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Dissertations / Theses on the topic 'Misogynist'
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Daniels, Craig W. "Martial, misogynist?" Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57278.pdf.
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Sydeman, Melissa. "Misogynist politics : film theory, feminism and Brian De Palma." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386520.
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Machado, Elsa Cascais Silva Andrade. "Masculinity, melancholia and misogyny in the films of Sam Peckinpah." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22904.
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Doutoramento em Estudos CulturaisWith this thesis I have attempted to analyse three salient features in Sam Peckinpah’s films: masculinity, melancholia and misogyny. Having made only fourteen films, Peckinpah distinguished himself as an important director in the history of American cinema not only because of his innovative techniques but also because his work was so much in tune with the zeitgeist of the turbulent times in which he lived. The analysis of these three main themes aims to cast some light on the work of a director whose temperamental traits and difficult relation with the film industry tend to obfuscate an un-romanticized view of his oeuvre. Peckinpah’s best work was within the generic traits of the Western but he also made forays into other genres, never forsaking the main worries and worldview that give his films a sense of thematic coherence. While American cinema is inclined to foreground a strong patriarchal hegemonic model, Peckinpah’s films, although centered on masculinity, unwittingly undermine this model by disclosing flaws and weaknesses in his protagonists, rendering them more vulnerable and prone to suffering. This singularity allowed me to bring into relief the elegiac mood of his films, a characteristic which entwines with the perception of a fading West and with the obsolescence of his male characters. Peckinpah became notorious in his association with misogyny not only because of his impromptu comments in the interviews he gave but also because he displayed a problematic relationship with women in real life, giving them a dismissive treatment in his films. This thesis attempts to deal with this unsavoury feature which many critics disavow or simple ascribe to inflamed feminist criticism. I hope in this work I have managed to address the richness of Peckinpah’s films and to reveal how he left a legacy which surpasses the technical artistry for which he became known and the violence which he stylised with the details of his obsessive directorial flair. This legacy lies in the melancholy mood that suffuses his work, resulting from disenchantment and loss.
Com esta tese procurei abordar três aspectos que se salientam na obra de Sam Peckinpah: masculinidade, melancolia e misoginia. Tendo realizado apenas catorze filmes, Peckinpah distinguiu-se na história do cinema Americano não apenas pelos elementos técnicos inovadores mas também pelo facto de os seus filmes estarem em sintonia com o zeitgeist dos tempos turbulentos em que viveu. A partir da análise destes três aspectos, pretendi realçar o trabalho de um realizador cuja personalidade temperamental e a difícil relação com os estúdios tendem a obfuscar uma exploração menos romanticizada do seu trabalho. Apesar de se ter distinguido no Western, Peckinpah aventurou-se por outros géneros, nunca abandonando as principais preocupações e mundividência que conferem ao seu trabalho uma coerência temática. Enquanto o cinema Americano promove um modelo fortemente patriarcal e hegemónico, os filmes de Peckinpah, apesar de se centrarem na masculinidade, tendem a subverter este modelo ao colocarem em evidência as falhas e fraquezas dos seus protagonistas, que se revelam vulneráveis e mais suscetíveis ao sofrimento. Esta singularidade permitiu-me sublinhar a disposição elegíaca dos seus filmes e a sua relação com melancolia, uma característica que se associa à perceção de um Oeste em declínio e ao anacronismo dos seus protagonistas. Peckinpah ficou marcado pela sua postura misógina não apenas através dos seus comentários precipitados e irrefletidos, presentes nas várias entrevistas que concedeu, mas também porque manifestou uma relação problemática com as mulheres, algo que se refletiu na forma como as tratou e representou no ecrã. Esta tese procura assim abordar uma vertente menos agradável da sua obra que muitos críticos minimizam ou percecionam como resultado de uma crítica feminista inflamatória. Espero assim que, com este trabalho, tenha conseguido explorar a riqueza do cinema de Sam Peckinpah, demonstrando que a herança que este nos deixou ultrapassa em muito a técnica artística dos seus filmes ou a violência que ele explorou exaustivamente com a sua entrega à realização. Esta herança reside na melancolia que atravessa o seu trabalho, resultante de desencanto e perda.
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Le, Vu Phung Nhi. "The Influences of Misogynist Online Harassment on German Female Journalists and their Personal and Professional Lives." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1594828390923411.
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Cooper, Donna Marie. "Was Tertullian a misogynist? : a re-examination of this charge based on a rhetorical analysis of Tertullian's work." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/10124.
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Feminist scholars have long assumed that Tertullian, a second-century Church Father, was a misogynist. This assumption is based almost exclusively on the infamous “Devil’s gateway” passage in the opening chapter of De cultu feminarum. However, feminist scholars have read this passage in isolation without reference to its wider context in De cultu feminarum and without considering other passages from Tertullian’s treatises. Furthermore, they have failed to recognize the influence which ancient rhetoric had on Tertullian’s work. By reading the “Devil’s gateway” passage in a wider context, and by engaging in a detailed analysis of Tertullian’s use of rhetoric, it becomes evident that Tertullian’s comments in that passage are not based on misogynistic view of women. Rather, they serve a specific rhetorical purpose in one particular treatise. Furthermore, by looking beyond the “Devil’s gateway” passage to other passages in which Tertullian makes reference to women, it is clear that his comments in the “Devil’s gateway” passage are not representative of his view of women. An examination of themes such as Mary, the anthropology of woman and woman’s role in the social order reveals a more nuanced picture of Tertullian’s view of women, than the one offered by some feminist scholars. By bringing together two areas - Tertullian’s use of rhetoric and feminist critique of Tertullian and of the Fathers in general - I will challenge the assumption that Tertullian was a misogynist and show that in some areas Tertullian can make a positive contribution to the feminist question.
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Greer, Rebecca Joy. "The Misogynistic Culture of Heian Japan." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/579251.
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The Heian era of Japan is a period characterized by a court society enamored with all things beautiful and poetic. Within that society, court men and women produced many great, long-lasting works of art, not the least of which were works of poetry and literature. Some of the most famous of these literary and poetic pieces were authored by women of the court, such as The Tale of Genji by Murasaki Shikibu and The Pillow Book by Sei Shōnagon. Considering the great accomplishments of these women, one might be lead to believe that these women enjoyed lives of respect and opportunity, however; this could not be further from the truth. Women of the Heian era lived their lives from a position of inferiority with no chance at achievements at the level of men. In my paper, I argue that, through the writings of court men and women of the Heian era, an intrinsic misogyny within the culture is revealed.
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Szuhaj, Katalin. "Le portrait satirique baroque. L'oeuvre de Charles-Timoleon de Sigogne dans le reflet d'une analyse comparée de l'art du dessin et de la peinture." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00966490.
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Cette thèse est le fruit d'une étude comparative de la peinture et de la poésie des XVIe et XVIIe siècles. Dans ce document, la poésie et la peinture se répondent, s'entrecroisent, s'éclairent à tour de rôle, grâce à une analyse comparée des similitudes et différences qu'elles expriment sur le même thème, qui est le portrait satirique baroque. Notre étude est ancrée dans une approche esthétique de l'univers visuel baroque, et met l'accent sur la réception des œuvres d'art par le spectateur. Quant à la poésie, nous nous éloignerons du modèle classique de la satire, pour pénétrer la littérature satirique, riche d'une langue imagée, et bien souvent obscène. Notre thèse est composée de cinq chapitres. Nous donnerons tout d'abord une définition du portrait en poésie et en peinture. Dans un deuxième temps, nous montrerons qu'en représentant un individu, l'artiste dévoile également son âme, et que, dans cette époque tourmentée, l'âme apparaît à travers laideur et difformité dans les portraits sociaux et misogynes. Le troisième chapitre sera consacré à la notion d'esthétique paradoxale, qui montre l'homme et l'univers de façon renversée, comme un écho au monde bouleversé du tournant de XVIème siècle, avec les conséquences que cela implique sur le récepteur de l'œuvre d'art. Nous analyserons ensuite plus particulièrement la poésie misogyne de Sigogne, avant de conclure notre travail sur l'étude du monde fantastique et surnaturel qui s'empare de sa poésie, et de la poésie baroque de manière générale.
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Peeler, Nicole D. "Beyond a misogynist's aesthetic : rereading the fiction of Philip Roth and Martin Amis." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/29318.
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This dissertation offers re-readings of works by two of the most controversial and influential living writers: Martin Amis and Philip Roth. These writers are often accused of amorality, or even immorality, and this thesis deals with the controversies these authors have incited with specific focus on their alleged misogyny. Chapter 1 defines exactly why Amis and Roth are genuine problems for readers. However, I argue that simply condemning these writers also disables a reader’s ability to see just how invested they are in issues of pressing importance to contemporary society. Chapter 2, 3 and 4 examine specific novels by these authors in the light of theories significant both to their work as well as popular and academic culture. I propose that the overarching theme that links these three specific topics, the novels, and their authors is how the gendered subject emerges through time. Chapter 2 looks at how both Amis and Roth explore their separate theories about ideology, and especially the idea of ‘goodness’, in Other People: A Mystery Story, and When She Was Good. Chapter 3 takes as its subject trauma, history, and narrative, illustrating how they relate to Time’s Arrow, and Sabbath’s Theater. Finally, Chapter 4 engages with masculinity theory, demonstrating Roth’s and Amis’ interest in the subject as exemplified in Portnoy’s Complaint and London Fields. This thesis seeks to illustrate that Amis’ and Roth’s intellectual engagement with the issues underlying these current theories defies those critics who argue that they are amoral, immoral, or engaged entirely with their own solipsistic philosophies.
