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Gad, Yasmine. ""I take back my body" : mapping the female body in postcolonial literature." Thesis, University of Kent, 2014. https://kar.kent.ac.uk/49618/.
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This dissertation examines the ways in which cultural definitions of gender, sex, and race have equally impacted and disrupted women and their relationships in postcolonial culture. Such relationships can be with either with oneself or with others. My argument throughout this project is that colonialism as an act of systematic physical and psychological violence, together with its residual effects that split the individual and his/her community, is a primary cause of transgression. Breaking social boundaries takes place through a process of coding and decoding the body where female characters portrayed from a selected range of fiction demand agency in environments that deny them such power. In order to track the development or loss of feminine identity, I comparatively study the characters and incidents alongside one another to show how oppression, across time and space, can produce different expressions of revolt. Unlike colonized men who are also forced to question the integrity and wholeness of their body, with women the oppression is twofold: she is made inferior by nature of her race and her sex. Until today, this has serious implications that hinder the cultural development and economic progress of postcolonial cultures. Hence, the discussions presented in this project call for a feminist and postcolonial understanding of the corporeal body and challenges Cartesian ethics which conceptualize the mind as superior to the body. Arguably, they contribute to other dualities which participate in similar hierarchical ideals when discussing racial and sexual difference such as, self/other, masculine/feminine, civil/uncivilized. Crossing over different geographies, writers such as, Ahdaf Soueif and Toni Morrison showcase women who reject the dualisms, even if some of their struggles end tragically. Representing postcolonial women in this light invites a less biased understanding of the body as lived, and its reactions as consequent to where and how it goes about such living.
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Weiss, Katherine. "Sophie Treadwell's Machinal: Electrifying the Female Body." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/2285.
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Horansky, Eileen A. "SEXUALIZING THE BODY POLITIC: NARRATING THE FEMALE BODY ANDTHE GENDER DIVIDE IN SECRET HISTORY." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1431019120.
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Clancy, Kim. "Shaping the sixties : the female body and British culture 1959-1967." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360579.
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Alexander, Robyn Gaye. "Body/sexuality/control : female identity in four Fay Weldon novels." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/20451.
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Bibliography: pages 154-163.<br>This thesis explores the manner in which female identity is depicted and the concept itself deployed in four novels by Fay Weldon (1931- ), a contemporary English writer. The novels examined are Puffball (1980), The President's Child (1982), The Cloning of Joanna May (1989) and Growing Rich (1992). The thesis's· theoretical focus is feminist, and it makes use of terms, arguments and insights provided by contemporary feminist literary and cultural theory. It thus in part also explores the usefulness of insights provided by recent feminist poststructuralist theory, with particular reference to psychoanalytic theory. On the whole, these insights are found to be useful, even though they do not entirely answer some of the questions generated by the possibilities which are shown to exist for female subjects within western culture. The thesis's conclusion suggests ways in which this lack of definitive answers might in its turn be interpreted. The first chapter, dealing with Puffball, examines the novel's depiction of the effects of pregnancy on a woman's body and in turn on her sense of her own identity. This is followed by a chapter on The Cloning of Joanna May, which also takes female experience of the maternal as its central focus. This chapter shows how Weldon investigates current meanings of birth, children, identity and the natural via a plot concerned with the uses and abuses of contemporary reproductive technologies. A short chapter on Weldon's prose style, which is seen to manipulate aspects of form in order to generate particular effects, follows. In it, the current reception of Weldon's work and her use of humour in her writing is commented upon. This chapter also anticipates the question of the use of narrative voice, which is crucial to the novels dealt with in the final two chapters. In the first of these, which explores Growing Rich, the manner in which masculine power is shown to impact on the bodies of the two central female characters is central. Like the final chapter on The President's Child, this chapter also deals with the narrator's use of narrative as vehicle for both the stories of the female characters which she relates and for her own story. The final chapter focuses on the increasingly open conflict which Weldon depicts between male and female power, and also explores how the public/private division central to western culture is disrupted in this novel. Throughout the thesis, an attempt is made to show how female identity is at present constructed for and by western women: via their own and others' representations of their bodies and their sexuality, and as a concept over which they have varying degrees of control. It concludes that the often contradictory fictional representations of female subjectivity in the four novels under discussion suggest the constraints and difficulties involved in attempts to create new visions of female bodies, sexualities and identities. However, these depictions of such experiences are in addition shown to suggest the possibility of new and different representations.
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Phillips, Leah Beth. "Myth (un)making : the adolescent female body in mythopoeic YA fantasy." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87296/.
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Through a reading of the heroic, female bodies available in Tamora Pierce’s Tortall books (1983–2011) and Marissa Meyer’s Lunar Chronicles (2012–2015), this thesis demonstrates how mythopoeic YA fantasy contests the dominant, hegemonic narratives of female adolescence. Owing to the system of binary oppositions structuring this space, the adolescent girl is offered— through the heavily stylised and always-edited images of popular and media culture—a very narrow and limited means of becoming self, one insisting on a discourse of self-through-appearance at the expense of the body’s fleshiness. Demonstrating a creationary or world-building mind-set, this vein of speculative fiction offers a sub or counter-cultural space in which alternative frameworks of living and being an adolescent female body are possible. Through the sometimes-fantastical transformations of the body in Pierce and Meyer’s fantasy, this thesis engages liminality, focusing on the adolescent (between child/adult), the body (between self/other), and young adult literature (YAL) (between children’s/adult literature). Drawing from a variety of fields: YAL and feminist theory, studies of myth and folklore as well as popular culture and cultural anthropology, this thesis speaks to and from the places between oppositions, and does so in order to refuse the individuality and isolation required by hegemonic models, while also offering a re-mapping of the body’s curves and contours, one that takes “lumps,” “bumps,” and “scars” into account. To counter the dominant framework of adolescence, this thesis concludes by offering, through a metaphor of “the Pack,” a model of interdependency and relation. Formed by repetition and connection, this model frustrates the economy of opposition, while also taking into account the body’s raised and irregular surfaces and demonstrating how individuals may be “scored into uniqueness” through relationality.
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Bragg, Beauty Lee Woodard Helena. "The body in the text : female engagements with Black identity /." Ann Arbor, MI : UMI, 2004. http://www.lib.utexas.edu/etd/d/2004/braggbl21867/braggbl21867.pdf#page=3.
