Dissertations / Theses: 'Gender subversion'

1

Harris, Colette. "Control and subversion gender, islam, and socialism in Tajikistan /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2000. http://dare.uva.nl/document/81225.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Channon, Alex. "Way of the discourse : mixed-sex martial arts and the subversion of gender." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/9756.

Full text

Abstract:

This thesis examines the gender-subversive potential of mixed-sex martial arts. The research problem takes its significance from the well-documented linkages drawn within feminist research between combat sports and hierarchal gender differentiation. It is posited that from a feminist perspective, gender-subversive physical practices are desirable because they instigate a shift towards fairer and freer bodily discourse, and as such they are deserving of critical academic attention. Furthermore, sex-integrated sports have the potential to lead participants towards embodying and propagating such subversive gender discourses, and when these changes take place within highly masculinised activities such as combat sports, the significance of this subversion is amplified. While existing literature has addressed these themes with reference to women s participation in these kinds of activities, there is a relative paucity of sociological work explicitly examining mixed-sex participation, which this thesis is intended to redress. Using semi-structured interviewing, qualitative data were gathered from a group of male and female martial artists across the English East Midlands. The interviews were transcribed and then subjected to discourse analysis. Findings suggested that mixed-sex martial arts does involve gender subversion but that the practice also remains structured by dominant, hierarchal gender discourse in several significant ways. It is therefore suggested that mixed-sex training can present the possibility of gender subversion under particular conditions, such as: martial arts being accessible to both men and women at multiple levels of participation; a normalised presence of women, particularly at higher levels such as being coaches and competitors; participants coming to share an identity as martial artists which is irrespective of sexual difference; and ultimately training being integrated as much as possible, particularly with regard to the more intensely physical, combative aspects, such as sparring. The participants indicated that under these conditions they were able to conceive of and practice their gender differently, in ways which portrayed little or no hierarchal distinction between the sexes, and as such is considered subversive . Following these findings, the thesis ultimately concludes with a brief outline of some recommendations for good practice in martial arts clubs. In this way, the thesis contributes towards feminist understandings of the body and of physical culture, by highlighting one possible way in which to conceive of the sexed body differently from the prevailing norms of hierarchal sexual differentiation.

APA, Harvard, Vancouver, ISO, and other styles

3

Fleitz, Elizabeth J. "Troubling gender : bodies, subversion, and the mediation of discourse in Atwood's The edible woman." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112551802.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Warren, Diane. "Technologies of fragmentation : subjectivity and subversion in the major works of Djuna Barnes." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391411.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Ramirez, Manuel Andres. "From the Panels to the Margins: Identity, Marginalization, and Subversion in Cosplay." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6749.

Full text

Abstract:

In investigating the ways social actors experience and interact with mass media texts, I examine how cosplay, as a performative practice of identity in relation to popular culture, enables social actors to subvert and reproduce marginalization towards minority status groups. Theoretical arguments apply a constructionist framework in order to examine the participants’ meaning making processes. The study addresses the following research questions: (1) what social function does cosplay serve for participants; (2) how do cosplayers perform race and gender; (3) how do cosplayers resist, negotiate, or reinforce race and gender-based marginalization? Drawing upon qualitative data gathered from observing two large metropolitan comic book conventions and from conducting nine in-depth interviews, the author forms two arguments. First, cosplayers are capable of both subverting and reinforcing marginalization. Second, the processes of identity-making, social capital, and social cohesion that promote cultural capital in cosplay are stratified along race and gender.

APA, Harvard, Vancouver, ISO, and other styles

6

Van, Biljon Lana. "Breaking Down Binaries : Gender Subversion in Olive Schreiner’s "Undine" and "The Story of an African Farm"." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/75379.

Full text

Abstract:

This study investigates a thus far neglected aspect of Olive Schreiner’s feminism, namely her subversion of Victorian gender models in her early novels, Undine and The Story of an African Farm. In order to determine what is being subverted a brief outline is first provided of the nature of traditional male and female Victorian gender characteristics; thereafter, the key arguments of Gender Theory are provided, the cornerstone of which is that gender is a social construct and not determined by biology. Analysis of Undine focusses on Schreiner’s eponymous heroine’s subversion of female gender roles, finding that Undine’s subversion is incomplete, due to her repeated lapses into conventional behaviour, seen mainly in her need to fulfil a role of service. In addition, details in Undine are linked to biographical aspects of Schreiner’s own life as many critics have made a link between Schreiner’s fiction and instances in her life. In The Story of an African Farm attention is given to both female and male gender subversion. Female gender subversion is analysed in the character Lyndall who deviates from accepted female characteristics of women as meek and docile, while discussion also focusses on her more conventional cousin, Em, who by acting as her foil, highlights Lyndall’s subversiveness. Although in comparison to Undine, Lyndall shows great progress in her ability to free herself from traditional roles for women, she remains held back by her inability to break free from the idea that service to something was an inherent part of women’s natures. Finally, Schreiner’s most radical work regarding gender is found in connection with her male characters, Gregory Rose and Waldo. While Schreiner shows the constructed nature of male gender models in her characterisation of Gregory who identifies more with the female gender, Waldo avoids gender categories completely, aligning himself with neither femininity nor masculinity, by finding an “escape” from these artificial social constructs in the natural world.
Dissertation (MA)--University of Pretoria, 2020.
English
MA
Unrestricted

APA, Harvard, Vancouver, ISO, and other styles

7

Shook, Steffi A. "Campy Conclusions: Examining the Subversion of Heteronormative Relationship Sanctions in American Film Musicals." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1385387953.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Williams, Anna C. "Sex, Drags, and Rock'n'Roll: the Yeah Yeah Yeahs' and Devendra Banhart's subversion of sex and gender norms." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337885390.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Schmidt, Heidi. "Sarah Ruhl's Women| Gender, Representation and Subversion in The Clean House, Eurydice and In the Next Room, or the vibrator play." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13850749.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Adams, Megan E. "Flicking the Bean on the Silver Screen: Women’s Masturbation as Self-Discovery and Subversion in American Cinema." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300749024.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Thompson, Christopher P. "Discreet Feminism: Neil Gaiman’s Subversion of the Patriarchal Society in American Gods." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2026.

Full text

Abstract:

Neil Gaiman’s use of a hyper-masculine American culture in American Gods sheds light upon the multiple issues surrounding a misogynistic society in which women are treated as sexual objects and punished for their independence as sexual beings. Gaiman’s efforts at highlighting these issues are discreet and hidden under layers of patriarchal expectations, but through the use of his protagonist, Shadow, Gaiman is able to provide an alternative to the society he represents. While he successfully illustrates this more “ideal” society, his endeavors fall short and are almost imperceptible throughout his novel. Gaiman’s work in American Gods, while lacking in its overall presence, brings attention to the issues within a hyper-masculine society and it is through this unique, feminist approach that Gaiman is able to present his strong argument for change.

APA, Harvard, Vancouver, ISO, and other styles

12

Mehdid, Malika. "Tradition and subversion : gender and post-colonial feminism : the case of the Arab region (with particular reference to Algeria)." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/34641/.