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Hayward, Rebecca. "'Now I am a wedow' : chaste images and misogynistic stereotypes of widows in medieval literature." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442520.
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Habasque, Pierre. "Oh my God, like, totally, you know? Le stéréotype Valley Girl, catalyseur de misogynie linguistique ?" Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30004.
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Cette thèse se propose d’étudier de quelle façon la misogynie peut prendre pour cible des pratiques linguistiques pouvant être perçues comme féminines et prend l’exemple du stéréotype sexiste de la « Valley Girl. » Ce terme, popularisé dans les années 1980 par le titre éponyme de Frank Zappa, a d’abord fait référence à des adolescentes, prétendument futiles et décérébrées, appartenant à la classe moyenne californienne. Bien que ces dernières aient été ridiculisées dans la chanson, cette exposition médiatique a paradoxalement eu pour effet de lancer un effet mode dont l’une des manifestations était linguistique : le Valspeak. Ce dialecte comprend entre autres des marqueurs phonétiques (le California Vowel Shift), prosodiques (l’utilisation d’un contour intonatif montant), lexicaux (fer sure, gag me with a spoon) ou de discours (LIKE). Bien que certains de ces marqueurs n’aient pas été (uniquement) popularisés par les Valley Girls, ils peuvent néanmoins être perçus comme tels, et y avoir recours peut exposer un locuteur à une perception négative de sa personne. Ce travail cherche à interroger les liens pouvant exister entre la stigmatisation des marqueurs du Valspeak et la misogynie, phénomène que nous appelons la « misogynie linguistique » du Valspeak. Dans quelle mesure la potentielle stigmatisation de ces marqueurs peut-elle être due au genre féminin des locutrices prototypiques de ce dialecte ? Trois éléments de réponse à cette question sont proposés. Tout d’abord, une étude de perception dialectale quantitative portant sur trois marqueurs du Valspeak (le California Vowel Shift, le contour intonatif montant et LIKE) est menée auprès de locuteurs de l’anglais américain. Deuxièmement, des entretiens qualitatifs ont pour but d’évaluer quelles idéologies sont associées aux marqueurs linguistiques du Valspeak et à la persona Valley Girl. Enfin, l’analyse porte sur trois représentations télévisuelles humoristiques de personnages féminins dans Parks and Recreation, Les Griffin et Ew! (un sketch dans The Tonight Show Starring Jimmy Fallon). Il est montré que des marqueurs du Valspeak sont utilisés afin d’orchestrer la stigmatisation de personnages féminins sans faire explicitement appel au stéréotype Valley GirlThis dissertation explores how misogyny may target language uses which may be perceived as feminine and centers on the "Valley Girl" stereotype. This term was popularized in the 1980s by Frank Zappa’s eponymous single and originally referred to supposedly vain and unintelligent female teenagers who belonged to the Californian middle class. Though Valley Girls were ridiculed in the song, the impact it had launched a craze that manifested linguistically in Valspeak. This dialect comprises markers which are mainly phonetic (the California Vowel Shift), prosodic (the High Rising Terminal contour), lexical ("fer sure," "gag me with a spoon"), or that can be found at the discourse level (LIKE). Though some of these markers were not (solely) popularized by Valley Girls, they may nevertheless be perceived as such, and a speaker using them may trigger negative social evaluations. This research explores how the potential stigmatizing perception of Valspeak may be linked to misogyny, which is a phenomenon we refer to as the "linguistic misogyny" of Valspeak. To what extent may linguistic stigma be induced by the gender of the prototypical speakers of this dialect? Three main analyses are provided. First, a quantitative perceptual dialectology study of three Valspeak markers (the California Vowel Shift, the High Rising Terminal contour, and LIKE) is conducted with native American English speakers. Then, qualitative interviews are carried out in order to determine what ideologies are associated with Valspeak markers and the Valley Girl persona. The third part of the analysis focuses on three humorous representations of female characters in television programs: Parks and Recreation, Family Guy, and Ew! (a segment on The Tonight Show Starring Jimmy Fallon). It is suggested that Valspeak markers may be recruited in order to portray intellectually-challenged female characters without explicitly referring to the Valley Girl stereotype
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Williams, Linda R. "Misogynistic knowledge and the 'cocksure' woman : Freud, Nietzsche and feminism in the interpretation of D.H. Lawrence." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276624.
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Berger, Linnea, and Maria Sundberg. "Online-våld; en grogrund till kvinnors våldsutsatthet? : En netnografisk studie av misogyni på internetforumet Flashback." Thesis, Linnéuniversitetet, Institutionen för socialt arbete (SA), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105219.
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Lachaud, François. "La jeune fille et la mort : misogynie ascétique et représentations macabres du corps féminin dans le bouddhisme japonais /." Paris : Collège de France, Institut des hautes études japonaises : diff. de Boccard, 2006. http://catalogue.bnf.fr/ark:/12148/cb40182150m.
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Texte remanié de: Thèse de doctorat--Études japonaises--Paris--Institut national des langues et civilisations orientales, 1998. Titre de soutenance : La jeune fille et la mort : la représentation de l'impur et celle des neufs notions dans le Japon classique : une étude des représentations macabres du corps et du féminin.Bibliogr. p. 353-373.
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Jackson, Gregory Richard. "La Misogynie à visage féminin: Hircan's Role as Marguerite's Anti-Feminist Voice in the Heptaméron (VII & XLIX)." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2067.
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The following document is a meta-commentary on the article, "La misogynie à visage féminin: Hircan's Role as Marguerite's Anti-feminist Voice in the Heptaméron (VII & XLIX)," co-authored by Dr. Robert J. Hudson and myself, which will shortly be submitted for publication. It contains an annotated bibliography of all our primary and secondary sources and an account of writing the article. Our article examines what Marguerite de Navarre, the sixteenth-century French Renaissance author of the Heptaméron (a collection 72 nouvelles, all supposedly true stories being told by a group of ten devisants to one another), intended by her inclusion of the misogynist, Hircan. As we demonstrate, current scholarships views Marguerite as one of the first authors to create a space for women in literature, and further, that the Heptaméron was meant to serve the didactic purpose of forming young ladies' perspectives and behavior. Given this, Hircan, whose debasing views on women are shared in each of his stories and interlocutory commentaries, seems an odd devsiant for Marguerite to create; and so, we ask, why did she include him? We conclude that Hircan serves as Marguerite's straw man for the worst aspects of sixteenth-century French society, allowing her to subvert him and demonstrate how Hircan (and by extension, French society's) views towards women ought to be considered inappropriate. To support our reading, we start by explaining the historical context, demonstrating that the attitudes Hircan represents did indeed exist and were prevalent. We then show how Marguerite undermines Hircan: first, by making him so grotesque that the reader finds his views repugnant, and second, in allowing other devisants—especially Parlamente and Oisille—to use superior arguments to overturn his perspectives. Finally, we demonstrate how Marguerite uses Hircan's own tales against him, by having his fellow devisants interpret his stories completely differently from his womanizing and debasing purposes—instead find praise for women in them.
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Hudson, Robert James. "La Misogynie á visage féminin : Hircan's Role as Marguerite's Anti-Feminist Voice in the Heptaméron (VII & XLIX) /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3438.pdf.
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Noble, Michael. "Medical moralists or merely misguided misogynists the use of humoural medicine as a means to justify the subordination of women in sixteenth and seventeenth century England." Title page, contents and introduction only, 1989. http://web4.library.adelaide.edu.au/theses/09AR/09arn751.pdf.
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Negovanovic, Catherine. "Phèdre et la femme de Putiphar dans les littératures des XIXe et XXe siècles : deux figures de tentatrices à l'épreuve de la condition féminine." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040184.
