricos transversales la noción de comunicación propuesta por María Cristina Matta y las categorías cultura y hegemonía desarrolladas a partir de los estudios culturales (Williams, Grossberg). A su vez, la serie de podcast abarca cuatro ejes temáticos que dialogan con la propuesta teórica: las formas cotidianas que adopta la resistencia en relación a la teoría de Cejas y Richard; las ideas que circulan acerca del lxs trabajadorxs de la cultura a partir de Federici; la representación de los cuerpos en los espacios culturales desde Butler; y la existencia de vínculos y redes en la escena con los aportes de Cabnal. Por último, el formato podcast es conceptualizado desde los planteos de teóricxs de la comunicación radiofónica. Por último, la metodología de trabajo es construida tomando herramientas y técnicas del enfoque cualitativo y el diseño del proceso de producción es el resultado de las experiencias previas en el ámbito radiofónico y de los conocimientos adquiridos durante el recorrido académico de la carrera.
Fil: Alba Gómez, Clarisa. Universidad Nacional de Córdoba. Facultad de Ciencias de la Comunicación.
Fil: Astigarraga, Rocío. Universidad Nacional de Córdoba. Facultad de Ciencias de la Comunicación.

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Cuello, Josefina, Ludmila Ludueña e Samanta Sosa. "Hecha la Ley. Una serie de podcast sobre la importancia de incorporar la perspectiva de género al derecho". Bachelor's thesis, 2019. http://hdl.handle.net/11086/12842.

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Trabajo Final para optar al grado académico de Licenciatura en Comunicación Social, Universidad Nacional de Córdoba (inédita). Calificación 8 (ocho)
El objetivo principal de este trabajo fue generar un contenido que exponga la importancia de incluir la perspectiva de género en el derecho, así como diseñar y realizar productos sonoros que visibilicen al Cuerpo de Abogadas Feministas de Córdoba, tomándolo como una referencia contrahegemónica a la justicia patriarcal. Esto dio lugar a Hecha la Ley, una serie sonora de dos episodios en formato podcast. La justicia, constituida en el derecho, se asienta sobre las bases del sistema capitalista patriarcal. Es por esto que en sus discursos y prácticas reproduce la lógica y la moral dominante, la de los poderosos. Bajo el yugo de esta lógica está cualquier identidad que no se corresponda con la del sujeto que en el sistema capitalista y patriarcal viene a ser la medida de las cosas: el “hombre blanco heterosexual de clase media”. Como comunicadoras sociales comprendemos lo importante que es la alternancia de mensajes, la circulación de discursos que pongan en jaque la hegemonía del poder, ya que entendemos que todo discurso tiene el enorme potencial de operar sobre la realidad. Si creemos en construir una sociedad más justa para todas y todos, es necesario cuestionar el orden establecido. Para subvertir este orden debemos disputarle sentidos en todos los campos que atraviesa y uno de esos campos de disputa es la justicia, como institución del Estado. De aquí la necesidad de incorporar en ella la perspectiva de género desde la comunicación. A la vez, el derecho es una herramienta práctica, factible de utilizar para revertir la situación de desigualdad que ha acompañado a la mujer como sujeto social a lo largo de la historia.

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Laih, Jyh Yir, e 賴治怡. "Praxis of Feminist Criticism: Reading the "New Taiwan Series."". Thesis, 1993. http://ndltd.ncl.edu.tw/handle/w5hm4b.

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Nouzová, Pavlína. "Ženská témata v normalizačních seriálech Jaroslava Dietla". Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336413.

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The goal of this study was to find out how TV series from the normalization era written by Jaroslav Dietl showed women and their issues. I focused on the 70's and 80's TV series, whose stories take place at the time when they were made. First, I set ten model situations based on the professional literature. Then I applied them on selected female characters from the chosen series and determined whether these model situations were used (heroine was not displayed stereotypically) or not (heroine was displayed stereotypically). I applied a similar system on ten films from the normalization era to compare the characters with each other, to compare Dietl's TV series with each other and to compare his work with other works. I found out that Jaroslav Dietl fulfilled the stereotypes about women at that time, but only to some extent. Ratio of female characters beyond stereotypes to stereotype characters was 26:34 (rounded 0.76). He also used very often a character of a submisive woman who is usually displayed in her home with her family. Another finding is that Dietl's work offers several distinctive heroines, namely Alžběta Čeňková, Dana Králová (both from TV series Nemocnice na kraji města) and Ivana Pešková (TV series Inženýrská odysea). Nemocnice na kraji města is also the only case which displays more...

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Seshabela, Dumisa Olive. "Walter Ntsimane's portrayal of women in the radio series Motlhabane / Dumisa Olive Seshabela". Thesis, 2003. http://hdl.handle.net/10394/14267.