Full text

Abstract:

This study critically examines the position of women in post-colonial societies across the Arab region and the structuring of female experience and gender by patriarchy, class, literacy, religion and historical conditions such as colonization, neo-imperialism and the rise of capitalism. The male writing of the female body and the perception of the latter as a field of power within the Arabo-Muslim culture constitutes the framework of the thesis. This critical approach also informs the growing feminist scholarship on the subject of the so-called Arab woman in the area under study. The notion of the feminine delivered by male dogmatic discourses, whether old or new, traditional or modern, orthodox or profane, is briefly presented in the first part of the dissertation while the deconstruction of such a referential setting by feminist academic work is undertaken in Part two as an attempt to integrate notions of womanhood, sexuality, identity, culture, religious belief, statehood, and material factors into a discursive order. Sexual difference becomes problematized within the critical assessment of the fictional voices developed by women, their exploration of concepts of sexual behaviour and their analysis of how gender ideology permeates the modernist endeavours of the post-colonial state in its efforts at development. A significant predicament is highlighted by the thesis: the cultural discourse on women, enduringly linked to their functions within the private realm, copulation and reproduction, as indicated by both the fictional and the scholarly literature, clashes with the developmentalist endeavours which require active roles within the public sphere. The conflict and indeterminacies generated by such a discrepancy are projected as an essential framework for understanding the construction of women as the 'subordinate sex' at various levels. It is also read as a fundamental dilemma that post-colonial societies across the Mediterranean have yet to address in order to resolve, at least partly, their present socio-economic crisis. The notion of woman is further essentialized within concepts of difference drawn by other dominant discourses examined in Part three. Perspectives of neo-colonialism emanating from the post-industrial First World become a framework in which to insert the work of feminist academics from North Africa and the Middle East as well as definitions of women, whether in the world at large or in more academic terms. The furthest concern of the debate on the 'women question' is to underline however the significance of feminism to operate as a major socio-political force within the post-colonial world. The findings of this research already indicate that the various movements for female emancipation taking place in the region open up new possibilities of struggle for economic growth, equality and secular democracy.

APA, Harvard, Vancouver, ISO, and other styles

13

Holm, Tanya. ""Shut Up, Fuck Off!" : Micro-politics amongst Young Women in Beirut." Thesis, Södertörn University College, School of Gender, Culture and History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2124.

Full text

Abstract:

People are creators of their own acts. That is a premise of this thesis. Social contexts offer action alternatives but given their individuality people, to various extents, put the set of alternatives into question, re-shape them and make them into theirs. What people do in their everyday life has political significance. The theories that frame this work focus on how people reappropriate culture and in so doing bring forth infinitesimal changes in society.

I have interviewed seven young women in Beirut who take action to get to do what they desire. Given their social conditions and individuality they find different ways around the prohibitions that they are facing. Organized independently and within networks of foremost relatives they find their ways. They negotiate with family and community, make allies and create paths to 'forbidden' spaces. They seize opportunities and increase their space for a day, night or occasion. Then they accord their life to the surrounding's restrictions – until opportunity strikes again. The women also create an imaginary space where they are ruling queens. From there they tell the surrounding to shut up and fuck off, in there they hope, smile and fall in love.

The thesis then goes on to discuss the socio-political effects of young women's spacing practices. When the women do what they desire they enter, what they claim are, forbidden spaces. Their entry appears to be a threatening force; it diminishes gaps between the 'allowed' and the 'unacceptable' and between the 'good' and 'bad' girl- and womanhood. These practices, sprung from the daily life, challenge the surrounding and young women's spacing is thereby a micro-political phenomenon with subversive potential.

APA, Harvard, Vancouver, ISO, and other styles

14

Murati, Kurti Fjola. "“A feminist subversion of fairy tales” : Écriture féminine, gender stereotypes, and the rejection of patriarchy in Angela Carter’s The Bloody Chamber." Thesis, Södertörns högskola, Engelska, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45935.

Full text

Abstract:

Fairy tales are usually described as short narratives that end with happily-ever-afters, imposing patriarchal ideologies. The Grimm’s fairy tales serve as the foundation of many other stories which promote stereotypes like woman passiveness, submissive beauty, while men are put on a pedestal for being active and violent at the same time. Angela Carter’s collection The Bloody Chamber depicts patriarchal oppression in classic fairy tales by challenging what can be identified as patriarchal binary oppositions with a strategic subversion of gender roles. Through problematizing and critiquing the patriarchal fairy tales, Carter’s texts can be read through the lens of écriture féminine. Following Hélène Cixous’s notion of écriture féminine, outlined in “The Laugh of the Medusa”, this essay explores how Carter’s “The Lady of the House of Love'' can be read as a narrative that has strong echoes of the kind of female writing Cixous advocates. Moreover, this essay argues that “The Lady of the House of Love” contradicts the Western myth of femininity by resisting, exploring, even undermining the patriarchal representation of woman as “heroine”-the fairy tale princess who needs a man to save her -and “femme fatale.”

APA, Harvard, Vancouver, ISO, and other styles

15

Fleitz, Elizabeth J. "Troubling Gender: Bodies, Subervision, and the Mediation of Discourse in Atwood's the Edible Woman." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1112551802.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Bender, Felicia. "Girls will be boys and boys will be girls : gender subversion in the work of Split Britches Company and the Ridiculous Theatrical Company, 1967-1996 /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841265.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Verma, Tarishi. "The Legitimacy of Online Feminist Activism: Subversion of Shame in Sexual Assault by Reporting it on Social Media." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617396334881314.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Husung, Kirsten. "L'Écriture comme seul pays. Construction et subversion des discours identitaires : hybridité et genre chez Assia Djebar et Nina Bouraoui." Doctoral thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-17965.

Full text

Abstract:

This thesis, situated in the context of francophone and maghrebian postcolonial studies, examines the impact of identity discourses on the protagonists’ subjectivity in Assia Djebar’s La Femme sans sépulture (2002) and La Disparition de la langue française (2003) and Nina Bouraoui’s Garçon manqué (2000) and Mes mauvaises pensées (2005). These novels draw a parallel between two historically connected spaces, France and Algeria, and periods, the years of the Algerian war of independence and the rise of Islamists in 1990s Algeria. The movement between the two spaces and periods constitutes in a literal and figurative sense a third space that contributes to the protagonist’s hybridisation. Hybridity is analysed as a narrative and discursive strategy that subverts and recodifies different identity discourses that transmit normative ideas about cultural, ethnic and gendered belonging. Hybridity is also shown in the literary genre. By connecting the past and the present through individual and collective reminiscence, the four novels reinterpret history while transgressing the frontiers of classical genres: the fictional, the testimonial and the autobiographical intertwine with the historiographical. Through the character of the narrator-cineaste and the story of Zoulikha, Assia Djebar reconstitutes in La Femme sans sépulture her own heritage and that of the interviewed women which is associated with Luce Irigaray’s theory of feminine genealogy as a model of identification. The languages’ different transcultural influences are shown in La Disparition de la langue française in the light of Homi Bhabha’s theory of cultural translation. Bouraoui’s fiction shows more radically than Djebar’s the body as a surface of cultural inscription, determined by ethnic and gendered norms. To emphasize the sociocultural dimension of the Bouraouian protagonist’s problems of identity the analysis uses Judith Butler’s theories about the performativity, the recognition and the melancholy of gender. In the four novels the return to one’s origins remains an illusion. The only place where the protagonists can negotiate and express their hybrid subjectivity is constituted in and through their writing.
Cette thèse, située dans le contexte des études francophones maghrébines et postcoloniales, analyse l’impact des discours identitaires sur la subjectivité des protagonistes dans La Femme sans sépulture (2002) et La Disparition de la langue française (2003) d’Assia Djebar, et dans Garçon manqué (2000) et Mes mauvaises pensées (2005) de Nina Bouraoui. Ces romans mettent en parallèle deux espaces historiquement liés, la France et l’Algérie, et deux périodes, le temps de la guerre d’indépendance algérienne et les années 1990 avec la montée des islamistes en Algérie. Le mouvement entre les deux espaces et temps constitue au sens littéral et au sens figuré un tiers espace, qui contribue à l’hybridation des protagonistes. L’hybridité est analysée comme une stratégie narrative et discursive qui subvertit et récodifie différents discours identitaires véhiculant des idées normatives concernant l’appartenance culturelle, ethnique et genrée des protagonistes. L’hybridation se reflète également dans le genre littéraire. À travers la remémoration individuelle et collective des événements passés mis en rapport avec le présent, les quatre romans donnent une nouvelle signification à l’Histoire en transgressant les frontières entre les genres classiques : le fictionnel, le témoignage et l’autobiographique s’inscrivent dans l’historiographique. Moyennant le personnage de la narratrice-cinéaste et l’histoire de Zoulikha, Djebar reconstitue dans La Femme sans sépulture, son propre héritage et celle des femmes interviewées, ce qui est associé à la théorie de Luce Irigaray sur la généalogie féminine au sens d’un modèle d’identification. Les différentes influences transculturelles des langues sont éclairées dans La Disparition de la langue française à la lumière de la théorie de la traduction culturelle de Homi Bhabha. Bouraoui montre plus radicalement que Djebar le corps comme surface d’inscription culturelle gérée par des normes ethnicisantes et genrées. Pour souligner la dimension socioculturelle des problèmes identitaires de la protagoniste bouraouienne, les théories de Judith Butler concernant la performativité du genre, la reconnaissance et la mélancolie genrée sont utilisées. Le retour à l’origine reste dans les quatre romans illusoire. Le seul lieu où les protagonistes puissent négocier et exprimer leur subjectivité hybride est constitué dans et à travers l’écriture.