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Si rapprocher Phèdre et la femme de Putiphar peut sembler surprenant, cette étude a mis en évidence la gémellité structurelle de leurs histoires et une probable origine commune : l’affrontement d’Ishtar et Gilgamesh au 2e millénaire av. J.C. Le motif de la tentatrice refoulée qui se venge s’est ensuite décliné en deux branches d’évolution, l’une proche-orientale donnant l’épisode de la femme de Putiphar, et l’autre grecque produisant le mythe de Phèdre. Si l’histoire littéraire privilégie parfois l’une ou l’autre, une bipartition finit par s’observer, la femme de Putiphar s’arrogeant le 19e siècle et Phèdre le 20e. L’origine de la tentatrice biblique explique en partie le phénomène. Proche-orientale à une époque où s’exerce une fascination pour l’Orient, héritière d’une misogynie chrétienne séculaire et d’une influence sadienne, la figure entre en résonance avec le mythe de la femme fatale qui s’élabore dans la deuxième partie du siècle. Car face aux premiers soubresauts féministes, les hommes répondent à ce qu’ils ressentent comme une invasion par la fabrication de toutes pièces d’une figure féminine fantasmée et caricaturale : les avatars de l’Egyptienne deviennent des séductrices frénétiques. Mais la Première Guerre mondiale procède à un rééquilibrage et Phèdre revient en force. Investie de nouvelles croyances, elle se fait l’écho de la condition féminine. Agent du bouleversement, elle incarne le Désir et la réalisation globale du sujet féminin. Revendiquant une nouvelle place dans la société, balayant l’ordre ancien, portant des valeurs politiques et humaines éternelles, cette nouvelle Phèdre brille dans un 20e siècle chaotique comme une héroïne intemporelleEven if comparing Phaedra and Potiphar’s wife seems to be strange, this study has pointed out the structural similarity of their stories and probably a same origin : the confrontation between Ishtar and Gilgamesh in the 2nd millennium B.C. The pattern of the rejected temptress who takes revenge has split and has taken two directions. In the Near East, it became the Potiphar’s wife motif and in the Greek area Phaedra’s myth. Through literary history, the preference has gone sometimes to one, sometimes to the other, until this amazing situation : Potiphar’s wife overruns the 19th century and Phaedra the 20th. The origin of the biblical temptress explains the phenomenon. She’s oriental during a period in which Europe is fascinated by Orient and Orientalism. Furthermore, she has inherited Christian ancestral misogyny and Sade’s influence. Finally, the figure meets the myth of the femme fatale born in the second part of the century. In fact, in reaction to the beginnings of feminism as if it were an invasion, men build a phantasie of feminine Evil. And Potiphar’s wife and its avatars become lustful seductresses. But first Word War balances the situation and Phaedra comes back. Embodying new beliefs, she echoes back the female condition. Subversive, personifying Desire and the fulfilment of the feminine, claiming for a new place in society, sweeping ancient rules, embodying political and timeless human values, this new Phaedra is in the middle of this chaotic 20th century a bright and eternal heroine
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Malenfant, Emilie. "Généalogie d’une matrice intellectuelle et culturelle de la différenciation des sexes et des idées sur les femmes sous le Troisième Reich : les échos d’une modernité inégalitaire et antiféministe (XIXe-XXe siècles)." Mémoire, Université de Sherbrooke, 2014. http://savoirs.usherbrooke.ca/handle/11143/113.
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La nature extraordinaire du régime national-socialiste a longtemps paralysé les tentatives d’en expliquer les causes, les mécanismes et les assises idéologiques. Pourtant, depuis les années 1960 et de manière toujours croissante par la suite, il s’avère que ce qu’il y a de plus significatif sur le Troisième Reich semble être révélé grâce à son inscription dans une trame sociohistorique qui le dépasse. En ce sens, la tendance misogyne du régime nazi ne peut être comprise que par un exercice généalogique. Caractéristique fondamentale souvent négligée, l’antiféminisme nazi s’inscrit dans une tendance paternaliste occidentale qui, bien qu’elle n’explique pas à elle seule les politiques et mesures nazies concernant les femmes, permet de saisir la nature idéologique de leurs motivations. Plongeant au cœur d’un XIXe siècle post-Lumières aux contradictions nombreuses, aux revendications sociales certaines et aux maintes redéfinitions épistémologiques provoquées, entre autres, par le mouvement « anti-Lumières », notre mémoire propose d’observer les échos du discours allemand sur la différenciation des sexes et les femmes sous le Troisième Reich. Les idées nazies sur les femmes ne naissent ainsi pas ex nihilo ; elles s’inscrivent dans une récupération idéologique et une continuité philosophique. Tant les philosophes Arthur Schopenhauer, Friedrich Nietzsche et Otto Weininger que le médecin Paul Möbius et le sociologue Georg Simmel s’expriment abondamment sur la « question féminine ». Représentants du discours allemand de la seconde moitié du XIXe siècle et du premier tiers du XXe siècle, ils s’inscrivent évidemment dans la tendance européenne, voire occidentale, d’une remise en question des acquis des Lumières et des revendications féministes. Se prononçant tant sur le corps féminin que sur les capacités intellectuelles et morales des femmes, ces penseurs discréditent le mouvement d’émancipation féminine et mettent de l’avant des valeurs inégalitaires et déterministes qui caractériseront également l’Allemagne d’Hitler.
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Leal, Pedro Ivo Zacuur. "In me tota ruens Venus: as leituras dos discursos misógino e feminista em Hipólito de Eurípides." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4527.
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In me tota ruens Venus Vênus derrubando-se inteira sobre mim, esse verso de Horácio representa claramente a posição dos personagens de Fedra e Hipólito na tragédia Hipólito de Eurípides. Em linhas gerais, Fedra, enfeitiçada por Afrodite, sofre de amor pelo seu enteado Hipólito, que a rejeita veementemente. Enfurecida pelo tratamento dispensado por Hipólito não só a ela, mas às mulheres em geral, Fedra acusa Hipólito de estupro, através de um bilhete e suicida-se logo em seguida. Teseu, pai de Hipólito, ao encontrar a esposa morta, exila o filho e providencia que ele seja morto. As tensões criadas pelos discursos de Fedra e Hipólito têm sido material de inúmeros debates críticos. A análise da fortuna crítica levanta mais perguntas que fornece respostas. De todas as linhas críticas, duas linhas antagônicas merecem ser ressaltadas. A leitura crítica do discurso misógino que irá defender que Eurípides não pregava a misoginia através dos seus textos, mas, muito pelo contrário, a combatia ao fazer mudanças no mito dando voz a personagens femininas tão fortes quanto Fedra. E a leitura do discurso feminista que irá defender que há um discurso misógino presente no texto de Eurípides, fruto de uma imposição ideológica vigente na Grécia do século V a.C.. O presente trabalho irá discutir ambos discursos e demonstrar, que a sua maneira, Eurípides não era misóginoIn me tota ruens Venus Venus falling all over me, this verse of Horace clearly represents the position Phaedras and Hippolytus characters have in Euripides tragedy Hippolytus. In general lines, Phaedra, enchanted by Aphrodite, suffers because she loves her stepson Hippolytus, who rejects her strongly. Enraged for his treatment not only toward her, but to all women, Phaedra accuses Hippolytus, through a plate, of raping her and suicides right after. Theseus, Hippolytus father, while finding his dead wife, exiles his son and makes arrangements for his death. The tensions created by Phaedras and Hippolytus discourses have been used in countless debates by the critical scholarship. Analyzing Euripides critics raises more questions that enlighten answers. Of all critical postures, two opposed lines deserve to have a closer look. The readings of the misogynistic discourse, that will defend that Euripides did not preach the misogyny through his texts, but, on the contrary, stroke it while doing changes on the myths to give voice to female characters as strong as Phaedra. On the other hand, the readings of the feminist discourse that will defend that there is a misogynistic discourse in Euripides texts, product of an ideological imposition present in Ancient Greece. The present work will discuss both discourses and demonstrate that, in his own maner, Euripides was not a misogynist
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Malenfant, Emilie. "G??n??alogie d???une matrice intellectuelle et culturelle de la diff??renciation des sexes et des id??es sur les femmes sous le Troisi??me Reich : les ??chos d???une modernit?? in??galitaire et antif??ministe (XIXe-XXe si??cles)." Mémoire, Universit?? de Sherbrooke, 2014. http://savoirs.usherbrooke.ca/handle/11143/113.
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La nature extraordinaire du r??gime national-socialiste a longtemps paralys?? les tentatives d???en expliquer les causes, les m??canismes et les assises id??ologiques. Pourtant, depuis les ann??es 1960 et de mani??re toujours croissante par la suite, il s???av??re que ce qu???il y a de plus significatif sur le Troisi??me Reich semble ??tre r??v??l?? gr??ce ?? son inscription dans une trame sociohistorique qui le d??passe. En ce sens, la tendance misogyne du r??gime nazi ne peut ??tre comprise que par un exercice g??n??alogique. Caract??ristique fondamentale souvent n??glig??e, l???antif??minisme nazi s???inscrit dans une tendance paternaliste occidentale qui, bien qu???elle n???explique pas ?? elle seule les politiques et mesures nazies concernant les femmes, permet de saisir la nature id??ologique de leurs motivations. Plongeant au c??ur d???un XIXe si??cle post-Lumi??res aux contradictions nombreuses, aux revendications sociales certaines et aux maintes red??finitions ??pist??mologiques provoqu??es, entre autres, par le mouvement ?? anti-Lumi??res ??, notre m??moire propose d???observer les ??chos du discours allemand sur la diff??renciation des sexes et les femmes sous le Troisi??me Reich. Les id??es nazies sur les femmes ne naissent ainsi pas ex nihilo ; elles s???inscrivent dans une r??cup??ration id??ologique et une continuit?? philosophique. Tant les philosophes Arthur Schopenhauer, Friedrich Nietzsche et Otto Weininger que le m??decin Paul M??bius et le sociologue Georg Simmel s???expriment abondamment sur la ?? question f??minine ??. Repr??sentants du discours allemand de la seconde moiti?? du XIXe si??cle et du premier tiers du XXe si??cle, ils s???inscrivent ??videmment dans la tendance europ??enne, voire occidentale, d???une remise en question des acquis des Lumi??res et des revendications f??ministes. Se pronon??ant tant sur le corps f??minin que sur les capacit??s intellectuelles et morales des femmes, ces penseurs discr??ditent le mouvement d?????mancipation f??minine et mettent de l???avant des valeurs in??galitaires et d??terministes qui caract??riseront ??galement l???Allemagne d???Hitler.