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Hoefel, Roseanne L. "Connecting the French connection : Emily Dickinson and Virginia Woolf writing the (female) body /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345128806.
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Greeley, Robin Adèle. "Image, text and the female body : René Magritte and the surrealist publications." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/74338.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.<br>Includes bibliographical references (leaves 66-73).<br>In 1935, Andre Breton published his speech Qu'est-ce que le Surrealisme? with Rene Magritte's drawing, "Le Viol" (The Rape) on its cover. The image, a view of a woman's head in which her facial features have been replaced by her torso, was meant to shock the viewer out of complacent acceptance of present reality into "surreality," that liberated state of being which would foster revolutionary social change. Because "Le Viol" is such a violently charged image and because of the claims made for it by Magritte for its revolutionary potential, the drawing has been the subject of many arguments, both for and against its effectiveness. The feminist community has had a particular interest in this image (and in Magritte's work as a whole) not only because of the controversial treatment of the female subject in "Le Viol," but also because of the ways in which our culture has been so easily able to strip surrealist images of their political content and subsume them back into mainstream culture for use in those very categories of social practice which Surrealism wanted to eradicate. The reincorporation of surrealist works has been especially noticeable and damaging in the case of images of women, as feminists like Susan Gubar and Mary Ann Caws have pointed out Against those claims made against "Le Viol" as an image which affirms phallocentric language and discourse rather than disrupting them, I argue in this paper that the drawing in fact exposes the mechanisms by which female sexuality is formed and controlled within phallocentric language. In exposing these constructions, "Le Viol" forces the viewer to realize them as ideological positions which maintain women as Other, as unable to gain access to coherent meaning within that language. In performing this function, Magritte's picture undermines that process through which women are deprived of a coherent self-image and of the material power which comes with that image in the social realm. To substantiate my arguments, I trace the relationship between several of Magritte's images and the surrealist texts in which they were published, in order to provide a complex understanding of the interrelationships between word and image to which the artist directed much of his work. My use of the theoretical positions of deconstruction, feminism and psychoanalysis allows me to take the observations made onto the terrain of sexuality. These positions provide an understanding of how language and representation operate with respect to each other, and how the human subject (particularly the female) is formed through language.<br>by Robin Adèle Greeley.<br>M.S.
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Swank, Andrea H. "Virtually corporal : the polite articulation of the female body in the 18th century novel /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841339.
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Hole, Anne. "Belly laughs and gut fears : the fat female body as site of comedy." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368496.
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Kaminski, Melissa J. "Does This Book Make Me Look Fat? The Effect of Protagonist Body Esteem and Body Weight in Novels on Female Readers' Body Esteem." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32729.
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The effects of visual representations of the thin ideal in movies, magazines, and television have been widely explored, but strictly textual representations of the thin ideal in novels have received scant attention. The genre of chick literature has been criticized for depicting characters that constantly worry about their body weight and have poor body esteem. Excerpts from two popular chick lit novels were used to examine the effect of a protagonist's body weight and body esteem on participants' overall body esteem, sexual attractiveness, weight concern, and physical condition. In Study 1 (N = 159), underweight protagonists made participants feel less sexually attractive. Furthermore, protagonists with low body esteem caused participants to report significantly low body esteem scores compared to protagonists with high body esteem. Study 2 (N = 251) examined the role of transportation and identification with the protagonist. Identification with the protagonist with low body esteem was a significant predictor of participants' lower reported scores of body esteem, lower evaluations of appearance, and increased weight concern. The results suggest that textual representations of body size and body esteem in novels have an effect that is similar to the effect of visual images prevalent in movies, television, and magazines. Implications and future directions are discussed.<br>Master of Arts
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Mortimer, Julia Margaret. "From the body of the religious to the religious body : the influence of the Middle English writings of St.Bridget of Sweden on fifteenth century instructional literature for the sisters of Syon Abbey." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271288.
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Dantas, Ana Luiza Libanio. "The Autonomous Sex: Female Body and Voice in Alicia Kozameh's Writing of Resistance." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1212634746.
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Hannagan, Lewis Valerie Christine. "The female body in question : a study of Monique Wittig's writings, with particular reference to L'Opoponax." Thesis, Queen Mary, University of London, 1996. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1498.
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This thesis is a comprehensive study of Monique Wittig's fiction, in which I explore the links between womanhood, sisterhood and writing. Particular attention is paid to L'Opoponax (1964), in which I argue that Wittig suggests a way out of the impasse of Freudian theories of femininity. This is achieved at all levels: stylistic, formal and thematic. I begin by defining my psychoanalytic and literary contexts (Freud, Klein and Irigaray for the former, contemporary French, English and American women's writing for the latter), in order to introduce the major debates connected with the concept of the female body and its representation in Western culture. I then show how the Freudian drama of sexual difference - namely, castration anxiety as it affects the little girl - is both powerfully evoked and systematically sidestepped in L'Opoponax, with its focus on relationships between women. Using Klein and Irigaray, I describe the problems arising within the mother/daughter dyad. I suggest that L'Opoponax hints at a healed relationship but also leaves much unsorted; this is seen to pull against the radical innovations of later texts, particularly Le Corps lesbien, accounting for some of the violence to be found there. The question of the mother versus the woman is thus not fully closed, but creates a space within which the amantes, female lovers, can begin to live and move. I end by replacing this question within its wider context as it is a crucial one for the future development of feminist writing.
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Dantas, Ana Luiza Libânio. "The autonomous sex female body and voice in Alicia Kozameh's writing of resistance /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212634746.
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Blum, Daphne. "Picking up the pieces: body parts and female power in Shakespeare's The rape of Lucrece." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/1714.
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In The Rape of Lucrece, Shakespeare anatomizes Lucrece's body-fragments the whole, splits apart the parts. He does so not only to expose the otherwise concealed act of rape-which is hidden within the mysterious and "invisible" female genitalia-but to indicate that Lucrece's parts, through analogy with Pagan and Christian figures and theories, are powerful, even combative, but always pure.
In the first section, individual body parts connect Lucrece with so-called "wild women," including the Amazons, Medusa, and Philomela. In the second section, body parts either link Lucrece, or sever Tarquin, from the Divine. In the final section, Classical Mythology and Protestantism conflate in the dis-embodied figure of Helen of Troy. The body-Lucrece's, Tarquin's and the figures on the tapestry-is explored in metaphorical parts, dismembered, or apotheosized/de-corporealized in an attempt to prove that a raped woman may retain her subjectivity along with her innocence.