APA, Harvard, Vancouver, ISO, and other styles

19

Plastrougi, Therése. "Dragshow på de sju haven : – en analys av Elizabeth Swanns karaktär i Pirates of the Caribbean." Thesis, Uppsala University, Media and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9153.

Full text

Abstract:

Abstract

Title: Dragshow on the seven seas

Number of pages: 51 (56 including enclosures)

Author: Therése Plastrougi

Tutor: Ylva Ekström

Course: Media and Communication Studies C

Period: Fall 2007

University: Division of Media and Communication, Department of Information Science, Uppsala University

Purpose/Aim: My main purpose with this paper is 1) to study how film as a media can subvert traditional gender constructions and 2) study the character of Elizabeth Swann in the trilogy Pirates of the Caribbean through four dimensions; Gender performance, Class, Desire and Power.

Material/Method: My main material is the trilogy Pirates of the Caribbean. I have studied Elizabeth’s character based on semiotic and narratological methods.

Main results: Film as a media possesses the full potential to change traditional gender roles, but the full subversion is denied due to the heterosexual matrix. Elizabeth’s character almost completes her subversive journey throughout the trilogy, but since she too is a victim of the heterosexual matrix, a full subversion is not possible.

Key words: gender performance, class, desire, power, sex/gender, subversion, narratologic, semiotic, queer, feminism, pirates of the caribbean, intersectionality, parody

APA, Harvard, Vancouver, ISO, and other styles

20

Loguzzo, Lorena. "Estrategias Desestabilizadoras en la Narrativa de Silvina Ocampo." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1838.

Full text

Abstract:

La narrativa de Silvina Ocampo (1903-1993) no goza del lugar que merece en la ficción argentina y latinoamericana como obra de la principal cuentista del siglo XX. Hace relativamente poco que su obra comenzó a despertar el interés de la crítica, atención que se evidencia en la cantidad de artículos y disertaciones recientes. Mediante una disección de la narrativa ocampeana a partir de las grandes coordenadas que la intersectan se pueden caracterizar los aspectos peculiares y distintivos de su estilo. Desarrollada tras la consolidación del psicoanálisis y su influencia en la estética surrealista, la narrativa de Ocampo incorpora algunos de esos elementos. El género fantástico también se articula aunque mediante una selección de rasgos configurados a su modo. Si bien Ocampo rechaza la etiqueta de feminista, ciertos aspectos de su estilo sólo pueden explicarse a partir de la visión particular de una mujer escritora y su representación de la identidad y las relaciones. La lectura pormenorizada de varios cuentos recogidos en “Cuentos completos” I y II (1999), once volúmenes publicados durante su vida, pertenecientes a distintos períodos de su producción permiten realizar un análisis diacrónico que ofrece una caracterización redonda de su estilo y evolución. El análisis sincrónico de estos textos incorpora datos históricos acerca del contexto de producción; a la vez que otras obras literarias del período ofrecen un punto de comparación para identificar influencias y contribuciones. Este análisis, realizado desde el marco teórico de la crítica literaria, da cuenta de la presencia de constituyentes narrativos (narrador, ironía, ambigüedad) que configuran espacios de indeterminación, noción postulada por las teorías de la recepción. Éstos explican las peculiares características de la obra ocampeana: su habilidad para inquietar, intrigar, sorprender y, en suma, desestabilizar al lector y sus expectativas. Es más, sirven para explicar la idiosincrática representación de la realidad que emana de su obra, su interés en lo fantástico y la articulación de lo anti-convencional, como mecanismo subversivo para escapar del orden social dominante, lo cual revela sensibilidades protofeministas. La narrativa de Silvina Ocampo se resiste al reduccionismo y construye una visión peculiar y multifacética de la artista y su obra.

APA, Harvard, Vancouver, ISO, and other styles

21

Murphy, JoAnna R. "Living the Fat Body: Women's Experiences and Relationships with Their Bodies and Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1515055091898279.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Dluback, Rebecca L. "Sarah Kane's Cruelty: Subversive Performance and Gender." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232751060.

Full text

Abstract:

Thesis (M.A.)--Cleveland State University, 2008.
Abstract. Title from PDF t.p. (viewed on Apr. 14, 2009). Includes bibliographical references (p. 35). Available online via the OhioLINK ETD Center. Also available in print.

APA, Harvard, Vancouver, ISO, and other styles

23

Peate, Ailsa Miriam. "Subversive sex, gender, and genre in Cuban and Mexican detective fiction." Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3009104/.

Full text

Abstract:

This thesis engages with the concepts of sex, gender, and genre in relation to detective fiction produced in Cuba and Mexico. In order to do so, it focuses on a total of 4 novels from two Cuban authors and 5 novels from Mexican writers as case studies to question and consider the extent to which cultural production from each country should be considered original in its own right. After considering both countries' socio-political backgrounds and their attitudes towards gender roles, this research suggests that Cuban detective fiction from a post-Soviet era demonstrates preoccupations with neoliberal policy and its effect on sexuality on the island, and that Mexican detective fiction seeks to foreground women's issues in a country affected by gender violence, however on occasion this intention is undercut by the limiting and limited female characters available, fuelling systemic violence. Given the focus of specific cultural realities for both societies, this thesis concludes that Cuban and Mexican detective fiction are original generic subversions, and should be considered more closely in their own right. This thesis moves beyond academic scholarship previously found in the field due to not only its focus on gendered and sexual identities within examples of Latin American detective fiction, but also as it considers the way in which such representations distort accepted archetypal norms of detective fiction. Furthermore, it coins the phrase 'detective metafiction' to refer to particularly self-aware detective fiction which incorporates historical event and fact, leading the reader to question the very basis of such novels, a highly unusual trait within a genre typically associated with truth and revelation. This research contends that the four authors whose work forms the primary texts of this thesis demonstrate clear breaks with literary and social norms in their representation of gender, sex, and genre. Chapters One and Two consider the work of Cuban authors Leonardo Padura and Amir Valle after the fall of the Soviet Union respectively, and Chapters Three and Four engage with the work of Bef and Rogelio Guedea, both whom have produced detective fiction since the inception of the War on Drugs.

APA, Harvard, Vancouver, ISO, and other styles

24

Donnelly, Ryann. "Radical bodies in music video : feminism, queerness, and subversive performance of gender." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22391/.

Full text

Abstract:

It is the objective of this research to establish how categories of sex and gender have been subverted through queer and feminist performance in music video since the launch of MTV in 1981. It was at this point that music video entered domestic space, and became a fixture of the music industry. The medium’s cultural ubiquity, and its continually provocative aesthetic experimentation since MTV's inception reinforce this period as an arena of study. This project is approached in critical and practical ways, which respond to the following research questions: How is gender performed to subversive effect in music video? How have methods of performative subversion in music video participated in, or been affected by significant social and technological shifts since 1981? In its critical approach, this thesis considers music videos in dialogue with queer, feminist, and dramatic theory as a means of locating queer and feminist agency in subversive performance. Chapters of the text have been organised in consideration of significant cultural conjunctures, which further contextualise subversive strategies of performance in the work. The first chapter examines music videos whose aesthetics and themes participated in the project of AIDS awareness between the late 1980s and early 1990s. The second chapter explores the proliferation of gender identities in the contemporary landscape of music video. It considers how this has been accommodated by changing modes of production, distribution, and regulation after the internet, and shifting norms of gender and sexuality, evidenced by the legalisation of same sex marriage in the United States and the United Kingdom. The final chapter examines the intersection of sexual and racial identity in work by black artists since the Black Lives Matter movement began in 2012. The practical methodology of this thesis culminates in video projections whose incorporation in live pop music performance creates music videos in real time. This work operates within the post-internet expansion of the medium’s visual economy—its form, regulation, distribution, and borders—and draws on first-hand manipulation of the actions and images which define gender norms. These works expand visual themes of feminism and queerness in a live setting through modes of subversive gender performance, comparable to those explored in the objects of study. In this research, text, video, and performance function together. The critical identification and interpretation of subversive performance both relies on, and informs its practical production.