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Zareh-Motekhassess, Mojgan. ""Mauvaise fleur de rhétorique" : la part de la femme dans les romans antérieurs à 1950 de Louis Guilloux." Paris 7, 2009. http://www.theses.fr/2009PA070014.
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Le rapport de Louis Guilloux avec les femmes est ambigu. Elles ne sont jamais héroïnes et demeurent de préférence dépersonnalisées ou écartées. Apparue comme une créature imparfaite, venimeuse, contradictoire et insaisissable, sa figure féminine est liée à une notion essentielle qui caractérise l'œuvre : le « mal ». Fleur charmante et maléfique, la femme est un élément fatal qui se lie au destin de l'homme. Elle devient une figure de castration qui inflige angoisse et crainte à l'homme provoquant sa chute. Dans cette occurrence, la femme du peuple, douloureuse, courageuse et maternelle, subit moins la méfiance de l'auteur que sa consœur bourgeoise. Foncièrement individualiste et pessimiste envers les relations humaines, Louis Guilloux est méfiant à l'égard de l'amour, évoqué dans son œuvre comme dégradé, redoutable, un sentiment impossible. Par une certaine misogynie implicite, il présente la femme comme origine de l incommunicabilité dans le couple qui constitue une des lois de son universLouis Guilloux's relationship with women is ambivalent. They are never heroes and remain preferably depersonalized or remote. Emerged as a blemish, venomous, contradictory and elusive creature, his female figure is linked to a key concept of the writer work: "Evil". Charming and balefultflower, woman is a fatal element bound to man fate. She becomes a castration figure that inflicts anxiety and fear to man, causing his fall. In this instance, the working class woman, painful, brave and motherly, suffers less author's mistrust than her upper-class sister. Inherently individualist and pessimistic toward human relationships, Louis Guilloux is cautions toward love, described in his work as faded, fearsome, an impossible feeling. From some implicit misogyny, he introduces woman as the root cause of incommunicability in the couple which is one of the laws of his world
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Pernoud, Hermeline. "Féeries pour une autre fois : réécritures et renouvellement des paradigmes des contes de fées (1808-1920)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA011.
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Cette thèse, qui recense plus de mille contes de fées composés entre 1808 et 1920, s’intéresse au renouveau du merveilleux, un registre vieillissant faisant face au désenchantement. Ce travail montre comment le conte, en juxtaposant la modernité et l’imaginaire, bascule dans le comique (parodie des auteurs du Grand Siècle, désacralisation des héros, sapement des valeurs chevaleresques). En même temps, les figures masculines chutent de leur piédestal en engendrant une modification des représentations du féminin.Dans la première moitié du XIXe siècle, les fées et les princesses sont réduites aux stéréotypes de genre : elles sont seulement belles, riches et bienfaisantes. Puis l’esprit fin-de-siècle impose de nouveaux canons, attribuant aux héroïnes les vices de leurs contemporains. Notre thèse dissèque cette vision misogyne afin de montrer comment la crainte de l’extinction de la « race » est née : les pouvoirs magiques des fées et la considération qu’on leur porte diminuent ; les princesses constatent que l’heureux dénouement promis n’est plus. Désormais, ces femmes au cœur de glace deviennent la source des souffrances masculines.Notre travail engage également une réflexion sur les perversions au XIXe siècle et démontre comment les auteurs de contes décadents se servent de motifs propres au merveilleux (manducation, servage des héroïnes) afin d’esthétiser la souffrance et la transformer en plaisir. Enfin, les réécritures de « La Belle au bois dormant » sont emblématiques de la fin-de-siècle. Cette princesse endormie incarne à la fois l’intouchable virginité et la pire des perversités. Sa passivité illustre les violences physiques et psychiques que la société lui impose et justifie ; son éveil revendique les droits des citoyennes et annonce le féminismeThis thesis, taking an inventory of more than one thousand fairies tales written between 1808 and 1920, examines the marvellous’ renewal, an outmoded register facing disenchantment. This study shows how the fairy tale, placing modernity next to imagination, turns to comic (parody of the authors of the XVIIe century, deconsecration of heroes, destruction of chivalrous values). At the same time, male characters fall from their pedestal, making an alteration of the female’s representations.In the first half of the XIXe century, fairies and princesses are reduced to gender stereotypes : they are only beautiful, wealthy and benevolent. But the fin-de-siècle’s mind imposes new models, assigning to heroines the contemporaries’ vices. Our thesis reviews this misogynous representation to show how the fear the “race’s extinction” was born : the fairies’ magic power and the esteem for them decrease; the princesses notice that the promised happy end is not anymore. Henceforth, these ice-hearted women become the origin of male sufferings.Our work develops a thought about perversions in the XIXe century and shows how the decadent authors of tales use marvellous subjects (erotic devouring, serfdom of the heroines), in order to anesthetize suffering and transform it into pleasure. Finally, rewritings of “Sleeping Beauty” are emblematic to the fin-de-siècle. This sleeping princess personifies the untouchable virginity and the worst of the perversities both. Her passivity illustrates the physical and mental violence that society imposes her and justifies; her awakening claims female citizens’ rights and announces feminism
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Mehmeti, Denis, and Devin Radianu. "Kvinnoförtrycket i virtuella spelvärlden : “Vi är som slagpåsar” - En kvalitativ intervjustudie om kvinnors upplevelser av spelvärlden." Thesis, Högskolan i Halmstad, Akademin för hälsa och välfärd, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-42411.
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This essay is based on a study that presents the result of interviews directed at women who are integrated in the gaming community. The purpose is to get clarification on the topic about how women experience gaming and if they are treated differently than men in the community. With the question “How do women experience the male dominated gaming world and how does it affect them?”, subordination, misogyny, male dominance and gender are keywords that can be identified within the targeted area. The theoretical framework has been based on Sylvia Walby's theoretical interpretation of patriarchy, Judith Butler’s performativity theory, and Eve, K Sedgwick’s theory about homosociality. The results show that women are worse treated in the gaming community than men. The women experience that they are subordinate men where her entry in the gaming world is considered to be deviant. The gaming world has patriarchal traits where the men through performative and homosocial behaviour reproduce and maintain these structures. The effects have been that the gaming world is now characterized by misogynistic premises where the man can get away with hate speech against women without consequences.
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Wretman, Josefine. "Inte alla män - men : En diskursanalys om incels som fenomen." Thesis, Malmö universitet, Institutionen för socialt arbete (SA), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44224.
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Studiens syfte är att granska och utforska incels som fenomen genom att analysera dominerande diskurser och centrala komponenter på hemsidan incels.is. Studiens frågeställningar har uppkommit genom de främst dominerande och centrala diskurserna som upprätthålls på incels.is, vilka är: samhället, kön och feminism samt våld. Studiens teoretiska ramverk har utgått från en socialkonstruktivistisk diskursanalys med inspiration från den Foucauldianska diskursanalysen. Michél Foucaults begrepp makt, språk och kunskap har vidare använts för att undersöka maktaspekten och maktlösheten som uttrycks på incels.is. Begreppen har även använts i syfte att undersöka språkets betydelse och vad som är tillåtet att säga och inte samt vem som har tillåtelse att säga något. Vidare har Yvonne Hirdmans och Raewyn Connells teorier kring genussystemet och hegemonisk maskulinitet använts i syfte att undersöka maskulinitetsdiskursen, konstruktionen av kön samt våldsfrågan. Studien har genom en kvalitativ metod och netnografisk ansats använt diskursanalys för att analysera inlägg på hemsidan incels.is i syfte att belysa vilka dominerande diskurser som kan urskiljas. Empirin till studie är publicerade i citatform och har alla publicerats under mars månad 2021. Uppsatsens resultat har visat på att användarna på incels.is upplever att resten av världen är emot dem samt att de inte får plats i den socialistiska och feministiska världsbild som de beskriver. Användarna uttrycker vidare att det är feminismen och kvinnor som är skyldiga det upplevda förtryck som användarna upplever. Användarna uttrycker såväl stark misogyni, våld, hot om våld gentemot kvinnor genomgående i resultatet. Vidare visar även resultatet att det finns vissa mindre dominerande diskurser kring självhat, hat gentemot HBTQI-personer, rasism samt avvikande diskursen kring hur misogyni inte alltid är svaret vilka också belyses i resultatet.The purpose of the study is to examine and explore incels as a phenomenon by analyzing dominant discourses and key components on the website incels.is. The study's questions are developed through the mainly dominant and central discourses that are maintained on incels.is which are: society, gender and feminism and violence. The theoretical framework of the study has been based on a social constructivist discourse analysis with inspiration from the Foucauldian discourse analysis. Michél Foucault's theories about power, language and knowledge have been used further to examine the power aspect and powerlessness expressed on incels.is. The theories have also been used for the purpose of examining the meaning of language and what is allowed to say and not and who is allowed to say something. Furthermore, Yvonne Hirdman's and Raewyn Connell's theories about the gender system and hegemonic masculinity have been used in order to explore the discourse of masculinity, the construction of gender and the issue of violence. Through a qualitative method and netnographic approach, the study has used discourse analysis to analyse posts on the website incels.is in order to shed light on which dominant discourses can be distinguished. The empirical data for the study is presented citation form and were all published during the month of March 2021. The results of the essay have shown that the users on incels.is feel that the rest of the world is against them and that they do not fit into the socialist and feminist worldview they describe. The users further express that it is feminism and women who are guilty of the perceived oppression that the users experience. Users express strong misogyny, violence, threats of violence against women throughout the result. Furthermore, the results also show that there are some less dominant discourses about self-hatred, hatred towards LGBTQI people, racism as well as the divergent discourse about how misogyny is not always the answer, which is also highlighted in the results.