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Solomon, Zanne. "The dionysian in performance reclaiming the female transgressive performing body." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002380.
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In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".
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Cai, Alice. "Reclaiming the Female Body: Dissociating Reproduction from Confucian and Socialist Patriarchy in 1980's Chinese Women's Literature." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243899.
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This thesis examines Hu Xin’s "Four Women of Forty" and Lu Xing’er’s "The Sun is Not Out Today" as examples of efforts by 1980's women writers to dissociate traditionally "feminine" qualities of nurturing, love, and motherhood from patriarchal demands driven by revolutionary forces and traditional forces.. This dissociation is similar to one represented by Henrik Ibsen's character Nora, appropriated by May 4th writers in early 20th century China to encourage a realization of female individualism. Steering away from initial radical modes of writing, post-Mao literary trends urge for reconciliation of women with their biological roles. Some Western feminists believe emphasis on these roles trap women within traditional stereotypes. However, further analysis of 1980's Chinese women's literature reveals that the call for patriarchal overthrow continues within a context presenting solutions to the issue of balancing social responsibility and biology by achieving human status. This thesis is part of ongoing gender literature evaluation and will lead to a revised understanding of the goals of 1980's Chinese women’s writing within its social context.
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Lo, Ying-wa, and 盧英華. "Reading schizophrenia and female bodies across cultures: a psychoanalytical approach to selected novels by SylviaPlath, Maxine Hong Kingston and Toni Morrison." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43703756.
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Morrissey, Colleen. "Struck: The Victorian Female Novelist and Male Pain." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524145187359308.
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Straight, Alyssa. "Mediums and Their Material: The Female Body in Spiritual and Technological Mediation, 1880-1930." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469182526.
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Hunt, Sally Ann. "The discoursal construction of female physical identity in selected works in children's literature." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005965.
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This thesis reports on an analysis of the discursive construction of female and male physical identity in children’s literature and explicitly combines corpus linguistic methods with a critical discourse approach. Based on three novels from each of the Chronicles of Narnia and the Harry Potter series, it shows clear gendering of body parts, not only in terms of the purely quantitative preferences for certain body parts to be associated with one or other gender, but in terms of discourse prosody, or the uses to which the body parts are put. Human body parts in these series are mostly used in the following four ways, all of which show differences in realisation in terms of gender: · to describe individuals, physically, in order to distinguish one from the other; · to convey emotion, unintentionally as well as consciously; · for physical interaction between people and · for interaction with the world more broadly: responses to danger and agency, i.e. the ability to act on the world and the nature of what is achieved. The use of body parts by characters to express emotion and act agentively on the world is revealed to be strongly gendered in the two series. I characterise the most prominent patterns in terms of the bodily products blood, sweat and tears, of which the last is strongly connected to female characters, who are generally associated with emotion. The other two, referring to active participation in fighting and injury, as well as agency, are almost exclusively reserved for males, with female characters rendered unable to act on the physical world as a result of overwhelming feelings. The females’ response to danger suggests stereotyped discourses of inequality which see women and girls as requiring protection and being physically incapable. Thus gender is still a particularly salient aspect in these widely-read examples of children’s literature, despite plots which appear to be fairly positive towards women. The strength of the inclusion of a corpus approach in this study lies in its capacity to reveal objective, and often fairly covert, trends in language use. These in turn enrich the critical analysis of discourses in these influential texts, which facilitates social change through linguistic analysis.
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Castaneda, Alisha Priolo. "Hues, tresses, and dresses examining the relation of body image, hair, and clothes to female identity in Their eyes were watching God and I know why the caged bird sings /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.
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Ahmad, Ebtehal A. "Women's bodies in dramatic confrontations with patriarchal logic : the representation of violence against the female body in contemporary drama by women." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266037.
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In this study, I examine the dramatization of violence against the female body in contemporary drama by women and the purpose behind their representational approaches. I concentrate on the representation of three types that I consider inclusive of other minor forms of violence: the political, the medical, and the social violations of the female body. In chapter one, I study the dramatic representation of political violence against women as their bodies become ideological expressions of their lands. This chapter analyzes Suzan-Lori Parks' Venus and Naomi Wallace's In the Heart of America. These dramas represent the violation of women's bodies to parallel the violation and rape of their lands that are effeminized by their subjugation to the dominant powers of the world. In chapter two, I examine the representation of medical violence against women's bodies as connoting the lower status of the female body within patriarchy. The dramas of this chapter, Louise Page's Tissue and Margaret Edson's Wit, illustrate how the female body is dehumanized and devalued by a patriarchal medical practice that fails to recognize the distinctive physical and mental needs of women. Finally, in chapter three, I discuss the dramatic representation of social violence as the most inclusive form of aggression against women. The plays of this chapter, Caryl Churchill's Vinegar Tom and Maria Irene Fornes' The Conduct of Life, emphasize the masculine fear of and intimidation by the female body's sexuality and productivity, which instigates all types of physical violence against women within the social context. In the conclusion, I discuss Eve Ansler's The Vagina Monologues as a piece of performance art that instigates an active type of opposition against women's subjugations and violations. The activism of this type of drama and its effectiveness in enforcing change upon women's lives makes it an excellent extension to the type of ideas and notions brought about in this dissertation.<br>Department of English
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Lo, Ying-wa. "Reading schizophrenia and female bodies across cultures a psychoanalytical approach to selected novels by Sylvia Plath, Maxine Hong Kingston and Toni Morrison /." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43703756.
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Purich, Monica Lynn. "Writing, Translating, and Dismembering: Fallon, Winterson, and Wittig's Representations of the Lesbian Body." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1277413109.
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Silva, Lilian Santana da. "O corpo na contística de Sonia Coutinho: uma leitura feminista." Programa de Pós- Graduação em Estudos Interdisciplinares sobre Mulheres, Gênero e Feminismo da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/11738.