APA, Harvard, Vancouver, ISO, and other styles

25

Hoover, Hannah. "From Byronic to Gothic Blood Sucker: Subversion toward a Non-Gendered Identity." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3886.

Full text

Abstract:

Analyzing Emily Bronte’s Wuthering Heights and linking trends of the Byronic hero that have merged into a variety of genres reveal that the hero is a mode of subversive gender expression, which has evolved within the Gothic through feminine desire. Delving into Bram Stoker’s Dracula will provide unique insight into the audience’s desires/expressions of gender. Finding the transition point from the monster vampire of Dracula to Stephanie Meyer’s desirous, sparkling boy-next-door in Twilight will track the trajectory of gender and sexual norms through time. From the foundational adaptation of the Byronic hero in Wuthering Heights to the repressed vampiric desire of Dracula, to queer desire/domestication within Anne Rice’s Interview with the Vampire, ending with sparkling vampires of Twilight, we can invite the Byronic hero, which already supports rejection of societal expectations, into a genderless space, becoming a champion of desire absent from the constraints of gender and sexuality conformity.

APA, Harvard, Vancouver, ISO, and other styles

26

Spowage, Neal. "Physical interaction with electronic instruments in devised performance." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13237.

Full text

Abstract:

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.

APA, Harvard, Vancouver, ISO, and other styles

27

Lauvaux, Léonie. "Broder la pornographie. À la recherche d'un désir féminin." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20079/document.

Full text

Abstract:

Cette thèse s’attache à questionner l’utilisation de la pornographie dans la « broderie subversive » par les plasticiennes. Cette démarche semble a priori paradoxale. Pourquoi, les plasticiennes brodent-elles des images de femmes objectivées ? Pourquoi utiliser la broderie alors que cette pratique est considérée comme un passe-temps féminin ? Pourquoi s’emparer de la pornographie, faite par les hommes pour les hommes ? L’analyse d’un large corpus d’œuvres brodées, au prisme des « gender studies » et des « porn studies », permet de saisir les enjeux de cette démarche singulière. Les plasticiennes utilisent un médium caractérisé comme essentialiste pour déconstruire de « l'intérieur » les valeurs patriarcales transmises par la tradition du tissu, posture basée sur une succession de paradoxes. Ainsi, par la représentation brodée du sexuel, voir même de leur sexualité, les plasticiennes sont amenées à questionner leur propre identité de genre. Le sexuel brodé permet de se réapproprier son corps et son imaginaire, de s'interroger personnellement sur son identité (par l'utilisation d'un médium a priori genré). Cette construction du « moi » est soumise à un double paradoxe, tout d'abord celui de l'utilisation d'un médium féminin, subverti par le détournement artistique, et d'images objectivant les corps des femmes alors qu'il s'agit de se les réapproprier. Dans l'exploration de ces deux paradoxes, dans leur confrontation, dans cet espace, peut alors se penser l'identité (de femme et d'artiste) dans une société androcentrée
This thesis aims to interrogate how women artists use pornography in the subversiv stitch. This reflection might seem paradoxical. Why do women artists embroider pictures of objectified women ? Why use embroidery ? And why appropriate pornography that is made by men for men ? The analysis of a large corpus of embroiedered works, though the lens of gender studies and porn studies, allows to seize the issues of this peculiar approach. Women artists use a medium defined as essentialist to decompose – from the inside – the patriarchal values inherited from the textile tradition. Through the embroidered representation of the sexual – even of their own sexuality – women artist are led to question their own gender identity. The Embroidered sexual allows one to reappropriate their body and imaginary – and to interrogate themself about their identity (through a medium primarily perceived as gendered). This construction of the self is submitted to a double paradox, hich is the use of a feminine medium – subverted by artistic hijacking – and pictures of objectified female bodies, whereas the whole purpose is actually to reappropriate those bodies. Somewhere between those paradoxes might emerge and be thought the identity – of woman and artist – in a androcentric society

APA, Harvard, Vancouver, ISO, and other styles

28

Flay, Claire Andrea. "The subversive Cinderella : gender, class and colonialism in the work of Dorothy Edwards (1903-1934)." Thesis, University of South Wales, 2008. https://pure.southwales.ac.uk/en/studentthesis/the-subversive-cinderella(0fac33c5-aec8-4178-8bdf-ffb17345f55b).html.

Full text

Abstract:

This thesis will explore the impact of gender, class and colonialist issues on the life and fictions of Welsh novelist and short-story writer Dorothy Edwards. Although largely a literary analysis, this thesis also includes new biographical material which suggests that the class and gender ideologies that influenced her early years became key to her writing. After an introduction presenting the arguments of the thesis, the first two chapters are both primarily aimed at establishing the context of Edwards‟ work, the first in terms of her community and life history, and the second in terms of literary context. Chapter one locates Edwards firmly in her social and historical context, in part by means of new and exciting information discovered in a recent deposit of manuscripts pertaining to Edwards held at the University of Reading. In chapter two I argue that Edwards can be placed within the female modernist tradition as a result of her experimentation with narrative perspective in her 1927 short-story collection Rhapsody and her particular utilisation of the short story form. The central body of this thesis consists of a literary re-analysis of Edwards‟ work in the light of feminist and postcolonial theory, alongside a class-based reading of her fictions. Edwards‟ work cries out for analysis in terms of feminist theory, and her depiction of female roles and female sexuality in Rhapsody forms the focus of chapter three. Most if not all of Edwards‟ women are assigned to a marginalized position, and I explore the implications this has regarding her concept of gender relations. Edwards‟s depiction of social class in her fictions is particularly interesting; accordingly, chapter four offers a discussion of the representation of class in her 1928 novel Winter Sonata. I argue that here, more clearly than in her short stories, she deconstructs the constrictive nature of class boundaries and expectations and the effects these have on male and female, working- and middle-class characters alike. I return in chapter five to the details of Edwards‟ life, this time during the much overlooked and misunderstood period following the publication of Winter Sonata, much of which she spent in the company of the Bloomsbury group when visiting or living in London. The final chapter of this thesis analyses the literary produce of Edwards‟ time in London in the light of postcolonial theory; I suggest that the idea of a pervasive and mentally colonising cultural imperialism is key to understanding Edwards‟ work. The thesis ultimately aims to demonstrate that an analysis of Edwards‟ literary output in the context of current theoretical paradigms, together with new biographical information discovered in archival sources, reveals that issues of class, gender and colonialism are central to the work of Dorothy Edwards, as indeed they were to the Wales in which she was born and raised.

APA, Harvard, Vancouver, ISO, and other styles

29

Brill, Dunja. "Subversion or stereotype? : The Gothic subculture as a case study of gendered identities and representations /." Giessen Ulme-Mini-Verl, 2006. http://www.ulme-mini-verlag.de/clickbuy2.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Mills, Melinda. "“You Talking To Me?” Considering Black Women’s Racialized and Gendered Experiences with and Responses or Reactions to Street Harassment from Men." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/wsi_theses/9.

Full text

Abstract:

This thesis explores the various discursive strategies that black women employ when they encounter street harassment from men. To investigate the ways in which these women choose to respond to men’s attention during social interactions, I examine their perception of social situations to understand how they view urban spaces and strangers within these spaces. Drawing on qualitative interviews that I conducted with 10 black women, I focus on how the unique convergence of this group’s racial and gender identities can expose them to sexist and racist street harassment. Thus, I argue that black women face street harassment as a result of gendered and racialized power asymmetries. I found that black women rely on a variety of discursive strategies, including speech and silence, to neutralize and negotiate these power asymmetries. They actively resist reproducing racialized and gendered sexual stereotypes of black women by refusing to talk back to men who harass. Understanding silence as indicative of black women’s agency, not oppression, remains a key finding in this research.