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Hamad, Hussein. "Läroboks-muslimer : En postkolonial diskursanalys av gymnasieskolansläroböcker." Thesis, Högskolan Dalarna, Pedagogiskt arbete, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25521.
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Uppsatsen Läroboks-muslimer behandlar postkoloniala föreställningar och stereotyper i läromedel avsedda för den svenska gymnasieskolan. Studiens syfte har varit att kartlägga och analysera hur islam och muslimer framställs i fyra av gymnasieskolans läroböcker; tillvägagångssättet studien använt sig av har varit att genom diskursanalysen som metod och med avstamp i den kritiska postkoloniala teoribildningen, kartlägga och analysera postkoloniala typifieringar av islam och muslimer med avgränsning på om och i sådana fall hur, läromedelsförfattarna skildrar: 1. Jihad, och 2. Islams kvinnosyn. Resultatet visar att den historiska västerländska diskurs, vilken porträtterar islam och muslimen som blodtörstig, våldsbejakande, kvinnoföraktande och misogyn, fortfarande dominerar och florerar i de granskade läroböckerna. Beträffande skildringen av jihad går det att finna en märkbar utveckling i en av läroböckerna som framställer begreppet komplext och nyanserat. Vad gäller islams kvinnosyn så präglas porträtteringen, i likhet med jihadbegreppet, i mångt och mycket av stereotypt och tendentiöst urval. Studiens analys- och diskussionsavsnitt behandlar hur dessa fynd kan sättas i ett större historiskt sammanhang och kopplas till en postkolonial epistemologisk produktion som stakat ut riktlinjerna för en dominerande samhällsdiskurs om islam och muslimer.
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Johansson, Elise, and Alexander Hansson. "I näthatarnas tanke : Hur ideologier och normer främjas i näthat." Thesis, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-51823.
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Näthat är idag en förväntad nackdel av att använda internet och sociala medier. Även när hatet är riktat mot en individ blir det oftast en attack mot en kollektiv identitet. Syftet med studien var att analysera vilka normer och ideologier som främjas i hatkommentarer och hur de samspelar med varandra baserat på mottagarens kön, ålder, hudfärg och sexualitet. Totalt analyserades kommentarer från åtta videoklipp publicerade på Youtube, fyra vardera spel- respektive sminkbranschen. Genom att använda ett Python script och Googles’ Perspective API, kunde kommentarer med en viss nivå av toxicitet väljas från videoklippens kommentarsfält. Sedan analyserades kommentarerna av författarna utifrån olika diskurskritiska kriterier utifrån metoden kritisk diskursanalys. Analysen visade att nationalism och misogyni var de största ideologierna bakom hatkommentarerna och många avsändare hade tydligt använt olika härskartekniker. Förutom de nämnda ideologierna, hittades även patriarkat och skönhetsideologin. Resultaten visade att även fast det är samma ideologi bakom flera hatkommentarer, vad som specifikt attackeras och kritiseras varierar beroende på mottagarens kön, ålder, hudfärg och sexualitet. För framtida studier skulle en liknande analys kunna göras fast med fokus på hur mycket och vilken sorts näthat personer med färre följare och engagemang får.Online hate is an expected downside of using the internet and even when hate is solely targeted towards an individual, it becomes an attack on a collective identity. The purpose of this study was to examine which norms and ideologies could be found in hate comments and how they interact with each other – based on gender, age, skin colour, and the sexuality of the receivers. In total, the comments of eight YouTube videos were examined. Four in the gaming genre and four in the beauty genre. Using a Python script and Google’s Perspective API, comments above a certain toxic threshold were taken from the videos which were then analysed by the authors based on different criteria. The analysations were done using critical discourse analysis. The analysis showed that nationalism and misogyny were the main ideologies behind the hate comments and multiple comments used master suppression techniques. In addition to the mentioned ideologies, patriarch and the ideology of beauty were also found. The results show that even if the same ideology is behind multiple hate comments, what is being attacked or criticised varied depending on the receiver’s gender, age, skin colour, and sexuality. Due to many of the youtubers having a big following and engagement, many of their followers defended them against online hate. For future studies, a similar analysis could be done but with a focus on people with less followers and engagements.
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Shin, Myung Souk. "La féminité dans l'œuvre de La Fontaine." Rouen, 1998. http://www.theses.fr/1998ROUEL299.
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L'objectif de notre étude est ici de prouver ou de constater les idées de La Fontaine relatives à la femme. C'est-à-dire, que La Fontaine cherchait-il chez les femmes ? Quels étaient ses souhaits pour elles ? Et quelle était sa conviction sur la valeur de femme ? Le portrait de la femme chez La Fontaine se manifeste, en général, sous une image à deux faces, qui sont contradictoires, contrastées, voire ambiguës : tantôt satiriques, tantôt aimables. Sous le rôle de moralisateur de La Fontaine, les personnages féminins nous sont présentés sous un aspect largement négatif. Alors La Fontaine nous apparait de prime abord comme un misogyne. Cependant, la divergence existant entre La Fontaine et les misogynes est remarquable. En effet, La Fontaine conçoit que les femmes ont les mêmes qualités que les hommes et que les défauts humains se partagent naturellement entre les deux sexes. En réalité, le but de notre étude est de savoir quelle est la vraie valeur de la femme pour la fontaine. Nous remarquons à travers notre travail que sa vraie valeur ne demeure ni dans la beauté physique, ni dans la maternité, ni dans l'amour ou le dévouement maternel, ni dans les vertus. Pour lui, c'est la capacité de racheter un pêché ou un défaut : la féminité ne signifie pas la faiblesse. Il attend donc une femme qui soit capable, à travers les souffrances, de surmonter son pêché, d'expier sa faute et de retrouver son amour comme le personnage PsychéHere our study aims at stating or proving La Fontaine's ideas about women. That is to say, what La Fontaine was seeking in women, what he expected for them and what were his convictions about their values. La Fontaine generally portraits women through a two-faced picture. These two faces are contradictory contrasted or ambiguous: now satirical now kind. Under La Fontaine's moralizing role, feminine characters are depicted in a widely negative way. Although La Fontaine first appears as a misogynist, we can see undeniable differences between the latter and the misogynists. Indeed, La Fontaine agrees on the fact that both sexes, men and women, naturally share the same qualities and the same faults. In fact, the aim of our study is to know what is the true value of women according to La Fontaine. We can notice through our analysis that it does not reside in physical beauty, maternity, love or maternal devotion, nor in virtues. According to him, this value lies in the ability to atone for a sin or a fault. Feminity does not mean weakness, so he is expecting a woman able to expiate her fault, to overcome her sin through sufferings, and able to find back the true value of love like the character Psyché
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Silva, Daniel Eduardo da. "O alegórico e as vozes antimisóginas como estratégia narrativa em Christine de Pizan: a cidade das damas." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9177.
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Cette recherche vise à analyser La Cité des Dames (1405) de Christine Pizan (1364- 1430) comme une oeuvre allégorique par excellence au Moyen Age. Nous avons l'intention de montrer que les allégories largement utilisées par les auteurs masculins à l’époque de Pizan sont redimensionnées par cette auteur dans le récit pour la construction des voix antimisogynes, elles deviennent alors les personnages centrales du récit, ce sont le trois Dames vertueuses: la Raison, la Droiture et la Justice. Ces Dames représentent les femmes dans le texte narratif désignant la valorisation des femmes et le dépassement du sexe féminin contre le patriarcat. Ce qui nous amène à étudier l’oeuvre dans cette recherche ce seraient les premières questions sur les femmes posées par l’auteur tout en dénonçant la misogynie dans la littérature. La personnification des Dames allégoriques brise le silence des femmes dans l'histoire de la littérature et nous conduit ainsi à chercher dans le Moyen Age, les oeuvres écrites par des femmes qui sont tombées dans l'oubli ou ont été violemment cachées. La Cité des Dames est, symboliquement, un champ de bataille où les femmes sont protégées contre les attaques misogynes. On voit l`oeuvre, par conséquent, comme un symbole de la force des femmes, de leur dépassement et de leur émancipation dans la société française. La dénonciation réalisée, au Moyen-Âge, par la narratrice est toujours pertinente et actuelle, car elle concerne la violence contre les femmes qui souffrent encore de l’opression masculine, héritage des societés antiques et rétrogrades.