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The portrayal of women in Setswana literary works and in the electronic media tends to perpetuate stereotypes of women. This may result in a society that continues to degrade women. Ntsimane, the author of Motlhabane, has written a drama series that depicts women in a negative way through the creation of weak female characters who are often exploited by males, are gossips, adulterous and generally manipulative and of low morals. Feminist literature has, among other things, challenged, especially male authors who promote and perpetuate negative stereotypes of women. The view that women are weak, adulterous, possessive and have low morals emerges from traditional cultural perceptions, and thus writers who do not give a balanced view of women continue to portray this view. Women have been discriminated against in many spheres of life, such as in the work place, at home, in politics, in the economy and in society in general. This study explores the portrayal of women in the radio series Motlhabane and reveals clearly that the series fails to portray women as having an important role to play in life and in a family structure and thus need • to be afforded respect. The conclusions of this study are a warning to men about women who do not fit the traditional mould of submissive wives and are therefore looked upon as being morally corrupt and promiscuous. The author does not treat his female characters with respect. The study highlights challenges facing emerging authors who write about women, and directs them to focus on representing women in a balanced manner in their works. The challenge for the emerging generation of authors is to learn to write in a sensitive balanced manner about women.
M.A., African Languages, Potchefstroom University for Christian Higher Education, 2003

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Tully, Meg E. (Margaret E. ). "The season of the vagina : a third-wave feminist analysis of the television series New girl and Girls". 2013. http://liblink.bsu.edu/uhtbin/catkey/1713808.

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This thesis examines two of the female-driven sitcoms from the 2011-2012 season, New Girl and Girls. I analyze both series from a third-wave feminist perspective, looking at how each series portrays its respective lead character, Jess and Hannah, and how each series portrays funny women in general. Through these analyses, I ultimately argue that Jess on New Girl represents a much more promising feminist icon than Hannah on Girls. This is mainly because Jess is driven by self-love and self-confidence while Hannah is so defined by her self-hatred that she becomes difficult for viewers to relate. Most disappointingly, I find that female-driven sitcoms use humor as a weapon to discipline its characters.
Literature review -- Critical orientation -- New girl : feminist role model or just another manic pixie dream girl? -- Girls : the future of television or whiny, selfish, entitled brats?
Department of Communication Studies

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Cheng, I.-wen, e 鄭伊雯. "Rhetorical Criticism from a Feminist Perspective: A Fantasy- Theme Approach th the "Hsitai" Romance Series". Thesis, 1996. http://ndltd.ncl.edu.tw/handle/29293250760246608343.

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Devereaux, Danielle. "Doing media education : the Media & Culture Screening & Discussion Series /". 2005.

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Howell, Charlotte Elizabeth. "Prophets in the margins : fantastic, feminist religion in contemporary American telefantasy". Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3065.

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In this thesis, I will examine the connected representations of religion and gender in the context of contemporary American telefantasy (a term for science fiction, fantasy, and horror television genres) programs that include characters who experience fantastic visions that can be explained as originating from either divine or medically materialist origins. The fantastic mode, facilitated by telefantasy’s non-verisimilitudinous genre, presents these visions in a liminal space in which religious and gender representations can potentially subvert or challenge patriarchal and hegemonic representational norms. I analyze Battlestar Galactica (Sci-Fi 2003-2009), Eli Stone (ABC 2008-2009), and Wonderfalls (FOX 2004) for their formal presentation of visions, representations of visionary characters, and the religious representations that form the context for the visions and visionaries. I focus on visionary characters that are directly implicated by the television text as being potential prophets: Laura Roslin and Gaius Baltar on Battlestar Galactica, Eli Stone on Eli Stone, and Jaye Tyler on Wonderfalls. Though each visionary character explores the possibility of subverting patriarchal religious norms, Roslin, Baltar, and Stone’s prophetic roles ultimately privilege patriarchal readings of their narratives, but Jaye, by avoiding the language-symbol systems of traditional religions, maintains the fantastic liminal space and thus the potential for subversion, even if it is only a possibility in the narrative. This thesis seeks to contribute to the scholarship of religious representations in fictional television, with a special emphasis on telefantasy.
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Harris, Eugenia Kay. ""Speak softly and carry a big stick" female appropriation of the phallus in Sara Paretsky's V.I. Warshawski series /". Diss., 2006. http://etd.library.vanderbilt.edu/ETD-db/available/etd-03212006-234958/.

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VanderVennen, Robert E., Ginkel Aileen Van, Gary Shahinian, Nicholas Terpstra, Kathy Vanderkloet, C. T. McIntire e Susan Bower. "Perspective vol. 17 no. 2 (Apr 1983)". 2013. http://hdl.handle.net/10756/251286.

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