APA, Harvard, Vancouver, ISO, and other styles

31

Ferguson, Jonathan Thomas. "Beyond authority and subversion : a constructive critique and contextualisation of gendered interpellation in Kang Youwei's 'Datong Shu'." Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/beyond-authority-and-subversion(cdf562b8-4610-47bc-92c8-64a122f29078).html.

Full text

Abstract:

My thesis discusses the gendered interpellation of women into the ideal future Utopian order in Kang Youwei, the late 19th and early 20th century Chinese reformer and scholar. Current literature on Kang Youwei does not tend to specifically focus on discussing his views on gender, nor does it tend to focus on contextualising these views both in terms of the long tradition of gendered culture in China, and in terms of the degree to which he influenced later gender ideology and policy in China. Taking seriously my own positionality within current national/geo -academic and -political context, I wish to understand how Kang Youwei reformulates the schema of questions regarding gender and related concerns of power and authority. Kang does not merely offer a model to be accepted or dismissed, but he also destabilises the landscape of previously acceptable questions, answers, responses and framing strategies.

APA, Harvard, Vancouver, ISO, and other styles

32

Nepomuceno, Margarete Almeida. "A película do desejo: a subversão das identidades queers no cinema de Pedro Almodóvar." Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/7287.

Full text

Abstract:

Made available in DSpace on 2015-05-14T13:27:00Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3942414 bytes, checksum: 7c5edfd1e32df9e56c08c164297750c9 (MD5) Previous issue date: 2010-12-17
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis discusses Pedro Almodóvar s idea of cinema as a producer of new meanings and discursive practices concerning the identities, gender and sexuality. The objective is to reformulate old normative concepts about the biological conditions of the body as decisive factors directly associated to gender and sexuality, as well as its non-historical, permanent and immutable condition that influenced the modern discourses. From the theory of Queer and the theory of performance it was opened a proper space to visualize and debate the brand-new identity patterns that involve new interpretations of gender and sexuality in a continuous and complex way, the criticism on hegemonic, monolithic, naturalizing and essential identities. The queer identities redefine the social natural patterns and their normalizing processes in the constitution of the subject, proposing an understanding of the analysis that aims to question the natural concepts about gender and indicate that the gender in itself is a result of such discussions. The idea of cinema developed by Pedro Almodóvar intends to call attention to the subversion of such identities and the creative process that visualizes these mutable subjectivities, the introspective new technologies and the building of contemporary materialities and desires.
Esta tese argumenta a idéia do cinema de Pedro Almodóvar como produtor de novos significados e práticas discursivas a respeito de identidades, gêneros e sexualidades. O objetivo é desconstruir os conceitos normativos sobre a condição biológica dos corpos como fator determinante dos gêneros e sexualidades, bem como sua condição a-histórica, permanente e imutável que marcaram os discursos da modernidade. A partir da Teoria Queer e da Performance abre-se espaço para visibilizar e debater sobre os novos arranjos identitários que envolvem novas interpretações de gênero e sexualidades, estas mais fluxas e complexas, na crítica às identidades hegemônicas, monolíticas, naturalizantes, essencialistas. As identidades queers desestruturam as naturalizações do social e seus processos normalizadores na constituição dos sujeitos, propondo uma compreensão de análise que vai questionar a aparente naturalidade dos sexos, e indicar que é o próprio sexo um produto do dispositivo discurso de gênero. O cinema de Pedro Almodóvar vem então delatar a subversão destas identidades e seu processo criativo de visibilidade das subjetividades nômades, das novas tecnologias de si e das fabricações das corporeidades e do desejo na contemporaneidade.

APA, Harvard, Vancouver, ISO, and other styles

33

Cardoso, Gabriel Pugliese. "Sobre o \'Caso Marie Curie\' - A radioatividade e a subversão do gênero." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-03082011-125925/.

Full text

Abstract:

Trata-se de um estudo do Caso Marie Curie sob o signo do acontecimento: como a luta desigual de Marie Curie em favor da radioatividade foi suscitada pela possibilidade de afirmar isso é científico. Essa pesquisa se debruça sobre as controvérsias em torno da radioatividade entre os anos 1898 e 1911, que envolveram toda uma política sexual (e depois nacionalista). Em meio a esse conjunto de relações de poder que tornou indissociáveis os assuntos humanos e a gestão-produção das coisas, exploro como esse acontecimento criou uma problematização para os contemporâneos, desabrochando em uma política singular. Recolocar e extrair o caráter auto-evidente da produção de Marie Curie e da radioatividade é um dos objetivos dessa dissertação. Enfim, desejo fazer aparecer uma aclimatação que corrompeu tanto o gênero quanto a ciência, produzindo de modo singular Marie Curie como um ícone da história da ciência, bem como a radioatividade com um fenômeno universal.
It is about a study of Marie Curie Case under the sign of the : how an unequal conflict of Marie Curie in favor of the radioactivity was raised by the possibility of affirming this is scientific. This search focuses on the controversies surrounding the radioactivity between the years 1898 and 1911, which involved a sexual (and after nationalist) politics. In the midst of this set of power relations that made the human affairs and the production-management of things inseparable, I explore how these created a problematization to the contemporaries, unclasping a singular politics. This dissertation aims at replacing and extracting the selfevident character of the production of Marie Curie and radioactivity. Finally, I desire to display an acclimatization that corrupted both gender and science, producing Marie Curie as an icon of science history, and the radioactivity as an universal phenomenon.

APA, Harvard, Vancouver, ISO, and other styles

34

Cirkelyte, Audrone. "Humor as a Mirroring Self- Reflection : A Case study of a subversive Deaf Humor Aiming the Spotlight at the Hearing Majority." Thesis, Linköpings universitet, Forum för genusvetenskap och jämställdhet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166769.

Full text

Abstract:

Humor builds the ground to share the common and the uncommon, to ease the uneasiness, to laugh at oneself and the other. It is amusing and rebellious, revealing the obvious from the obscure and challenging the unchallenged. The purpose of this Master thesis is to examine the subversive humor use within Deaf communities, centered around the hearing society, as well as to explore subversive humor’s role in reinforcing the Deaf identity and resisting the often assigned otherness. Taken the form of a case study this thesis analyses two examples: a short film The Kiss, produced by Charlie Swinbourne and the series of graphical drawings from Tais, created by Alícia Sort Leal. Using visual analysis and close reading as analytical methods as well as classical (Superiority, Incongruity, Relief) and contemporary (Reversal) humor theories, this thesis provides an insight into reflective and mirroring effects of humor.

APA, Harvard, Vancouver, ISO, and other styles

35

Brill, Dunja. "Between subversion and stereotype : the 'Goth' movement as a case study of gendered representations in subcultural media and style." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419820.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Galeano, Sanchez Juan C. "El Subversivo: Una Aproximacion Interseccional a las Identidades Representadas en `Novelas de la Violencia’ Escritas por Mujeres." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504868850594487.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

García-Santesmases, Fernández Andrea. "Cuerpos (im)pertinentes: Un análisis queer-crip de las posibilidades de subversión desde la diversidad funcional." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/402146.