Esta pesquisa objetiva analisar A Cidade das Damas (1405) de Christine de Pizan (1364- 1430) como uma obra alegórica por excelência no Medievo. Pretendemos mostrar que as alegorias utilizadas por autores masculinos à época da autora, são redimensionadas por Pizan na narrativa para a construção das vozes antimisóginas nas personagens centrais em três Damas virtuosas: a Razão, a Retidão e a Justiça. Estas Damas representam as mulheres no texto narrativo designando a valorização do sexo feminino e a superação das mulheres contra o patriarcado. O que nos leva a estudarmos a referida obra seriam as primeiras questões acerca da mulher levantadas pela autora denunciando a misoginia na literatura. A personificação das Damas alegóricas rompe com o silenciamento das mulheres na história da literatura e nos leva a buscarmos na Idade Média as obras de autoria feminina que caíram no esquecimento ou foram violentamente ocultadas. A narrativa é, simbolicamente, um campo de batalhas que vai defender as mulheres dos ataques misóginos. Designa-se, portanto, como um símbolo da resistência feminina, da superação e da emancipação das mulheres na sociedade francesa. A denúncia realizada, no Medievo, pela narradora é sempre pertinente e atual, pois diz respeito à violência contra as mulheres, que sofrem ainda com a opressão masculina, herança das sociedades antigas e retrógradas.
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Mérel, Fabienne. "Paul Valéry et les autres : l’écriture du châtiment dans les Cahiers et la correspondance (1900-1912)." Paris 4, 2008. http://www.theses.fr/2008PA040027.
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En 1892, Paul Valéry a tenté de se défaire de l'emprise des autres et de la littérature. Il a alors entrepris avec ses "Cahiers" une œuvre autarcique, à l'ambition scientifique, portant essentiellement sur le fonctionnement de l'esprit. Pourtant, la recherche épistémologique, en prenant comme point de départ le Moi de l’auteur, devient un outil d'introspection permettant à l'écrivain de décrire les multiples aspects de sa personnalité et de définir sa singularité. Il s'agit pour lui de se prouver qu’il ne peut être confondu avec le reste des hommes. L'écriture des "Cahiers" et de la correspondance révèle ainsi les difficultés posées par la relation à l’autre. Autrui y apparaît souvent comme le semblable qu'il faut rendre étranger à soi, le rival intellectuel qu'il faut combattre, le lecteur qu'il faut congédier. C'est pourquoi l'écriture intime valéryenne a une fonction polémique et agonique : à défaut de pouvoir supprimer les autres, il faut châtier par le verbe. C'est en cela aussi que cette écriture acquiert un indéniable statut littéraire. Son style, l'imaginaire qui la nourrit, la tradition sur laquelle elle s'appuie, méritent d’être étudiés. Notre étude se propose d'analyser d'abord les formes empruntées par Valéry à la tradition littéraire (discours du moraliste, pamphlet) pour condamner autrui, puis le caractère offensant de sa parole qui passe par l'insulte et l'expression du dégoût, enfin les manifestations de sa cruauté et de son sadismeIn 1892, Paul Valéry tried to get rid of the ascendancy over the others and literature. Then he began, with his "Cahiers", a personal work for a scientific purpose, which mainly traited of mental life. However, choosing himself as the starting point of his epistemologic search, the author becomes his own subject. So he describes the multiple aspects of his personality and gives an idea of his singularity. For him, the matter is to proove to himself that he is not similar to all men. Valéry's writing of the "Cahiers" and his letters shows many problems staten by the relationships with the others. Mostly, the others appear as fellowmen who must be changed into aliens, as intellectual rivals who must be fought, as readers who must be dismissed. Therefore, valéry's writing has polemical and destructive functions : instead of indeniable literary statute. The style, the imagination that nourishes it, the literary tradition on which it depends, have to be studied. At first, our study will analyse shapes borrowed by Valéry from literary tradition to condemn the others, then his offending language, at last marks of his cruelty and sadism
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von, Seth Oscar. "Psykopaten i garderoben : En queer läsning av Bret Easton Ellis American Psycho." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-21456.
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The novel American Psycho was first published in 1991. It recieved harsh criticism and was viewed as a work of heterosexism, misogyny and pointless violence. Despite the criticism, the protagonist, a wealthy serial killer yuppie namned Patrick Bateman, fascinated the readers. He hides his monstrosity behind a façade of heteronormativity, but this essay shows that the norms in American Psycho are fragile. Batemans relationships are shallow, his identity is constructed out of traditional masculinitynorms and even though he’s homophobic there’s a homoerotic undertone in the text, as well as gothic patterns that give the novel a fair amount of queerness too. This analysis shows that the fear of AIDS, imprinted in the text, works as a representation for Bateman’s discrepancy concerning his sexuality. It brings to light that Bateman’s feelings towards two of his collegues are charachterized by homoerotic yearnings, and that shallow readings, where the text is not interpreted, allows the brutal violence to divert attention from the novel’s queer meaning.Romanen American Psycho publicerades 1991. Den fick hård kritik och sågs som ett heterosexistiskt, misogynt verk fullt av meningslöst våld. Trots kritiken fascinerade protagonisten, den förmögna seriemördaryuppien Patrick Bateman, läsarna. Bateman döljer sin monstrositet bakom en heteronormativ fasad men den här uppsatsen visar att textens heteronorm är bräcklig. Batemans relationer är ytliga, identiteten är konstruerad från traditionella maskulinitetsnormer, han är homofobisk, även då gotiska, homoerotiska undertoner präglar texten. Analysen visar att AIDS-skräcken som präglar boken är synonym med Batemans sexualitetsdiskrepans, att hans känslor för två av hans kollegor är av homoerotisk karaktär, samt att i ytliga läsningar av romanen, där texten inte tolkas, gör det explicita våldet att läsarens uppmärksamhet avleds från romanens queera innebörd.
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Chamberland, Alexander Alvina. ""You don't always like your sisters, but you always love them" : Trans feminine accounts of misogyny, sisterhood and difference in New York City." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28093.
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This thesis examines six trans feminine informants in New York City's experiences of oppression, trans-misogyny, femi-negativity, racism, and classism, as well as their experiences of community support, conflicts and resistance practices through the lens of the term sisterhood and the practice of sisterhooding. Focus has also been placed on the informant's views on allyship and coalition, and their relationship to other communities, such as the trans masculine community. The research has been conducted through in-depth, semi-structured, qualitative interviews with six trans feminine activists in New York City. The informant group was heterogenous in regards to age, race/ethnicity, as well as in regards to where in the city they resided and which parts of the movement they were engaged in. My findings follow Jenny Gunnarsson Payne's (2006) theory on sisterhood as an empty signifier, as my informants had different definition's of the term and concept of sisterhood, and while all of them expressed ambivalences towards the term and concept, they also all used the term to varying degrees. Several saw advantages in using the term to describe kinship and solidarity between trans feminine people. The participating informants in the study listed several different conflicts within trans feminine movements. Many of them were generally skeptical to conflicts, especially to those related to cattiness, competition, language and terminology – sentiment's which I agree with, albeit with the addition, which some of my informant's also stressed, that certain conflict's regarding differences in oppressions related to intersectional hierarchies, may be necessary. In the concluding chapter I argue for an understanding of trans-sisterhood based both on an understanding of similarities and difference's in experience and an understanding of solidarity that prioritizes the voices, perspectives and leadership of the most marginalized. My informant's described grave street harassment, employment discrimination and experiences of desexualization from gay/queer men and hypersexualization from so-called tranny chasers. Because of the lack of previous research on trans femininities from the perspective of an understanding of the specific oppressions of trans-misogyny and femi-negativity, this thesis has had a broad, rather then detailed, perspective and following in the foot steps of Julia Serano (2007) argues for an analysis on the position of trans women and other trans femininities beyond the gender neutral category of transgender. A majority of my informants sharp statements on the subordination of trans femininity to trans masculinity supports my argument for the need of more research in the field of trans femininity studies with perspectives from both transgender studies and critical femininity studies.Genom djupintervjuer undersöker uppsatsen sex olika transfeminina informanter i New Yorks erfarenheter av förtryck, trans-misogyni, femi-negativitet, rasism och klassism, såväl som deras erfarenheter av stöd, konflikter och motståndspraktiker, vilket sker genom ett undersökande av deras inställning till termen systerskap och den systerskapande praktiken. Fokus har också legat på informanternas syn på allierade, koalitioner och deras relation till andra grupper, som till exempel transmaskulina personer. För att fånga in en intersektionell bredd av erfarenheter var informantgruppen heterogen i förhållande till ålder, “ras”/etnicitet, samt i förhållande till var de bodde i staden och vilka delar av rörelsen de var engagerade i. Informanterna beskrev grova erfarenheter av trakasserier på gatorna och diskriminering på arbetsmarknaden, samt erfarenheter av hypersexualisering från så kallade tranny chaser's och avsexualisering från homosexuella och queera män. I linje med Jenny Gunnarsson Payne's (2006) teori om systerskap som tom signifikant, hade mina informanter många olika definitioner av begreppet systerskap, och medan många av dem uttryckte ambivalenser i förhållande till termen, använde sig alla av begreppet i varierande grad. Flera av dem såg stora fördelar i att använda termen för att beskriva samhörighet och solidaritet mellan transfeminina. Mina informanter listade flera olika konflikter inom de transfeminina rörelsen och var allmänt skeptiska till konflikter, framförallt till de som handlade om elaka attityder, tävlande, språk och terminologi – vilket jag håller med dem om, med tillägget, som en del informanter också tydliggjorde, att visa konflikter gällande intersektionella hierarkier kan vara nödvändiga. Jag argumenterar för en förståelse av trans-systerskap som baseras både i en förståelse av likheter och skillnader i erfarenheter sam i en förståelse av solidaritet som prioriterar perspektiven och ledarskapet av de mest marginaliserade rösterna. Uppsatsen har ett brett perspektiv eftersom det tidigare gjorts väldigt lite forskning om transfemininiter utifrån den specifika förståelsen av trans-misogyni och femi-negativitet. I likhet med Julia Serano (2007) argumenterar jag för ett analyserande av transkvinnors och andra transfemininas situation bortanför trans som könsneutral kategori och får stöd i majoriteten av mina informanters skarpa uttalanden om den hierarkiska underordningen av transfemininitet gentemot transmaskulinitet. Slutligen menar jag att det behövs mer forskning inom fältet transfemininitetsstudier med perspektiv både från kritiska femininitetsstudier och transstudier.
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Gendras, Eva. "Les femmes et la culture à travers la littérature française du XVIIème siècle." Rouen, 1994. http://www.theses.fr/1994ROUEL193.
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Le but de cette thèse est d'étudier l'intervention des femmes au dix-septième siècle à travers la littérature française, leurs participations ou leurs réactions - fussent-elles minimes - dans le champ social, politique et artistique. La première partie étudie le paraître, le corps de la femme. Ensuite, on décrit sa situation juridique, le mariage et le travail. La troisième partie montre la présence des femmes dans la politique avec les régences et la fronde. La quatrième partie concerne leur combat pour accéder à la culture, à travers l'éducation et l'art. Enfin, les deux dernières parties relèvent du discours littéraire avec les femmes-écrivains et la querelle féministe chez les auteurs du dix-septième siècle. Le féminisme œuvrait dans un espace patriarcal, sa survie en supposait donc la "permission". De cette domination découlaient nécessairement des rapports de pouvoirs et de contre-pouvoirs qui démantelèrent la culture du dix-septième siècle, permettant de saisir ainsi une réalité sociale absolue qui prend en compte "l'être femme"The aim of this thesis is to study the role of women in the seventeenth century through French literature and to analyse their involvement in social, political and artistic matters, as well as their reactions, however limited they may have been. The first part deals with their outward appearance or more precisely with the woman's body. Then their legal status and their status as married women or working women are put under scruting. The third part considers the role women played throughout the two french regencies and the fronde. The fourth part examines how they fought to have access to culture, through education and art. The last two parts are more particularly concerned with the literary aspect of the subject, dealing with female writers and the feminist quarrel among the seventeenth writers. Feminism had developed in a society dominated by men, so that it had to be "tolerated" by them. This supremacy eventually led to the confrontation of opposing forces whose clash brought about the disintegration of the culture of the seventeenth century. This was how a more complete social reality could be grasped and the figure of the female being could enverge from it
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Herbert, Catherine Deming. "Féminisme et féminité dans l'œuvre de Jules Laforgue." Montpellier 3, 2009. http://www.theses.fr/2009MON30009.
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Les dernières décennies du XIXe siècle, alors que le romantisme laissait la place aux mouvements tels que le Parnasse, la décadence et le symbolisme, virent l’émergence d’un poète dont l’influence en France et à l’étranger ira bien au-delà de sa courte vie. Avant sa mort en 1887 à l’âge de 27 ans, Jules Laforgue passa cinq années à Berlin, ville où il rencontra sa future femme et où il composa la majorité de son œuvre. Ces années tournantes marquèrent également une évolution de la représentation de la femme en littérature, la misogynie des poètes comme Baudelaire remplacée au fur et à mesure par une volonté plutôt optimiste qui consiste à permettre aux femmes de s’assumer et de prendre la parole. Jules Laforgue y joua un rôle important, et l’on peut suivre dans son œuvre le développement de ses idées. Des clichés sexistes se transforment finalement en une vision de la femme comme compagne et égale de l’homme, qu’il s’agisse des histoires « fraternelles » ou amoureuses. Laforgue, sensible aux tendances artistiques et littéraires de son époque, s’attaqua à quelques sujets alors très en vogue – Salomé, Ophélie, la femme fatale, la femme-vampire, l’Éternel Féminin – pour y laisser son empreinte par un savant mélange de parodie, d’ironie, d’anachronisme et même des idées féministes. Les femmes impuissantes et silencieuses des premiers poèmes se trouvent, surtout dans les Moralités légendaires et les Derniers vers, dotées d’une voix et d’une détermination à prendre en main leur destin, ce qui peut mener à la mort (Salomé) ou à l’épanouissement (Andromède). Bien qu’il ne fût pas un féministe avoué, Laforgue fit évoluer l’image de la femme en littérature au seuil du XXe siècleIn the final decades of the nineteenth century, as Romanticism waned and was replaced by various movements such as Parnassianism, Decadence, and Symbolism, a poet emerged who was to have an influence on literature in France and abroad that far exceeds his short life. Before his death in 1887 at the age of 27, Jules Laforgue spent most of his writing career in Berlin, where he met his future wife, the Englishwoman Leah Lee, and where he wrote the majority of his poetry and prose. These same years also marked an evolution of the portrayal of women in literature, the misogyny of poets such as Baudelaire gradually being replaced by an optimistic willingness to empower women by giving them a voice and allowing them some control over their destiny. Jules Laforgue played an important role in this literary development, and his work reflects the sexist prejudices of his time, which he left behind in order to embrace a vision of women as the companion and equal of men, whether in a fraternal or romantic sense. Laforgue, sensitive to artistic and literary tendencies, took on popular subjects of his day – Salomé, Ophelia, the femme fatale, the female vampire, the Eternal Feminine – and put his own stamp on them through a mixture of parody, irony, anachronism, and feminist ideas. The silent, powerless women of the earlier poems discover, especially in the Moral Tales and the Last Verse, a voice and a determination which can lead to their death (Salomé) or the fulfillment brought by free will and true love (Andromeda). While Laforgue was never an outspoken feminist, he made a major contribution to the literary evolution of women in the years leading up to the twentieth century
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Lahti, Davidsson Elisabeth. "Batikhäxan – ett kvinnligt supermonster : En kritisk diskursanalys av tre politiska pamfletter." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86034.
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This thesis shows how misogynous and stereotypical images of women, which historically have been used to transform them into witches and monsters, are now reused in the construction of the term “batikhäxa” (“tie-dye witch”). Feminist and discourse theory form the framework of this study which includes the analysis of three opinion pieces, or political pamphlets, that were published between 2010 – 2018: "Batikhäxorna och makten" by the pseudonym Julia Caesar, "Refugee 'Children" & The Women Who Sexually Exploit Them" by the pseudonym Angry Foreigner and "De ansvariga för Sveriges kaos behöver en intervention för att ställas till svars " by Katerina Janouch. I use critical discourse analysis to study how discursive strategies are applied in these political pamphlets to delegitimate women, making them the scapegoats of society by use of the concept of the tie-dye witch. My thesis argues that the use of the tie-dye witch discourse reproduces patriarchal power relations by denying women the right to have and express their opinions, decide over their own bodies and exercise power in society. The tie-dye witch can therefore also be understood as an anti-feminist counterimage to the feminist witch who was established as a female role model in the 1960s. The study also uncovers the psychological function of the tie-dye witch as a female super monster who demarks the borders of nation, culture, religion, body and gender. In the studied texts, the tie-dye witch is constructed to separate "us" from "the others", and in doing so she also acts as a unifying figure in and of anti-feminist, islamophobic, xenophobic, nationalist and apocalyptic discourses.
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Rsslan, Eiva. "L'humanisme arabe au Ve/XIe siècle : Abû al-Alâ' al-Ma'arrî (363/1058), poète, philosophe et penseur humaniste." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2100.
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Cette étude a deux objectifs : le premier est de dépoussiérer une figure importante de la littérature arabe, Al-Maʿarrī. D’importantes accusations ont été portées contre lui, auxquelles nous avons répondu et même que parfois nous avons contredites. Al-Maʿarrī a-t-il prétendu imiter le Coran ? Était-il un sceptique ? Était-il une personne pessimiste ? Qu’en est-il de son isolement, dans quelle mesure était-il isolé de ses contemporains ? A-t-il vraiment passé sa vie à détester les femmes ? Le deuxième objectif de cette étude est d’éclairer la philosophie de ce penseur arabe qui s’articule autour d’un axe fondamental : l’humain et tout ce qui touche à la réalisation du bonheur. Nous nous sommes appuyés principalement sur les Luzūmiyyāt et l’Épître du Pardon, après avoir lu notamment tous les poèmes des Luzūmiyyāt et les avoir classés selon les sujets abordés. Nous avons ainsi donné l’occasion à Al-Maʿarrī de se défendre contre tous ceux qui ont douté de lui et critiqué sa philosophieThis study has two main purposes : first, to dust off the image of an important figure of Arabic literature, Al-Maʿarrī. Serious charges has been layed against him that we tried to counter or even reject : has Al-Maʿarrī really imitated the Qur'an ? Was he a skeptic ? Was he a pessimist ? What about his so called isolation, how isolated was he from his contemporaries ? Did he really hated women throughout his lifetime ? The second objective of this study is to shed new light on this Arab thinker philosophy, structured around a fundamental axis which is the human nature and all about realization of happiness. We relied mainly on the Luzūmiyyāt and the Epistle of Forgiveness, we particularly read all the poems in the Luzūmiyyāt and classified them according to the topics discussed. So we gave Al-Maʿarrī the opportunity to defend himself against all those who doubted him and criticized his philosophy
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Tsai, Ling-Zhen, and 蔡伶甄. "Misogynistic phenomenon in the literature of Tanizaki: Naomi, Quicksand, and The Key." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/75r8s7.
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碩士國立臺灣大學
日本語文學研究所
106
Jun''ichirō Tanizaki, nominated for Nobel Prize in Literature seven times, was called The Great Tanizaki in the history of modern Japanese literature. He pursued the writing concept of “female worship” in his entire life. His heroes kneel at the feet of women with functional beauty, and through abuse and abused, they are intoxicated in the pleasure of the sharp pain, mental and the physical. Gathering the esthetic elements such as grotesque, aestheticism, sadomasochism, immorality, and mystery, he enjoyed describing the passion for sadomasochism, perverted love, sexual inversion, and “foot fetishism”. Therefore, the women worshipped by the literature of Tanizaki are compared to whores, temptresses, and hellcats. However, from the point of view of sociology and psychology, the “female worship” of men under the patriarchy also contains the ideology of misogynism. Therefore, this article uses the insights of Misogynism: the disgust of women in Japan, written by the famous Japanese feminist scholar Chizuko Ueno. Focusing on an early masterpiece Naomi, a mid-term masterpiece Quicksand, and a late masterpiece The Key by Tanizaki, the following three aspects are analyzed to explore how the misogynism under Japanese patriarchal society and patriarchy reflect in the literature of Tanisaki. ① “female worship” in the literature of Tanisaki ② the sadomasochism elements in the literature of Tanisaki ③ the power relationship between the male “discipliner” and the female “disciplined” Through the investigation described above, I discovered that the “female worship” and “masochism” of men created by Tanizaki were only strategies taken to satisfy their sexual desires after all. Under the discipline given by men, the binary system, in which men are the subjects and women are the objects, was not only immovable, but became more deep-seated. Women had entrusted their physical autonomy to men, following “the beauty is the strong, the ugly is the weak”, the values established by men. But at the same time, they suffered from contempt and infamies such as “hellcats”. It indicates that men constructed the image of women as attractive but contemptible objects. With absolute objectification, women were regarded as functional symbols. These are actually reflections of the ideology: male is “dominant” and female is “submissive”. Moreover, the male accomplice structure of “Triangle Desire” and the homophobia in the literature of Tanizaki, have repeatedly confirmed that there are tendencies of misogyny, under the seeing/ being seen, male subject/ female object, dominant/ submissive structure of patriarchy, behind the “female worship” and “masochism”.
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Fu, Sin-Ting, and 傅欣婷. "The Beauty and The Sadness of The Woman：an Analysis of Misogynic Images in Contemporary Japanese Films." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ksk698.
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碩士淡江大學
大眾傳播學系碩士班
104
Despite the fact that women have gained more equality over the past few decades, the hegemony of patriarchy still exists in the modern society. Misogyny can be clearly seen in today’s culture, especially in Japan. Misogynistic scenes occur in Japanese movies from time to time. This research aims to investigate the images of Japanese women in films and the social consequences of discrimination against women from a feminist perspective. Base on textual analysis, this research focuses on two types of female characters as a perfect lover and a revenger in four misogyny-related movies, including “Memories of Matsuko”, “Villon''s Wife”, “Confessions” and “Shokuzai”, to investigate how misogyny has been shaped in a sexist society, against which women fight to gain more female autonomy. Analyzing these four movies, research shows that misogyny has long been ingrained in the society deeply enough that even though feminist ideology has developed over the years, patriarchal social structures are so unshakable that women are still under the watch and the control of men. In addition, feminism has caused a backlash against women. Men gained more control of women and lowered women’s social status in order to highlight their own masculinity by degrading women. In conclusion, misogyny has become a common phenomenon in every society. Women can’t help but living in this seemingly equal cell, behind these transparent discriminating bars, quietly accepting the rules against themselves and in the meantime hoping to be accepted.
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Swanepoel, Elizabeth. "The female quest for enlightenment: Compassion and patience in transforming gender bias in Tibetan Buddhism, with specific reference to Western Tibetan Buddhist nuns and Jetsunma Tenzin Palmo." Thesis, 2013. http://hdl.handle.net/2263/31631.
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This thesis investigates the nature of gender bias in Tibetan Buddhism and the specific role Western Tibetan Buddhist nuns have played in transforming such prejudice. The afore-mentioned gender bias pertains particularly to the unavailability of full ordination (bhikshuni ordination) for nuns in the Tibetan tradition. The research highlights the specific contribution made by Jetsunma Tenzin Palmo, a British woman and currently the most senior Tibetan Buddhist nun. Jetsunma Tenzin Palmo attained fame for spending twelve years meditating in a cave in the Himalayas, and for her statement that she intends to attain enlightenment in a female body. She is also the founder and abbess of a Tibetan Buddhist nunnery Dongyu Gatsal Ling in India. Tenzin Palmo is particularly outspoken in her efforts to transform gender bias within the ranks of Tibetan Buddhism, and serves as an inspiration to countless lay and monastic Buddhist women worldwide. The researcher postulates that gender equality has not yet been attained within Tibetan Buddhism. Androcentric record keeping, certain misogynistic meditation practices, and cumbersome decision making processes within the Tibetan ecclesiastic system have maintained gender bias within its institution, despite His Holiness the Fourteenth Dalai Lama’s efforts to assist in the transformation of monastic attitudes. The Dalai Lama, spiritual head of Tibetan Buddhism and one of its most learned scholars, has made his position clear as far back as 2007 when he expressed his full support for the establishment of the Bhikshuni Sangha in the Tibetan tradition. Two years earlier, in 2005, he had already urged Western bhikshunis to become more involved in the issue of full ordination in Tibetan Buddhism. Western nuns in particular have therefore played a leading role in their attempts to transform gender bias in a true Buddhist spirit of patience and compassion. His Holiness the 17th Gyalwang Karmapa has been equally outspoken on the issue. In 2010 in Bodhgaya, India, he made a commitment in front of an international audience to ordaining women as bhikshunis, and stated unequivocally that he was prepared to ordain these women himself. However, he did caution against expecting quick results, asking the audience to have patience. In conclusion the thesis suggests that despite a favourable doctrinal attitude to women, ambiguity still characterises the Tibetan Buddhist approach towards females. There is tension between an underground tradition of highly accomplished female practitioners and the institutional preference for male practitioners. Institutionalised gender bias in Tibetan Buddhism therefore has no sound doctrinal basis in view of the fact that the Tibetan Buddhist pantheon is rife with female Buddhas, goddesses, dakinis, and other highly spiritual and enlightened women. Present times are characterised, especially in the West, by accomplished female academics and Tibetan Buddhist teachers, as well as prominent nuns. The yogini-tantras furthermore attest to the reverence and honour the male should afford to the female. Gender hierarchy and male dominance cause untold suffering and pain, especially devastating for female monastics, and is therefore both contradictory to Buddhist principles and to the norms of a progressive society.Thesis (PhD)--University of Pretoria, 2013.
Biblical and Religious Studies
unrestricted
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Kunická, Tereza. "Feminicidio jako alarmující problém mexické společnosti - analýza procesu u dvou vybraných případů." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-398379.
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Gender violence in Mexico is a problem that affects its society on a long- term basis. Its most extreme form known as feminicide, that is a gender- based murder of women, appears with so much frequency that it can be considered a structural problem yet. Mexico is one of the countries with most cases in Latin America, however, insufficient and ineffective measures taken by the state facilitate their perpetration which is often immune from prosecution. This thesis aims to approximate the issue to the reader and explain the concept of feminicide in given context within its complexity. For that purpose, a process tracing analysis of two selected cases is done; starting from their perpetration to their sentencing by judicial instances. The sentences of both cases became very important milestones. The factors that contributed to the outcome are tracked and afterwards a comparison of tracked causal mechanisms is done. As it was already mentioned, the cases were not selected randomly. Not only are they important for their sentences, but moreover they took place in two Mexican states with traditionally high numbers of committed feminicides, that is in Chihuahua and Mexico State. The results of the analysis suggest that even though Mexico has signed the most important international conventions about women's...