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Previous issue date: 2010<br>Este estudo tem como temática os significados do corpo feminino nos contos de Sonia Coutinho. O objetivo foi analisar a partir das categorias identidade, sexualidade, ideal de beleza e envelhecimento, a representação do corpo feminino na contística da autora baiana. Para entender as relações e significados estabelecidos pelos elementos discursivos que fizeram parte da pesquisa, foi privilegiada uma abordagem interpretativa dos contos. Os pressupostos teóricometodológicos da Sociologia do corpo e da Crítica Feminista forneceram a base para o contexto histórico-social em que a corporeidade atua como elemento analisador dos mecanismos de controle sociais presentes no discurso da família, da religião, da educação e da mídia. As formações discursivas serviram para verificar como o discurso de culto ao corpo e a cultura da eterna juventude está emaranhada no discurso das personagens dos contos. Percebe-se que os sentidos do corpo feminino desestabilizam a representação corporal hegemônica para repensar a política do corpo em favor dos anseios da mulher moderna. This research is about the female body´s meanings in the Sonia Coutinho´s tales. The goal has
been to investigate from the being female, the sexual behaviour, the ideal of beauty, and the
getting older; the role of the female body in the baiana authoress´s way of taling. To understand
the relations and meanings set up by the speech components which took part of the research, an
interpretative approach of the tales has been pointed out. The presupposed points of theory and
methodology of Sociology of body and of Female criticism have provided the basis to the social
context in which the questions of body act like an analysing component of the means of control
that occurs in the familiar, religious, educational speech besides midia one´s. Such ways of
speech have been useful to verify like the speech of veneration to body and the idea of eternal
youth take part of the speech of the characters of tales. We can see that the senses of the female
body have unbalanced the predominant representation of the body to rebuild the policy of body in
benefit of wishes of the modern woman.<br>Salvador
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Hall-Godsey, Angela Marie. "By her Own Hand: Female Agency through Self-Castration in Nineteenth-Century British Fiction." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/english_diss/38/.
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Thesis (Ph. D.)--Georgia State University, 2008.<br>Title from title page (Digital Archive@GSU, viewed July 15, 2010) Michael Galchinsky, committee chair; Calvin Thomas, Lee Anne Richardson, committee members. Includes bibliographical references (p. 204-212).
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Christiansen, Naomi Lund. "Learning to Create: A Collection of Personal Essays." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd485.pdf.
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Isbister, Dong. "The “Sent-Down Body” Remembers: Contemporary Chinese Immigrant Women’s Visual and Literary Narratives." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259594428.
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Andersson, Ann-Sofi, and Louise Åkesson. "Kvinnors upplevelser av sin sexualitet under och efter avslutad bröstcancerbehandling : En litteraturöversikt." Thesis, Högskolan i Skövde, Institutionen för hälsa och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-16371.
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Bakgrund: Behandling mot bröstcancer medför olika biverkningar för kvinnor, bland annat torra slemhinnor, klåda och smärta vid samlag, samt deformation av ett eller båda brösten. Sammantaget kan dessa biverkningar inverka på kvinnors upplevelse av sin sexualitet. Mer kunskap krävs kring kvinnors upplevelser av sin sexualitet, för att utifrån det kunna ge god vård och stärka kvinnors sexuella hälsa. Syfte: Syftet med studien är att beskriva kvinnors upplevelser av sin sexualitet under och efter avslutad bröstcancerbehandling. Metod: En litteraturöversikt som är baserad på tre kvantitativa och sex kvalitativa vetenskapliga artiklar. Resultat: Kvinnorna upplevde förändring av sin kroppsbild samt sin sexualitet under och efter bröstcancerbehandling. Ångest och depression var vanligt relaterat till viktuppgång. Det fanns dock kvinnor som upplevde förändring i en positiv riktning. Oro fanns över att inte vara tillräcklig i sin sexuella relation med sin partner. Brist på information gällande behandlingar och dess biverkningar, upplevdes av kvinnorna. Diskussion: Kvinnor upplever både fysiska och psykiska besvär vid bröstcancer. Kvinnor behöver mer information innan, under och efter behandling för bröstcancer. Det är viktigt att sjuksköterskor fångar upp varje kvinna för att kunna ge en individanpassad omvårdnad. Konklusion: Kommunikation mellan sjuksköterskor, kvinnor och deras partner kan stärka kvinnor i sin sexuella hälsa.<br>Background: Treatment against breast cancer can cause women various side effects, including dry mucous membranes, itching, as well as deformation of one or both breasts. All in all these side effects can affect women´s experience of their sexuality and create a suffering for them. More knowledge is needed about women´s experience of their sexuality, so the nurses can provide good care and strengthen the sexual health of women. Aim: The aim of this study is to describe women´s experience of their sexuality during and after treatment of breast cancer. Method: A literature review based on three quantitative and six qualitative studies. Result: Change in body image and sexuality during or after breast cancer treatment, were a common experience among women. Anxiety and depression was common related to weight gain. However, there were women who experienced change in a positive direction after breast cancer. Concern about being insufficient in their sexual relationships with their partner was found. Women experienced lack of information about treatments and their side effects. Discussion: Both physical and mental disorders were experienced by women with breast cancer. Women needed more information before, during, and after treatment for breast cancer. In order to provide personalized care, nurse´s need to see the whole woman and meet her individual needs of caring. Conclusion: Communication both between nurses, women and their partners could strengthen women in their sexual health.
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Robertson, Abigail G. "The Mechanics of Courtly and the Mechanization of Woman in Medieval Anglo-Norman Romance." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1415804460.
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Menegassi, Nívea de Souza Moreira. "(Con)figurações do feminino na ficção de Augusta Faro: corpo, erotismo e sexualidade." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7184.
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Previous issue date: 2017-03-23<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This research evidences the representation of the woman, focusing on the themes of body, eroticism and female sexuality in the short stories: "A Gaiola", "A Ceia de Aninha" and "As Sereias" in the book A Friagem (1998) and the short stories “O Homem de Ouro Puro”,"Os pecados de Rosário "and "Gertrudes e seu Homem ", in the book “Boca Benta de Paixão (2007), by Augusta Faro Fleury de Melo, known as Augusta Faro. Considering the outline of the protagonists, it was intended to unveil how fictional women react to the oppression arising from the stigma of tradition imposed by patriarchal society. It was also intended to examine the core of this universe, seeking to understand, through questioning, the attitudes of the characters in relation to their bodies, their sexuality and eroticism. Because it is a theoretical, descriptive and analytical study, the methodology used was the literature review. To enrich this work, an interview with the author mentioned above was carried out. This work initially presents a brief contextualization of the feminist movement in Brazil and in the state of Goiás in order to, through this view, approach the feminine authorship and the intercrossing with the Gender Studies. Next, it deals specifically with the female body and the symbolic violence, which sometimes, in an aggressive and imperceptible way, imprints scars on the body and soul of these women, and finally reflects on how eroticism and female sexuality are discussed and investigated in the fiction of the mentioned author. To carry out this work, some theorical authors were consulted as Ria Lemaire (1994), Judith Butler (2003), Constância Lima Duarte 1994), besides of Michel Foucault (2015), Elisabeth Grosz (2000), Elodia Xavier (2007), Octavio Paz (2007) and Georges Bataille (1987), among others. In the conclusion of what was analyzed, it was found that women writers still find obstacles to publicize their works efficiently and that the female representation, from the perspective of a woman, it is one of the starting point necessary to provoke the profound cultural change that society needs in order to have, among people, a coexistence constituted in mutual respect and stripped of any prejudices. In the short stories, the protagonists can be grouped into two categories according to the criteria submission / transgression. There are those that are able to impose themselves before the other, namely the masculine and the patriarchal society, and those that bow before the sexist rules, losing physical and mental health.<br>Esta pesquisa evidencia a representação da mulher, enfocando os temas corpo, erotismo e sexualidade feminina nos contos “A Gaiola”, “A ceia de Aninha” e “As Sereias” do livro A Friagem (1998) e os contos “O Homem de Ouro Puro”, “Os pecados de Rosário” e “Gertrudes e seu Homem”, de Boca Benta de Paixão (2007), da escritora goiana Augusta Faro Fleury de Melo, conhecida como Augusta Faro. Considerando o delineamento das protagonistas, pretendeu-se desvendar como as mulheres ficcionais reagem diante da opressão advinda do estigma da tradição imposto pela sociedade patriarcal. Tencionou-se, ainda, perscrutar o
cerne desse universo, buscando entender, através de questionamentos, as atitudes das personagens em relação a seus corpos, a sua sexualidade e ao erotismo. Por se tratar de um estudo de natureza teórica, descritiva e analítica, a metodologia utilizada foi a revisão de literatura. Para enriquecimento deste trabalho, realizou-se uma entrevista com a autora supramencionada. Este trabalho apresenta inicialmente uma breve contextualização do movimento feminista no Brasil e no estado de Goiás a fim de, por este viés, abordar a autoria feminina e o entrecruzamento com os Estudos de Gênero. Em seguida, trata especificamente do corpo feminino e da violência simbólica que, por vezes, de forma agressiva e imperceptível, imprimem cicatrizes no corpo e na alma dessas mulheres, para finalmente, refletir sobre como o erotismo e a sexualidade feminina são discutidos e investigados na ficção da autora estudada. Para urdidura deste trabalho foram consultadas teóricas como Ria Lemaire (1994), Judith Butler (2003), Constância Lima Duarte (2003), além de Michel Foucault (2015), Elisabeth Grosz (2000), Elódia Xavier (2007), Octávio Paz (1994), Georges Bataille (1987), dentre outros. Face ao analisado, constatou-se que as escritoras ainda encontram óbices para divulgarem suas obras de forma eficiente e que a representação feminina, sob a perspectiva de uma mulher, constitui-se uma das alavancas necessárias para suscitar a profunda mudança cultural de que a sociedade necessita a fim de haja, entre as pessoas, uma convivência constituída no respeito mútuo e despojada de quaisquer preconceitos. Nos contos, as protagonistas podem ser agrupadas em duas categorias segundo o critério submissão/ transgressão. Existem aquelas que conseguem se impor perante o outro, a saber, ao masculino e a sociedade patriarcal, e aquelas que se curvam diante das regras sexistas, perdendo a saúde física e mental.
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Agou, Sarah Francoise Eliane. "WOMEN (AS) SUBJECTS: LUCE IRIGARAY AND THE QUESTION OF LIMITS." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564215456447523.
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Garver, Susan J. ""Une transformation profonde": Decay and Beauty in Cléo from 5 to 7." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3440.
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Cléo from 5 to 7 is perhaps the most famous work of influential French filmmaker Agnès Varda, who is often called the "Grande Dame of the New Wave". The depth of symbolism, the richness of imagery, the beginnings of cinécriture (a Varda-ism describing cinema as a form of writing that uses all the tools available to a filmmaker, not just words), and the charm of the story have guaranteed Cléo's popularity with scholars and audiences alike. Current scholarship has tended to focus on a few aspects of Cléo, including her role as a flâneuse, the use of mirrors and the theme of gazing, time and the division of the film into chapters, the female gaze, and femininity. I will examine the thematic of decay, nature, and beauty in Cléo. Beginning by linking it to her more contemporary documentary The Gleaners and I, I will analyze how Varda undermines conventional ideas of health, youth, and beauty by deconstructing Cléo's world through the threat of disease, only to show how Cléo regains autonomy and control of herself by learning to embrace the inevitability of decay in nature, and in her own body. I will rely on the theories in Elaine Scarry's The Body in Pain to show how Cléo's changing relationship to her body constitute the profound transformation mentioned at the beginning of the film. I will also examine Cléo's cancer in light of Susan Sontag's essay Illness as Metaphor. We will see how Varda uses cinécriture to express these ideas, especially in regards to the dialogue between characters, visual symbols, and the use of space.
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Ruben, Jennifer Lynn. "Illusionary Strength; An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1355753729.
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Oliveira, Juliana Batista de. "Tatuagem da palavra : educa??o sentimental do corpo no corpus po?tico de Maria Teresa Horta." Universidade Federal do Rio Grande do Norte, 2006. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16291.
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Previous issue date: 2006-12-14<br>While looking to the body and finding it engraved by cultural, imaginary and power-related texts through a discourse embodied in itself, this research proposes a new vertiginous approach to it by analyzing the following works: Poesia completa II, more specifically, Educa??o sentimental, and Novas cartas portuguesas. Such transgressive and performatic works are from Maria Teresa Horta (1937-), Portuguese writer, who proposes a new education by a renewed language: a sentimental education spawned from the erotic element. Starting from the deconstruction of the view over the spoiled body and exposed in Novas cartas portuguesas, from the poetic texts in Educa??o sentimental, as well as in remaining ones in Poesia completa II, Horta disassembles and reassembles the body, giving a new meaning to the symbols that surround us and our experiences. Other than proposing to all, men and women, such new meaning of the behavior and current practices models, Horta s education allows, through a performance action, the construction of a stage for female identity, free from the phallic influence. A new identity, able to handle all holy and profane characteristics of women, discarding the chromatic lens of sin. Horta s poetry emerges as a new proposal of literary labor<br>Esta pesquisa, ao passo que olha para o corpo e o enxerga tatuado pelos textos da cultura, do imagin?rio e do poder, atrav?s de um discurso que se inscreve nele, vem propor uma vertigem do olhar sobre o mesmo atrav?s da an?lise das obras: Poesia completa II, especificamente, Educa??o sentimental, e Novas cartas portuguesas. Tais obras transgressoras e perform?ticas s?o de Maria Teresa Horta (1937-), escritora portuguesa, a qual vem propor, ao n?vel de uma linguagem renovada, uma educa??o outra: uma educa??o sentimental, a qual nasce do elemento er?tico. Partindo da desconstru??o do olhar sobre o corpo marcado e denunciado atrav?s de Novas cartas portuguesas, e dos textos po?ticos da obra Educa??o sentimental, bem como dos demais que v?m compor a obra Poesia completa II, Horta desmonta e remonta o corpo, re-significando a m?scara signal?tica a qual nos envolve e envolve as nossas viv?ncias. Al?m de propor a todos, homens e mulheres, tal re-significa??o dos modelos de comportamentos e pr?ticas vigentes, a educa??o horteana vem possibilitar, atrav?s da performance, a constru??o de um espa?o para a identidade feminina, livre da clausura do poder f?lico. Uma nova identidade a qual possa envolver todas as caracter?sticas sagradas e profanas da mulher, descartando a lente crom?tica do pecado. A po?tica horteana surge ent?o, como uma nova proposta do fazer liter?rio
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Gaswint, Kiera M. "A Comparative Study of Women's Aggression." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1523032004159866.
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Santos, Carla de Paula. "Lúcia, Sofia e Lenita : três mulheres brasileiras do século XIX (perfis do feminino por José de Alencar, Machado de Assis e Júlio Ribeiro)." Universidade Federal do Espírito Santo, 2009. http://repositorio.ufes.br/handle/10/6438.
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Previous issue date: 2009-05-29<br>Analizing the behavior of three characters of the eight hundreds in Brazil Lúcia, Sofia and Lenita , it will be pointed out as the woman body was approached regarding eroticism and sexuality by José de Alencar (Lucíola), Machado de Assis (Quincas Borba) and Júlio Ribeiro (A carne). We will focus on the way those characters used their bodies as an object of pleasure to accomplish their goals and satisfy their desires, transgressing or not moral codes and standards in force<br>A partir da análise do comportamento de três personagens do Oitocentos brasileiro - Lúcia, Sofia e Lenita -, apontaremos como o corpo da mulher foi abordado à luz do erótico e do sexual por José de Alencar (Lucíola), Machado de Assis (Quincas Borba) e Júlio Ribeiro (A carne). Enfocaremos o modo como tais personagens lançaram mão desse objeto de prazer o corpo para realizar seus propósitos e satisfazer seus desejos, transgredindo ou não padrões e códigos morais então
vigentes
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James, Lisa. "“To shape God, Shape Self”: The Political Manipulation of the Human Body and Reclamation of Space in Octavia E. Butler’s The Parable of the Sower." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23673.
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This paper considers the role of the human body in Octavia E. Butler’s The Parable of theSower and the way it interacts with defined space to stage expressive forms of politicalopposition. Understanding the relationship between physical or metaphorical space and thecontradictions of the societies they encompass is crucial to deciphering Butler’s near-futuredystopia; a world where the problems of real-life Los Angeles and Southern California aredistorted into a gross carnivalesque of gender stereotypes, sociopolitical tensions, and vigilante warfare. This paper places a special emphasis on the areas of social and political stagnation found in Butler’s vision of near-future L.A., and analyses the dangers of clinging to archaic, patriarchal systems that no longer resonate with contemporary audiences. Focus is also placed on potential methods of resistance against oppressive social institutions, particularly exploring the limitations met by protagonist, Lauren Oya Olamina, in her attempts to voice concerns in a society where language is so nuanced by “traditional” gendered qualities that the female voice carries no political value. This papers also questions theories which promote violent confrontation as a means to social reform, disregarding collateral damage and victims of war in favour of insurgency. By exploring the movement of the human body away from defined space, this paper supports Butler’s notion of alternative prosocial action which celebrates the margins of society, positing a nurturing, constructive means to resist political opposition.
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Shcherbakova, Anna. "Éros, corps, sexualité dans la littérature russe contemporaine." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL025/document.
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La littérature russe, connue entre autres pour son « caractère pudique » à l’égard des désirs charnels, vit un bouleversement au début de la dernière décennie du XXe siècle, lorsque la censure soviétique disparaît et le marché, tout comme le pays, s’ouvre au libéralisme et aux valeurs occidentales. L’érotisme fleurit, alors, triomphalement dans les pages de la littérature des circuits officiels. Plus d’un quart de siècle s’est écoulé depuis, et l’euphorie sexuelle semble s’être bien calmée. Quel est le regard porté par la littérature contemporaine russe sur la sexualité, sur les désirs et les droits de la chair, tel fut le point de départ de notre étude qui s’est constituée autour de quatre axes thématiques renvoyant à des concepts fondamentaux de toute la tradition érotique, mais qui se révèlent être fort particuliers dans le contexte de la culture russe dominé par l’approche orthodoxe du corps et de la sexualité : éros thanatique qui aborde le rapport entre le désir de le vie et celui de la mort, éros antiprocréatif qui aborde la relation conflictuelle entre sexualité et procréation, éros utopique qui s’intéresse à la sexualité dans le cadre d’un projet utopique et, enfin, éros hédoniste s’intéressant à la sexualité hors de tout paradigme utilitaire, sauf celui du plaisir des sens. Nous chercherons à évaluer dans quelle mesure la représentation de l’éros, du corps et de la sexualité chez les auteurs contemporains reste influencée par l’approche traditionnelle et dans quelle mesure ils arrivent à s’en affranchir. Par cette étude nous espérons contribuer à la réflexion scientifique sur le sujet qui reste encore peu développée sur le sol francophone<br>Russian literature was known until the last decade of the twentieth century for its «chasteness» and the modest way with which it approached sexual desire. It however experienced a serious upheaval in the 1990s, when Soviet censorship disappeared, and the country opened itself to market and Western liberal values. Eroticism then blossomed even in mainstream literature. But a quarter of a century later, sexual euphoria seems to have cooled down. The starting point of this study was an interrogation about how does contemporary Russian literature view sex, desire, and the rights of the flesh. It was developed along four main themes, representing fundamental concepts of the erotic tradition, which, however, take very particular shapes in the context of Russian culture, dominated by Orthodox view of the body and sexuality : thanatic Eros, on the connection between desire for life and for death, anti-procreative Eros, on the troubled relationship between sex and procreation, utopian Eros, which explores the role of sex in utopic projects, and hedonistic Eros, interested in sex outside of any utilitarian paradigm, except pleasure of the senses. We will try to evaluate how much and in what ways contemporary Russian writers still retain the traditional picture of Eros, body, and sex, how they strive to free themselves from it, and with what success. We hope that this study will contribute to foster more scholarly research on this subject, which is still quite underdeveloped in French-speaking countries
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Ohler, Lindsey Ann. "Adjective Pairings with Female Body Shapes." Xavier University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1396368907.
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Marqués-Martin, Claudia. "Shaping the Francoist female body politic : female right-wing life-writing." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=231868.
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War-focused life-writing and the study of the female subject in a period where war had the potential to destabilise traditional women's roles and identities remains an under researched topic. This thesis focuses on how the self-representation of the lives of right wing women were discursively constructed and reflexively represented in relation to large scale political, social and economic contexts. It supports Passmore's view that by deconstructing the traditional binary position in which right-wing women found themselves, they 'are no longer seen simply as such as victims or victimisers, but as both simultaneously. This thesis draws upon the life-writing of four women who belonged to Franco's elite regime: Maria Rosa Urraca Pastor, Regina García, Pilar Millán Astray and Pilar Primo de Rivera and explores the (re)construction and reflexive representations of the self. It shows how they not only struggled to identify with one collective group, but adopted and shifted between different collective identities. It demonstrates how womanhood and motherhood were created, recreated, redefined and modified to become a politicised and patriotic idea of woman. It shows how these four women reconstructed a new (female) identity by adapting their femaleness and their expected role as women in order to achieve acceptance within the Francoist movement. This thesis shows the need to rethink the right-wing meaning of womanhood, motherhood, and female agency in contemporary scholarship.
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Horne, Joan D. "Schooling the female body, discourses of the body and physical education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ34891.pdf.
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Funk, Tracy L. "Female Adolescent Role Models and Body Image." DigitalCommons@USU, 2001. https://digitalcommons.usu.edu/etd/2604.
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This study primarily examined the relationship between role model choices and body image of female adolescents. More specifically this study sought to examine the relationship between the reasons that adolescent females give for choosing a role model and body image. Because body image dissatisfaction has been found to be associated with self-esteem and eating disorders such as anorexia and bulimia nervosa, these variables also were investigated. Body image was examined by using two measures of the body image construct· the Figure Rating Scale and the Multidimensional Body-Self Relations Questionnaire (MBSRQ). Both were used in order to capture a greater portion of the body image construct, as well as to examine possible differences between the measures.
Eating disordered behaviors were measured using the Eating Attitudes Test (EAT-26) and self-esteem was measured with the Rosenberg Self-Esteem Scale (RSES). Participants were asked to list one role model within their family and one role model outside of their family, and to list why they selected those specific people as their role models. Role models were coded based upon the reasons provided by participants. Those who listed physical reasons such as "she has a good body," "she is beautiful ," or "she is skinny" were coded as "Group 1 - Physical," and those who chose all other reasons were labeled "Group 2- Non-physical." Females, ages 13-15 and 18-23, voluntarily participated in this study. The majority participated in exchange for extra credit in specific courses at their freshman center or university A prepared packet (including consent forms, instructions, and questionnaire) was sent home with willing participants to fill out and return. In total, 159 packets were returned.
Statistical analyses indicated that body image is highly correlated with eating disordered behaviors and low self-esteem. Those scoring high on the measure of eating disordered behaviors (EAT-26) had, on average, even lower self-esteem as indicated by scores on the Rosenberg Self-Esteem Scale (RSES). However, statistically significant differences between body image and reasons for choosing a role model {physical vs. non-physical) appeared only on weight and/or shape-related aspects of the body image measures. It is not known whether differences between type of role model and body image occurred due to actual weight I Body Mass Index (BMI), or if those with greater weight and/or shape-related concerns chose more physical role models. Age differences among participants appeared on type of role model chosen. with the younger participants, ages 13-15, choosing more role models based upon physical characteristics than those ages 18-23. However, no differences were found between age of participant and level of body 1mage.
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Botha, Ilza. "Female sexuality and body image during pregnancy." Doctoral thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/14741.
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Bibliography: leaves 406-467.<br>This explorative study, partially based on the psychological and developmental perspectives, evaluated female sexuality and body image during pregnancy and the postnatal period. A cross-sectional and longitudinal research design was used. Several female (n = 208) and male ( n = 84) subsamples were evaluated. Assessment included a Biographical Questionnaire, Female and Male Sexuality Scales rated on 3- and 5- point scales, and the Rorschach Inkblot Test, scored for Barrier and Penetration responses. Parametric and non-parametric statistical techniques were employed in the cross-sectional data analysis. The biographical background of the subjects was homogeneous. Predominantly all of the women were educated, had planned their pregnancies, attended prenatal classes and were informed about the process of pregnancy. Chi-square tests on the single items measuring female sexuality, from prior to conception to during pregnancy, and after childbirth, showed a significant decline in females' sexual satisfaction and in the intensity with which they experienced orgasms. Excluding the retrospective data, a significant decline was found on female sexual desire and enjoyment during pregnancy and during the postnatal period. Physiologically related reasons were commonly associated with declined sexual desire. Few pregnant or postnatal women abstained from sexual intercourse or introduced coital methods and positions unfamiliar to them. A factor analysis of the single sexuality variables revealed four factors, Sexual Responsivity, Sexual Orgasmic Ability, Multiple Orgasmic Ability and Sexual Motivation. The data subjected to a multivariate analysis of variance yielded a significant linear downward trend of Female Sexual Responsivity over the gestation period and after childbirth. The conclusion is drawn that female sexuality I specifically referring to the psychological dimension (Factor 1) was not related to a specific trimester (or stage). No significant differences were evident on the physiological dimension of female sexuality referring to Orgasmic Ability or Sexual Motivation. Female body image was assessed both qualitatively and quantitatively. The descriptive analysis showed that pregnant women felt overweight, and unacceptable by social standards, yet they viewed these bodily states as temporary. The projective account of body image yielded no significant differences. The conclusion was drawn that women consciously rejected their pregnant body image, but subconsciously it formed part of their identity. Expectant fathers only experienced a significant decline in sexual satisfaction and initiated less sexual activity during their wives' pregnancy. It was concluded that male sexuality was minimally affected by their partner's pregnancy. Finally, pregnancy was found to be a natural and positive event.
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Mann, Mallory E. "Squeezing In: Exploring Female Athletes' Body Perceptions." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1435185800.
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Ekdahl, Victoria, and Josefina Raza. "A User-friendly Body Armor For Female." Thesis, KTH, Maskinkonstruktion (Inst.), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-202371.
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Den svenska polisen har många problem med deras skyddsvästar. Rikspolisstyrelsen har även märkt att det särskilt är skyddsvästen för kvinnor som de har mest problem med. Utifrån intervjuer med kvinnliga poliser i Stockholm har det kommit fram vilka de olika problemen med skyddsvästen är. Alla tyckte att det blir alldeles för varmt med västen på, särskilt på sommaren. Materialet andas intetillräckligt bra. Många känner även smärtor i både rygg och axlar. Den är för kort så den skär in i magen. Den blir framtung av extraplattan på framsidan. Ett annat problem många pratade om var att skyddsvästen sitter åt så tight så det blir svårt att andas djupa andetag om de behöver göra ansträngande uppgifter så som att springa efter någon. På grund av detta och att den dessutom blir så varm gör att många knäpper upp västen i sidan för att få in mer luft och kunna vidga bröstkorgen. Syftet med projektet är att besvara de två frågor, primär och sekundär, som ställts av FOI: 1.Hur skulle skyddsvästar vara konstruerade och utformade om de vore designade för kvinnlig personal? 2.Finns det anledning att ifrågasätta dagens standardiserade skadekriterier om bärarens kroppsvikt minskar avsevärt? Projektet har varit en iterativ process och många metoder har använts. Intervjuer och workshop har gjorts med användarna för att ha deras behov i fokus. Brainstorming och prototyper har gjorts för att enkelt kunna visa och förstå funktionerna av västarna. En kombinationsbrainstorming gjordes för att seom de olika koncepten kunde kombineras och därmed bli ännu bättre. Därefter har ett konceptval gjorts med hjälp av konceptutvärderingsmetoder så som QFD och en Pugh matris där användarnas krav har stått som grund.Det koncept som var mest omtyckt av användarna och även fick best betyg i utvärderingarna var det som var mest flexibelt. Det koncept som tillåter användarna att kunna ta djupa andetag när de utövar fysisk aktivitet. Den väst där användarna slipper knäppa upp i sidan för att låta bröstkorgen utvidgas.Västen har bättre skydd i sidan så även om skyddsvästen skulle knäppas upp kommer den ändå skydda polisen mot eventuella projektiler.Olika material för skyddsvästens yttre hölje har undersökts. Ett material som andas bra och leder bortfukt bra är det som sökts. Det material som valdes är ett naturligt funktionsmaterial som kan absorbera fukt upp till 30 % av sin vikt och på så sätt hållakroppen torr.Svaret på den andra frågeställningen har diskuterats fram. Tidigare forskning har inte dragit några slutsatser om bärarens vikt bidrar till ökad eller minskad skada från en projektil. Därför har en diskussion utifrån tidigare forskning gjorts och slutsatser har dragits mellan dem. Slutsatsen är att;Ja, det finns anledning att ifrågasätta skadekriterierna om bärarens vikt minskar avsevärt.En slutsats som dragits är att det behövs en mer nära relation mellan utveckling av dagens västar och användaren.<br>The Swedish police have many problems with their body armor. The National Police have noticed that it particularly is the body armor made for women that they have the most problems with. Based on interviews with female police officers in Stockholm, it has emerged what the various problems with the armor is. Every one of the interviewees thought that it is far too warm with the body armor on, especially in summer. The material does not breathe well enough. Many of them also feel pain in the back and shoulders. It's too short so it chafes into the stomach. It becomes front heavy with extra plate in the front. Another problem many of them talked about was that the body armor is too tight so it becomes difficult to take deep breaths if they would have to do exhausting tasks such as running after someone. Because of this, and that it also gets so warm makes many of them unbuttoning the vest in the sides to ventilate and be able to expand the chest.The project aim is to answer the two questions, primary and secondary, that is compiled by FOI: 1. How would body armor be designed if they were made for female staff? 2. Is there a reason to question today’s standardized injury criterias if the users body weight is significantly reduced? The project has been an iterative process, and many methods have been used. Interviews and workshops have been made with the users to have their needs in focus. Brainstorming and prototyping has been made to easily view and understand the features of the vests. A combination brainstorming was done to see if the different concepts could be combined and thereby become even better. After that a concept selection was made using concept evaluation methods such as QFD and a Pugh matrix where the user requirements have been the foundation.The concept that was most liked by the users and also got best rating in the evaluations was the one that is the most flexible. It is the concept that allows the users to take deep breaths when exercising physical activity. It is the vest where the users do not have to unbutton in the side to let the chest expand. The vest also has better protection in side so even if the armor would be unbuttoned, it will still protect the police against projectiles.Various materials for the body armors outer casing have been investigated. A material that has a high breathability and can lead the moisture away is the material that has been sought. The chosen material is a natural functional material that can absorb moisture up to 30% of its weight and therefore is keeping the body dry.The answer to the secondary question has been discussed. Previous research has not drawn any conclusions about if the wearer's weight contributes to an increased or decreased injury from a projectile. Therefore, a discussion based on previous research done and conclusions have been drawn between them. The conclusion is that; Yes, there are reasons to doubt the injury criteria if the wearer's weight is significantly reduced.A conclusion drawn is that a closer relationship between the development of today's vests and user is needed.
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Edmunds, Cynthia Ekstein. "Diet, body weight patterns and menstrual status of competitive female body builders." Thesis, This resource online, 1990. http://scholar.lib.vt.edu/theses/available/etd-06082009-170852/.
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