Full text

Abstract:

Los feminismos, la teoría queer y la teoría crip permiten desnaturalizar categorías de normativización corporal (femenino/masculino; capacidad/discapacidad; sano/enfermo; homosexual/heterosexual) e identificarlas dentro de sistemas de regulación corporal: el heteropatriarcado y el capacitismo. Estos sistemas se retroalimentan a la hora de marcar a las personas con diversidad funcional como cuerpos “inválidos”: “discapacitados” y “desgenerizados”. No obstante, no actúan de forma impecable y totalizadora, sino que en su propia reiteración conllevan indefectiblemente disrupciones, errores, transformaciones. Partiendo de esta perspectiva, esta tesis doctoral analiza la producción de las categorías de género y (dis)capacidad en personas con diversidad funcional, y sus posibilidades de subversión. Para ello, se ha realizado una investigación etnográfica, en la que se han combinado la observación participante con los itinerarios corporales y las entrevistas en profundidad. Las diferentes técnicas de investigación utilizadas, así como su puesta en común con fuentes de información de carácter secundario, han conducido a desarrollar una triangulación metodológica (Denzin y Lincoln, 2011). El trabajo de campo, el análisis del material empírico y su posterior divulgación se han guiado por los planteamientos de la epistemología feminista y su defensa de la reflexividad, la interseccionalidad y el conocimiento situado (Haraway, 1988). La etnografía ha tenido lugar en un contexto privilegiado –la Barcelona de la segunda década del s.XXI – en la que activismo de vida independiente estaba experimentando un cambio de repertorio que pasaba a situar el cuerpo y la sexualidad como núcleos de producción epistémica, práctica política y construcción identitaria para las personas con diversidad funcional. La investigación realizada permite concluir que género y (dis)capacidad son experiencias encarnadas, in-corporadas en los procesos de socialización y, al mismo tiempo, reforzadas performativamente. La feminidad, al igual que la masculinidad, es un hacer, un hacer que requiere de autonomía física, de una hexis corporal concreta y de ciertas capacidades –motoras, sensoriales, cognitivas – para ser correctamente performada. Esta tesis doctoral muestra cómo la diversidad funcional puede subvertir estas lógicas de regulación corporal cuando es articulada políticamente. Las alianzas “tullido-transfeministas” han sabido optimizar este potencial a través de la reivindicación de sus cuerpos (im)pertinentes.
Feminisms, queer theory, and crip theory allow denaturalizing categories of bodily standarization (feminine/masculine; ability/disability; homosexual/heterosexual; healthy/sick) and identify them within body regulation systems: hetero-patriarchy and ableism. These systems feed back when it comes to marking people with functional diversity as ‘invalid’ bodies: 'disabled' and 'degenderized'. However, they do not act in a flawless and totalizing way, but in their own repetition they inevitably lead to disruptions, errors, transformations. Starting from this perspective, this doctoral thesis analyses the production of the categories of gender and (dis)ability in people with functional diversity, and their possibilities of subversion. For this, ethnographic research has been carried out, in which the participant observation has been combined with bodily itineraries and in-depth interviews. The different research techniques used, as well as their sharing with secondary sources of information, have led to the development of methodological triangulation (Denzin and Lincoln, 2011). The fieldwork, the analysis of empirical material and its subsequent dissemination have been guided by feminist epistemology and its defence of reflexivity, intersectionality, and situated knowledge (Haraway, 1988). Ethnography has taken place in a privileged context - Barcelona during the second decade of the 21st century - in which independent living activism was undergoing a change of repertoire that came to place the body and sexuality as centres of epistemic production, practice political and identity construction for people with functional diversity. The investigation leads to the conclusion that gender and (dis)ability are incarnated experiences, incorporated in the processes of socialization and, at the same time, reinforced performatively. Femininity, like masculinity, is a doing, a doing that requires physical autonomy, a specific body hexis and certain abilities - motor, sensory, cognitive - to be correctly performed. This doctoral thesis shows how functional diversity can subvert these logics of body regulation when it is articulated politically. The 'cripple-trans-feminist' alliances have been able to optimize this potential by recognising their (im)pertinent bodies.

APA, Harvard, Vancouver, ISO, and other styles

38

Fong, Jessica. "Fantasme, Rébellion, et Féminisme: Le Monde Subversif du Fandom Français de le Hallyu." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/194.

Full text

Abstract:

The global phenomenon known as the Hallyu, or the Korean Wave, has brought Korean pop culture to every corner of the Internet. In this paper, I discuss the impact Hallyu has had in France specifically and examine the online subculture of female-created fanfiction that has arisen from it. I postulate that, for a French woman, the act of participating in fandom and/or writing slash fanfiction about Korean pop idols constitutes a political act of rebellion against the patriarchy and gender norms, even if the fan herself is unaware of it.

APA, Harvard, Vancouver, ISO, and other styles

39

Mållberg, Amanda. "Det revolutionära språket : En studie om hur normkritiskt språk potentiellt förändrar världen och ger diskursivt utrymme genom subversiva performativa handlingar." Thesis, Södertörns högskola, Genusvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41805.

Full text

Abstract:

In Sweden, the language of norm critique has gained increasing influence over the past ten years in connection with queer theoretical thinking and norm critical pedagogy becoming part of gender equality work and equality work in the (pre)school system. In this essay I examine, through interviews, how people who use norm-critical language view the normativity in the Swedish language with the main purpose of seeing if it works and how it is achieved. The essay also examines how norm-critical language users try to change the language to become more inclusive and how all this can be understood from the perspective of Butler’s performativity theory and ideas about power and normativity. The results of the survey show that norm-critical language works and contributes to the goal; a world where everyone gets a place and recognition in both language and physical space. We can see how children become subjects and are included in norm-critical language and how the binary perception of gender is set in motion, which leads to greater scope for action and inclusion. Furthermore, it is stated that there is a danger in the goal’s new normativity which leads to the conclusion that norm-critical language is and has to be a constant process and under constant reflection. As it is a small study and a large topic, I urge further research on norm-critical language.

APA, Harvard, Vancouver, ISO, and other styles

40

Oliveira, Gabriela. "A subversão dos estereótipos de gênero nos contos fantásticos de Lygia Fagundes Telles." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7538.

Full text

Abstract:

Em meio às mudanças políticas e sociais no Brasil da segunda parte do século XX, Lygia Fagundes Telles começa a se destacar literariamente através de seus romances e coletâneas de contos com caráter intimista. Apesar de não se considerar naquela época uma escritora militante, ela era engajada socialmente e realizava sua crítica de maneira sutil utilizando-se de táticas literárias, como a presença do gênero fantástico. Ela escreve durante uma época de extrema censura e repressão, aonde o conservadorismo impera principalmente nos moldes familiares. A sociedade continha um modelo de como cada homem e mulher deveria agir para se encaixar e ser aceito. A fim de criticar o pensamento da sociedade retrógrada da qual ela fazia parte, Lygia escreve os contos fantásticos: “Venha ver o pôr do sol”, “A caçada”, e “As formigas”. Através de acontecimentos insólitos e aterrorizantes, os personagens enfrentam a realidade acerca de seu gênero e encontram as limitações impostas dos estereótipos mantidos pela sociedade conservadora. Nesses contos, Lygia encontra três possibilidades finais para quem pretende ir contra o tradicional: prisão pessoal, morte lenta ou fuga.

APA, Harvard, Vancouver, ISO, and other styles

41

Dixon, Leena-Maaretta. "“Han Skulle Vara En Kille Som Pappa Inte Kunde Klaga På” : Subversive And Imaginative Masculinity In Lygia Bojunga’s Work." Thesis, Södertörns högskola, Litteraturvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35804.

Full text

Abstract:

This thesis centers on three children’s novel, “Sex gånger Lucas”, “Min Vän målaren”, and “Den gula väskan”, written by the very appreciated and much awarded Brazilian Author Lygia Bojunga. All three of these novels discuss masculinity in young boys and men. In “Sex gånger Lucas”, the centerpiece of this thesis, the essential conflict in the novel is played out in the interchange between Lucas and his authoritarian father. The father, throughout the text, showcases toxic masculinity and its concurrent traits, such as verbal abuse and serial infidelity. This tyrannical parenting attempts to mold Lucas’ personality to what is deemed in the culture as acceptable masculine behavior. Lucas narrative journey finds him firstly internalizing this belief system, but, as the novel progresses, Lucas learns to accept himself, in all his gendered guises, and reject the father's binary opinions. “Min vän målaren” follows the tale of the sensitive young boy, Claudio, who struggles against an environment that doesn’t support him, in his many and varied attempts towards personhood. In “Den gula väskan” the protagonist Rakel confronts an open and oppressive sexism in society, community and the many dismissals of the family. “Den gula väskan” utilizes, at many junctures of the narrative, a fable structure as a means to discuss political oppression as well as the oppressive binary masculine norms. This Fable sub-tale focuses on the character Alfonso, a talking rooster. Alfonso rejects the expectations put on him as a rooster, but his cousin Skräcken is not as fortunate. The cousin, who it is heavily implied is the victim of masculine brainwashing, is unable to stop himself from fighting, even when it ends up killing him. Throughout these three novels lies an illustration of the downfalls of an oppressive and toxic masculinity (that men must be stoic, aggressive and in control) as well as highlighting the freedom for a more fluid gender expression. Lucas, Claudio and Alfonso give subversive, alternative depictions of masculinity, where it is acceptable to feel, be vulnerable, reject violence, and have healthy relationships built on companionship. This thesis explores how Bojunga's novels, through her characters struggles and triumphs, give the young male identified readers alternative ways to be a man. In other words, these novels liberate the male gender from a binary performance.
Denna avhandling bygger på tre barnromaner, "Sex Times Lucas", "Min Vän målaren" och "Den gula väskan", skriven av den uppskattade och prisbelönta brasilianska författaren Lygia Bojunga. Alla tre av dessa romaner diskuterar maskulinitet I relation till unga pojkar och män. I "Sex Times Lucas", den centrala verket i denna avhandling, är konflikten mellan Lucas och hans auktoritära far det centrala handlingen. Faderns beteende genom hela romanen skildrar en obehaglig uppfatning av maskulinitet, med att psykisk misshandla Lucas and vara ständigt otrogen mot modern. Genom hans tyranniska föräldraskap försöker han att forma Lucas’ personlighet till vad han anser acceptabelt maskulint beteende. Lucas först internaliserar dessa normer, men sen genom romanens växling lär Lucas att acceptera sig själv som han är och avvisar faderns översträngda idéer om manlighet. "Min vän målaren" visar en känslig ung pojke, Claudio, som kämpar mot en miljö som inte stöder honom. Trots detta motstånd försöker han inte förändra sig själv. I "Den gula väskan" diskuterar Rakel öppet sexismen som hon möter. Boken använder också fabel som ett medel för att diskutera politisk förtryck samt strängda genus normer genom Alfonso, en talande tupp. Alfonso går emot vad man förväntar av honom som tupp, men hans kusin Skräcken däremot går med på förväntningarna. Kusinen, som det är starkt underförstått, är offer för hjärntvätt, kan inte stoppa sig från att slåss, och tillslut dör på frund av det. I alla dessa tre romaner ligger en gestaltning av en kritik mot manlighetsnormer (att män får inte visa känslor, vara aggressiva och dominanta) samt framhävda friheten för ett mer flytande könsuttryck. Lucas, Claudio och Alfonso ger subversiva, alternativa skildringar av maskulinitet, där det är acceptabelt att känna, vara sårbar, avvisa sig från våld och ha jämställda relationer byggt på vänskap. Denna avhandling forskar i hur romanen, genom att skildra dessa karaktärer och deras kamp och seger, ger de unga pojk-identifieranda läsare alternativa sätt att vara en man. Med andra ord befriar dessa romaner det manliga könet från en binära normer.

APA, Harvard, Vancouver, ISO, and other styles

42

Wälivaara, Josefine. "Dreams of a subversive future : sexuality, (hetero)normativity, and queer potential in science fiction film and television." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-62893.

Full text

Abstract:

The aim of the thesis is to explore depictions of sexuality in popular science fiction film and television through a focus on storytelling, narrative, characters and genre. The thesis analyses science fiction as a film and television genre with a focus on the conventions, interpretations, and definitions of genre as part of larger contexts. Central to the argumentation is films and television series, from Star Wars and Star Trek, to Firefly and Torchwood. The approach allows a consideration of how the storytelling conventions of science fiction are, and have been, affected by its contexts. Through a consideration of a historical de-emphasis on narrative complexity and character formation in science fiction, the thesis displays and analyses a salient tendency towards juvenile and heteronormative narratives. This tendency is represented by a concept that I call the Star’verses, through which this dominant idea of science fiction as a juvenile, techno-centred, masculine, and heteronormative genre became firmly established. This generic cluster has remained a dominant influence on science fiction film and television since the 1980s. However, as argued, a major discursive shift took place in science fiction at the turn of the millennium. This adult turn in science fiction film, and television in particular, is attributed to contextual changes, but also to the influence of television dramaturgy. It explains why science fiction in the 21st century is not as unfamiliar with depictions of sexuality as its predecessors were. This turn does not signal a total abandonment of what the Star’verses represent; it instead contributes to a change to this dominant idea of the generic identity of science fiction. While sexuality has been disassociated from much science fiction, it is also argued that the science fiction narrative has extensive queer potential. Generic conventions, such as aliens and time travel, invite both queer readings and queer storytelling; the latter however is seldom used, especially in science fiction film. A majority of the examples of science fiction narrative that use this queer potential can be found in television. In cinema, however, this progression is remarkably slow. Therefore, the thesis analyses whether the storytelling techniques of Hollywood cinema, to which science fiction film owes much of its dramaturgy, could be considered heteronormative. A comparison is made to television dramaturgy in order to display the possibilities for the serialised, character-focused science fiction narrative. Ultimately, the thesis investigate the possibility for subversive storytelling and whether a normative use of dramaturgy needs to be overthrown in order to tell a subversive story.

APA, Harvard, Vancouver, ISO, and other styles

43

Harris, Kate. "Subversive desire machines : Angela Carter's parodic exploration of gender construction and performance in The infernal desire machines of Doctor Hoffman and the passion of new Eve /." Title page, contents and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09arh3139.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Cros, Lucie. "Les ouvrières et le mouvement social : retour sur la portée subversive des luttes de chez Lip à l'épreuve du genre." Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCC026/document.

Full text

Abstract:

L'objet de cette thèse consiste à appréhender les impacts du mouvement social sur la division sexuée du travail. Elle prend pour cas d'analyse les luttes sociales survenues dans l'entreprise bisontine Lip entre 1973 et 1981. Ces grèves longues, mixtes, rendues célèbres par leurs allures autogestionnaires, sont porteuses d'une dynamique de changement indéniable. Or notre recherche montre que malgré la radicalité des moyens employés par les grévistes, l'émancipation féminine n'a pas eu lieu au cours des luttes. Cela étant, nous montrons que la grève favorise une perception par les ouvrières des inégalités de genre. En comparant les trajectoires féminines et masculines avant, pendant et après la période des luttes, nous mettons en évidence une pérennisation des hiérarchies de genre et de classe, y compris dans l'action militante, même si des logiques de résistances sont repérables à postériori. De fait, les infléchissements biographiques observés marquent un accès à la prise de conscience de la domination masculine, en lien avec les interactions entre les ouvrières et des collectifs féministes. En somme, cette thèse revient sur la portée subversive des luttes de chez Lip, au regard d'un contexte historique spécifique, des trajectoires et des socialisations, et des modalités de production par les femmes d'une mémoire sociale
This PhD dissertation is to seek to understand the impacts of the social movement on the sexual division of work . lt takes for cases of analysis social struggles that have happened in the bisontine company Lip, between 1973 and 1981. Those strikes which were long, made up of men and women, embodying an idea l self-management, carry on a great dynamic force for change. But our search shows that in spite of the radicality of the ways used by the strikers, the women's emancipation didn't take place during the fights. However, the militant commitment favars a perception by women workers of gender inequalities. Comparing women and men trajectories before, during and after the social movement, we highlight an ongoing of gender and class hierarchies, including in militant actions, even though somme resistances are observed. lndeed, the studied biographical disruptions show an access to the awerness of the male domination, also related with the interaction between women workers and feminists movements. At last, this research come back on the subversive reach of Lip's strikes, in view of a particular historical context, trajectories and socialisations, and the way the women participate in the production of a social memory

APA, Harvard, Vancouver, ISO, and other styles

45

Braverman, Eliza Honor. "Autoridad subversiva: la construcción de poder y conocimiento intergeneracional y transatlántico en círculos femeninos durante la Inquisición española." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1621703073215873.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Cé, Otávia Alves. "Silenciamento ou subversão? Representação do papel social da mulher no discurso perfomático das crossplayers do mangá." Universidade Catolica de Pelotas, 2014. http://tede.ucpel.edu.br:8080/jspui/handle/tede/353.

Full text

Abstract:

Made available in DSpace on 2016-03-22T17:27:28Z (GMT). No. of bitstreams: 1 Silenciamento res.pdf: 2324388 bytes, checksum: b48b59a53bc50825fd9295df49f80dea (MD5) Previous issue date: 2014-08-08
This thesis is built on the assumption that the erasure of the female body to interpret the male is a mean of acquiring voice and power. The objective is to demonstrate, through the analysis of the verbal-visual discourse of the performances of crossplayers when interpreting male characters, that the figures of the hero and the villain in works of female authors, have power and show that for crossplayers to assume the representation of such figures, the conditio sine qua non is the silencing of the feminine. The corpus of analysis consists of two performances presented by Brazilian crossplayers: the first concerns a clipping from the manga Clover authored by the CLAMP group (composed entirely of women) focusing on the hero Kazuhiko Fay Ryu, and the second an excerpt from the manga Inuyasha, authored by Rumiko Takahashi, aiming at the villain, Sesshoumaru. The work is divided into four chapters. The first discusses concepts of Japanese pop culture, focusing on the manga (comic books). The second presents the world of cosplay practice (activity that involves representing characters derived from popular media, including the manga) and crossplay (segment in which cosplay practitioners interpret characters of the opposite sex). The third is based on the theoretical framework, in which I elaborate on a literature review of Critical Discourse Analysis (CDA), Visual Grammar, gender studies, fundamentals of Takarazuka Theater (theater company composed entirely of women) and studies on performance. The fourth chapter includes: a) the transformation of crossplayers described from supplementary materials available in a video and tutorials that illustrate the preceding steps of stage performance; b) analysis methodology, based on the model of the pentad of Burke (1973), composed of agent, act, scene, agency and proposal, to which selected categories among the other theoretical axes are added; c) the analysis of the two performances, available in DVD. In order to broaden the informative horizon tangent to the practice of performances resulting from intertextual movements with manga I include an attachment with the testimony of Brazilian crossplayers and an appendix with an account of my own experience in cos/crossplay. Along with the test results, this material is also considered in the search for an answer to the question that imposes itself from the title of the work: "Silence or subversion? The representation of the social role of women in the performative discourse of manga crossplayers
Esta tese é construída a partir da hipótese de que o apagamento do corpo feminino para interpretar o masculino é um meio de adquirir voz e poder. O objetivo é demonstrar, por meio da análise do discurso verbo-visual de performances de crossplayers ao interpretarem personagens masculinas, que as figuras do herói e do vilão, em obras de autoria feminina, possuem poder e evidenciar que, para as crossplayers assumirem a representação de tais figuras, a condição sine qua non é a do apagamento do feminino. O corpus de análise é composto por duas performances apresentadas por crossplayers brasileiras: a primeira diz respeito a um recorte do mangá Clover de autoria do grupo CLAMP (composto integralmente por mulheres) com enfoque no herói Kazuhiko Fay Ryu, e a segunda um excerto do mangá Inuyasha, da autora Rumiko Takahashi, enfocando o vilão, Sesshoumaru. O trabalho encontra-se dividido em quatro capítulos. O primeiro aborda conceitos da cultura pop japonesa, com foco nos mangás (histórias em quadrinhos). O segundo apresenta o universo da prática do cosplay (atividade que consiste em representar personagens oriundas de mídias populares, entre as quais, os mangás) e do crossplay (segmento do cosplay no qual as/os praticantes interpretam personagens do sexo oposto). O terceiro tem por base o referencial teórico, em que realizo uma revisão bibliográfica da Análise Crítica do Discurso (ACD), da Gramática Visual, dos estudos de gênero, dos fundamentos do Teatro Takarazuka (companhia teatral composta inteiramente por mulheres) e dos estudos acerca de performance. O quarto capítulo contempla: a) o processo de transformação das crossplayers, descrito a partir de materiais complementares veiculados em um vídeo e em tutoriais que ilustram esta fase anterior à apresentação no palco; b) a metodologia de análise, baseada no modelo do pentad de Burke (1973), composto por agente, ato, cena, agência e proposta, ao qual são acrescidas categorias selecionadas entre as que compõem os demais veios teóricos; c) a análise das duas performances, disponibilizadas em DVD. Com o fim de ampliar o horizonte informativo que tangencia a prática de performances resultantes de movimentos intertextuais com mangás, incluo um anexo com depoimentos de crossplayers brasileiras e um apêndice com o relato de minha experiência em cos/crossplay. Juntamente com o resultado das análises, este material é também considerado na busca de uma resposta para o questionamento que se impõe desde o título do trabalho: Silenciamento ou subversão? A representação do papel social da mulher no discurso performático das crossplayers de mangás

APA, Harvard, Vancouver, ISO, and other styles

47

Bonnard, Erika. "Uppochnervända roller hemma hos Martina : En undersökning av den självförringande humorns subversiva kraft i Martina Haags Hemma hos Martina." Thesis, Södertörn University College, School of Gender, Culture and History, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-482.

Full text

Abstract:

Martina Haag’s method of self-mockery used in her chronicles is characterized by her wish to live up to various ideals. This essay brings out the subversive power of self-deprecatory hu-mor expressed in her book Hemma hos Martina. The author’s strategies and kinds of humor are being studied, leading up to what this humor accomplishes. General theories on humor, by Mary Ann Rishel, Maria Ohlsson, Henri Bergson, Joannne R. Gilbert and Simon Critchley are being applied to find the essence of her craftsmanship in writing comedy. The analysis also goes more closely into the style and language, to give a deeper understanding of how she creates jokes, and also how she relates to her ideals through language. The main thrust of the analysis, though, builds on theories on self-deprecatory humor. Haag is included into Joanne R. Gilbert’s theory on self-deprecation and The Whiner within the field of stand-up comedy.

Some American feminist critics have rejected self-deprecatory humor as being anti-feminist, stating that women applying this particular kind of humor merely reinforce stereoty-pes, and put themselves down. This paper objects to those critics, leaning on Haag’s book. I wish to show that Haag is not demeaning towards herself, but towards the cultural norms and expectations in our present society. In this context, I show how Haag manages to demystify and criticize ideal representations of women, by lampooning them and revolting against them. In this way, her book turns into a satirical critique of cultural values. My essay illustrates how Haag objectifies herself, making regular use of stereotypes. This is necessary, since these two elements are essential to most humor. Haag confirms stereotypes to make people laugh. This laughter brings about awareness in the reader, making Haag’s work a social critique of current values and norms concerning women.

APA, Harvard, Vancouver, ISO, and other styles

48

Harclerode, Devin Kylie. "Sweaty Mother Slow Groove." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4241.

Full text

Abstract:

Sweaty Mother Slow Groove is an engagement in magical thinking that proposes a displacement of swamp methodologies into the virtual realm, existing during the fourth wave. In doing so the cyborg and goddess are united in a re-routing of essentialism and the neo-liberal domination of technology. The metaphorical swamp is the possibility of a mushy danger zone that harnesses the absorption of an unwanted space: a disintegration of the binary and the soft-coded awareness of the body as a process, not a site.

APA, Harvard, Vancouver, ISO, and other styles

49

Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.

Full text

Abstract:

The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.

APA, Harvard, Vancouver, ISO, and other styles

50

Mirsadjadi, Tori Shereen. "Unbreakable Glass Slippers: Hegemony in Ella Enchanted." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/40.

Full text

Abstract:

The way Gail Carson Levine’s Ella Enchanted simultaneously conforms to its late-20th-century American standards and rebels against its Cinderella origins is analyzed in this thesis. As an analysis of a piece of literature written for children, the thesis works to defend the notion that playful literature produces a serious dialogue with its readers, and that young female readers are a particularly apropos group for the dialogue about hegemony that Ella Enchanted allows.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Gender subversion'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles