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Dissertations / Theses on the topic 'Body image in art'
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Voisey, Rebecca Elizabeth. "Pathways of Felt-visuality in the New Wunderkammer: Producing Empathic Engagements with Body Imagery from Contemporary Art and Medicine." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367991.
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This thesis proposes an alternative practice for looking at, understanding, imagining and representing bodies, and a potential context for fostering and realising such a practice. This alternative practice could transform our use of images in order to produce thoughtful, empathic and compassionate responses to bodies. Such a practice, as an ethical and emotional mode of engagement with body images, strives to create connections and reconnections between subject and object, self and other, individual and communal; to reconnect that which is thought, felt and experienced with the materiality of bodies. This dissertation examines the capacity for particular types of body imagery in contemporary visual art to reveal alternative practices of engagement. The bodies that feature in the images discussed reference and/or use the medicalised body rendered as object (drawing on medical and scientific information, practices and imaging-technology). Through these discussions a central paradox is revealed: that the body rendered as object, recontextualised in contemporary art, generates affective intensity and reconnects object with subject.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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White, Vanessa Liane. "Body talk: the phenomenology of mark making." Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/28930.
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In this paper titled, Body Talk: the phenomenology of mark making, I theoretically unravel the phenomena of gesture in art, through implementing the philosophy of phenomenology. Gestural painting and drawing expresses the artists embodied experience of the world, it communicates a sensual, non-language and bodily perception of it. I examine these ideas through drawing, trace, artist Jackson Pollock, Cy Twombly Robin Rhode and my own work. Discovering that gestural art is an expression of the body: that it can make bodily thoughts and feelings known through drawing, painting and performance, making it possible for bodies to talk.
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Baden, Eric. "The image of the body in the works of Frederick Sommer." [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/838.
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Thesis (M.F.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-1109103-152208. Includes bibliographical references. Also available via Internet at the UMI web site.
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Horrex, Peta. "Art and body image : A journey through anorexia nervosa and the implications for art therapy rituals." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1265.
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This thesis examines the experience of body image and self image are for a sufferer with the eating disorder anorexia nervosa. Themes and symbols are explored and interpreted in art work that was produced in six session of individual art therapy. The sessions were designed to deal with issues and problems that had been discussed previously, or that became relevant during each session. The study is conducted from an interpretive perspective. It concentrates on the transference of the internal unconscious in the artwork created by, Michelle, who suffers from anorexia nervosa. The interpretation is from a western art therapy and self psychology perspective. The study explores how the repetition of depiction of self through creative expression in art work, can lead to greater awareness about body image, control issues and self image in a client with the eating disorder anorexia nervosa. It is shown that relatedness to art work and creative expression gives positive reinforcement to the client, Michelle, in her sense of awareness regarding prevalent issues in her life. Repeated symbols and visual metaphors are discussed in relation to both Michelle’s life and her struggle with her eating disorder, and to the construction of anorexia nervosa.
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Servedio, Danielle Lauren. "Cancer Patients' Perception of Body Image: A Visual Exploration." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/111.
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This study explored the impact and trauma that a cancer diagnosis and cancer treatment can have on a women’s image and experience of her body. Focus group methodology was part of the qualitative art-based research approach. Since the research was focused on body image, the participants were asked to create art based on their experience of their body before and after cancer treatment. Content analysis was applied to the transcripts of the focus group sessio n to consider themes. The clusters were then correlated with the imagery in the participants’ artwork. The study results suggest that women who have undergone medical treatment for cancer have an altered view of their body image including fragmentation of the body, scarring and disfigurement, censoring of the body and feeling less feminine. The study asserts that the art process and discussion, in a therapeutic setting, provided a supportive environment for cancer patients to discuss sensitive information about their perspectives of their body, diagnosis and treatment.
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Jansen, Dina (Dieneke) Susanna. "The body upgrade aesthetics, value judgements and forces of choice : thesis submitted to the Auckland University of Technology in partial fulfilment of the degree - Masters of Art (Art and Design), 2004." Full thesis. Abstract, 2004.
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KAYROOZ, GILLIAN. "The Discarded Image." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20118.
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Perillo, Danilo Roberto. "Visões (do não visto)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284402.
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Orientadores: Lúcia Eustáchio Fonseca Ribeiro, Luise WeissDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente volume resgata uma trajetória artística que sempre teve neste percurso um intenso diálogo com o corpo humano. Mais do que entender esta relação, o que busco aqui é apresentar parte da história desta pesquisa, explicitando aquilo que a minha visão - parcial e afetiva - permite mostrar, na esperança que as lacunas possam ser preenchidas pelas respostas que o próprio trabalho contém. Trata-se da visão e do texto de um artista
Abstract: This volume takes up an artistic trajectory that has always been this way a dialogue with the human body. Than understanding this relationship, I seek here is to present part of the history of this research, explaining what my vision - partial and affective - to show in the hope that the gaps may be filled by the responses that the work itself contains. It is the vision and the text of an artist
Mestrado
Artes Visuais
Mestre em Artes
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Wymer, Tammy Jean. "self-imAGE." VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd/875.
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Many current media images of women have underlying messages that affect our psyche in a negative way, whether or not we are aware. These images convey an unrealistic, distorted view of ideals and perfection, which create an unattainable model to live up to. As women, we should be cherishing our uniqueness, but, rather than celebrating and accepting ourselves, we are taught to judge and conceal. This project seeks to address inner beauty as a reflection of our energy, vitality, wisdom and the mental, as well as emotional, engagement in our lives. The terms perfection and imperfection will be redefined and applied to inward rather than outward appearance. Through a photographic study, this project will emphasize the value and beauty in aging. In the end, I would like to encourage my audience to not only recognize but also understand and accept the difference between media images and their own self-images.
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Amato, Marion d'. "Du tissu à la peau, de la peau au tissu : dessiner à vif dans la matière." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20053.
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Du tissu à la peau, de la peau au tissu : dessiner à vif dans la matière est une recherche sur la matière du corps et ses liens au monde. Cette étude est impulsée par une pratique artistique qui explore la peau et le tissu non pas comme seules enveloppes et interfaces, mais comme des matières plastiques à part entière, afin de faire émerger et de révéler de nouvelles approches du corps. A cet effet, j’emploie ciseaux, feutres, encre, aiguilles et fils, pour mettre en œuvre ma propre perception du corps, qui ne s’appréhende pas seulement en termes de modelés, mais en termes de lignes, celles qui se révèlent à mon regard dans l’image corporelle. La quête de la ligne, ou des lignes du corps sont au cœur de cette étude. Il s’agit de questionner l’espace du corps, l’idée d’une frontière entre une intériorité et une extériorité, en interrogeant la création artistique qui s’attache à œuvrer sur la peau et le tissu. Comment la peau et le tissu sont-ils perçus ? Comment et par quels procédés une réciprocité plastique de leurs champs d'actions peut-elle se créer, et interroger la vision du corps humain ? La sociologie, l’anthropologie, l’esthétique, la philosophie, l’histoire de l’art, la danse et la haute-couture, sont des disciplines qui nous permettrons d’affiner notre propos, et dont le point commun réside dans ce que chaque courant de pensée et chaque œuvre étudiée nous renseigneront sur la vision que nous avons du corps vêtu/dévêtu, et la perception qui en résulte. Le point de vue plasticien génère et répond aux interrogations théoriques proposant un espace plastique fait de peau et de tissu, que le spectateur est invité à explorer à son tourFrom fabric to skin, from skin to fabric, drawing into material is a research on the body as material and its links to the outside world. This study is based on an artistic practice that explores skin and fabric not only as envelopes and interfaces, but also as artistic materials, so as to bring forth and reveal new approaches of the body. In this regard, I use scissors, felt-tips, inks, needles and thread, to work my own perception of the body, which is not only seen in terms of light and shade but also in terms of lines, those that show themselves to my eyes in the body image. The search for the line, or the lines of the body, is at the heart of this study. Our aim is to question the space of the body, the idea of a border between interior and exterior, whilst interrogating the artistic creation which attempts to work on skin and fabric. How are skin and fabric perceived? How and by which means can an artistic reciprocity of their fields of action be created, to question the vision of the human body? Sociology, anthropology, aesthetics, philosophy, art history, dance and fashion design are some of the fields that will enable us to specify our analysis, and their common point lays in the fact that every currents of thought and every works of art studied here will give us some clues about the vision we have of the dressed/undressed body, and the perception which results from it. The fine artist’s point of view generates and answers some theoretical questions concerning a plastic space made of skin and fabric, that the viewer is invited to explore
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Fish, Joshua Stephen Andrus. "Terror Management Theory and Body Image." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103315/.
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Research has not explicitly examined the link between key components of terror management theory (TMT) and body image without the use of mortality salience. This project explored the link between cultural worldview, self-esteem, body image, and death anxiety. Multiple measures were used to create a structural equation model examining relationships between body image and death anxiety as mediated by body image in the context of TMT. The proposed model did not fit the data. Minor modifications were made to the model keeping within the proposed theoretical perspective. In the modified model the relationships between cultural worldview and death anxiety as mediated by body image were either non-existent or weak. Hierarchical regression analyses did suggest that some aspects of body image indeed did predict some, but not all dimension of death anxiety in this sample of young adults.
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Ishii, Kotoe. "Double bind : splitting identity and the body as an object /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7075.
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Double Bind: Splitting identity and the body as an object is a research project consisting of studio-based practice presented mainly in video installation format. This work looks at hysterical symptoms as a performance of a body’s split identity. The project draws on the Lacanian theory of Mirror Stage which proposes that the self experienced by the subject, and the image of that self (represented in a mirror-like reflection, or an image) are different to each other, and the development of self-awareness as misrecognition of one’s self. As a conspicuous example of split body, Chapter One describes how the hysterical body, in clinical and artistic representation, is dissociated into multiple selves. In Chapter Two, I discuss some examples of contemporary performance artists who use themselves as subjects, but whose bodies become objects that do not portray the self. In the final chapter I explain how, in my video work, I objectify my own body and how I assess whether this is a mode of self-portraiture.During the course of this research, I studied a wide range of medical resources and psychoanalytical literature, much of which employed visual illustration and documentation. For example, I have drawn inspiration from Jean-Martin Charcot’s photographic documents of female hysterics whom he treated as patients at the French hospital of La Salpêtrière in the late 19th century; in particular the figure of his most famous patient, known as Augustine. My research also involved studio-based investigation, such as experimentations with the performance of my own body in video format, and the contextual study of artistic and critical texts relating to contemporary media art.
The aim of this research is to demonstrate the ways in which my video performances split the body, creating an Other within one body that can be compared with the hysterical body of a patient, like Augustine, performing for her doctor. In this condition, I perform as the subject and the object of the gaze at the same time. My self-portrait is split in this way: it creates a body double, which I misrecognise as myself. But in doing so, I am both the director and the performer of the image. This is the double bind that my video work puts me into.
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Anderson, MerriLee. "Correlates of Body Image in University Women." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332642/.
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The relationship between maturation rate, body image, depression and eating disorder tendencies was explored in a group of 251 college-age females in order to better understand the developmental progression of body image and related variables. Two aspects of body image were measured, namely, level of body satisfaction and amount of body distortion. Body dissatisfaction was found to be associated with early maturation, depression, and eating disorder tendencies. Body distortion was not found to be associated with any of the primary variables. The significant relationship which was found between maturation rate and level of body satisfaction in young adult females suggests that pubertal timing may have lasting effects on the body satisfaction of women. Body satisfaction and depression were found to contribute significantly to the variance in eating disorder tendency.
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Tsukada, Karen Yuki. "How you look depends on where you are individual and situational factors in body image /." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060363686.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains x, 105 p. Includes abstract and vita. Advisor: W. Bruce Walsh, Dept. of Psychology. Includes bibliographical references (p. 92-101).
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Cooper, Caren C. (Caren Connie). "Body Image as Mediated by Age, Sex, and Relationship Status." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278961/.
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Traditionally, body image research has focused on young women. However, there are indications of cultural shifts which extend physical appearance pressures to both men and women, as well as to middle-aged and older adults. Two hundred and ten subjects were administered objective body image measures including the Figure Rating Scale, the Body Shape Questionnaire, and the Multidimensional Body-Self Relations Questionnaire, as well as projective measures including the Holtzman Inkblot Technique and the Draw-A-Person. The NEO-Five Factor Inventory and the Social Anxiety Subscale were also used to explore variables which might covary with body image. A 3 X 2 X 2 Multivariate Analysis of Covariance (MANCOVA) was utilized with social desirability as the covariate.
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Beyrouthy, Damien. "Corps peuplés d'images, corps peuplant l'image : interrogation par l'art vidéo d'un entremêlement à l'ère dite postmoderne." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20001.
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Cette thèse explore comment l’art actuel, plus spécifiquement vidéo, permet d’interroger le rapport entre corps et images. Un lien étroit les unit aujourd’hui ; l’art vidéo, fruit de ce temps postmoderne, paraît assez adapté à son exploration. Tout d’abord, les modalités d’influence de l’image sont déclinées. Quatre sources appuient l’élaboration d’hypothèses : les théories psychanalytiques et phénoménologiques, des faits de société, des productions artistiques (provenant aussi bien d’artistes confirmés que de notre propre pratique) et les théories de l’image (histoire de l’art et esthétique). Une série de conclusions en ont été déduites : l'Homme actuel semble peuplé d’images ; celles-ci participent à la structuration de la perception, concurrencent les souvenirs et concourent à la détermination des formes de l’élaboration mentale. De ce fait, l’image définit significativement le corps postmoderne. Mais plusieurs rapports aux images restent possibles : l’utilisation, l’interaction, l’expérimentation. Ensuite, par le potentiel oscillatoire de l’art vidéo, l’interdépendance corps/image est approfondie. La partie II met en regard corps sensible et corps représenté à travers les traces fluctuantes du référent dans la représentation vidéo – par les couples apparition/disparition, surface/épaisseur, sens/non-sens – afin d’explorer le corps rêvé, vécu et le rapport au corps représenté. La partie III montre le jeu entre la liaison et la déliaison du corps représenté avec le décor – porté par l’incrustation, le remontage et la composition vidéo. Cela permet d’aborder le positionnement et l’articulation, du corps et de sa représentation, aux images. Cette approche désigne également ce qui dans le corps représenté fait corps et ce qui dans son articulation au décor fait obstacle : le corps désirantThis thesis explores how contemporary art, more specifically video, interrogates the relationship between body and images. A close link binds them together today; video art, native to postmodern time, seems adapted to its exploration. First, influence modalities of the image are developed. The hypotheses are constructed on four sources: psychoanalytical and phenomenological theories, socials realities, artistic productions (both from known artists and from my own practice) and image theories (art history and aesthetic). A succession of conclusions have been deducted from them: today’s human seems to be inhabited by images, these participate to the structuration of perception, compete with recollection and contribute to determine the shapes of mental elaboration. Consequently, the image define significantly the postmodern body. But various relationships to images remain possible: utilization, interaction, experimentation. Then, with the oscillatory potential of video art, the interdependence between body and image is detailed. Part II compares sensible body and depicted body through the fluctuating marks of the referent in video representation – working with the appearing/disappearing, surface/thickness, sense/nonsense pairs – to explore the dreamed, lived body and the relationship to the depicted body. Part III shows the interplay between linking and delinking of the depicted body with the backgrounds – bore by chroma keying, reediting and compositing. This allows to apprehend positioning and articulation, of the body and its depiction, to images. This approach also points out what in the depicted body reveals the sensitive body and what in its articulation to the background resists: the desiring body
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Del, Re Sonia Loredana. "Re-forming images: Utrecht, Carvaggio and the body." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121103.
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This dissertation argues for a reconsideration of the function of bodies in Caravaggistic painting, and in Utrecht Caravaggism more particularly. It examines the role of the human figure in the work of Caravaggio and the Utrecht Caravaggists in light of the distinct narrative mode within which Caravaggistic painting operates. The issues explored in this dissertation formulate a response to seventeenth-century criticism regarding the treatment of bodies in Caravaggistic pictures, and the purported loss of narrative meaning. This study thus describes how Caravaggistic bodies perform and enact narrative in a way that subverts normative forms of visual narration in Italian Renaissance and Baroque art. The project as a whole aims to provide a counterpart to our understanding of Caravaggism as a style founded on contrasts of light and dark and realistic representation. I move away from thinking about these characteristics as stylistic choices, and consider them instead as narrative means that are meant to highlight the performative function of bodies in creating narrative content. My study draws on forms of entertainment to illustrate how the human figure, through performance, both produces significations and engages beholders in narrative processes. Another objective of this project is to underline identity as a key factor in the shaping of Utrecht Caravaggism, as well as an important agent in Caravaggistic narrative. On the one hand, I explain in what ways Caravaggism renews a relationship between the cities of Rome and Utrecht that was so important to the visual and artistic identity of Utrecht in the sixteenth and seventeenth centuries. On the other hand, my work shows how identity functions within Caravaggistic painting as a pictorial and rhetorical device. To this end, Chapters Three and Four map out a new vision of the relationship between Caravaggistic painting and viewers by focusing on the mode of address employed by Caravaggistic half-length figural painting. Hence, my approach to the subject of bodies and performance in Caravaggism posits narrative not simply as a visual form but as a site between representations and viewers. Within this contiguous space, pictorial bodies and identities and their equivalent in the real world become imbricated. My interpretation of Caravaggistic painting, and of Utrecht Caravaggism more precisely, therefore seeks to reconcile a pictorial mode that appears to negate space and time with narrative invention and intention.Cette thèse propose de reconsidérer la fonction du corps humain dans la peinture caravagiste et, plus particulièrement, dans le Caravagisme utrechtois. Elle examine le rôle de la figure humaine dans l'œuvre de Caravage et dans l'œuvre des Caravagistes d'Utrecht compte tenu du mode de narration distinct qu'emploie la peinture caravagiste. Les thèmes envisagés ici sont inspirés par les critiques émises au dix-septième siècle au sujet de la représentation du corps humain dans la peinture caravagiste et selon lesquelles celle-ci nuit à la fonction narrative de la peinture. Cette étude décrit comment l'approche caravagiste subvertit les règles albertiennes de narration en refusant de situer les représentations dans le temps et dans l'espace, et en se concentrant de préférence sur la figure humaine, qu'elle met en avant-plan. De façon générale, ce projet offre une interprétation complémentaire à la conception du Caravagisme en tant que style préconisant les vifs contrastes de lumière et le réalisme pictural. Plutôt que d'envisager ces traits caractéristiques comme choix stylistiques, ils sont ici considérés pour leur capacité à souligner la fonction narrative du corps humain. Afin de mettre en évidence le rôle performatif de la figure humaine dans la narration figurative, cette étude s'appuie, entre autres, sur l'examen de formes contemporaines de divertissement. Cette approche permet de retracer les processus narratifs que la figure humaine engendre dans la peinture caravagiste et qui impliquent le spectateur dans la création de sens. Cette thèse a pour autre objectif de souligner un facteur clé dans l'essor du Caravagisme à Utrecht: la notion d'identité. Cette dernière revêt un intérêt particulier pour cette étude parce qu'elle joue également un rôle essentiel au sein du développement narratif dans la peinture caravagiste. Les chapitres qui suivent révèlent, d'abord, que le caravagisme permet de renouer les relations entre Rome et Utrecht qui furent indispensables à la constitution d'une identité visuelle et artistique pour Utrecht aux seizième et dix-septième siècles. Ensuite, ils démontrent l'utilisation de la notion d'identité comme dispositif pictural et rhétorique dans la peinture caravagiste. À cette fin, les troisième et quatrième chapitres dressent un nouveau portrait des liens que la peinture caravagiste cherche à tisser avec ses spectateurs. Typiquement caravagesques, les personnages grandeur nature, représentés à mi-corps attirent particulièrement l'attention des observateurs. La façon dont ils s'adressent aux spectateurs constituent donc le sujet de ces deux derniers chapitres. Les thèmes de la corporalité et de la théâtralité dans l'art caravagiste demandent d'envisager la narration non pas uniquement comme forme visuelle, mais aussi comme lieu d'échange entre image et spectateur. Les corps dépeints sont souvent poussés aux confins de l'espace pictural de sorte que la fiction s'imbrique avec la réalité. Ainsi, cette thèse souhaite expliquer que ce mode pictural qui semble vouloir nier l'espace et le temps met en branle sa propre méthode narrative par laquelle le spectateur est appelé à participer à la création de sens.
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Medlen, Kim Stanley. "Deliberate masquerades: socialised stigma, HIV/AIDS and altered gay male body image." Thesis, Curtin University, 2010. http://hdl.handle.net/20.500.11937/824.
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Three themes are developed in this exegesis. Firstly, it discusses the conceptual base that informs the creative outcomes of this research. This centres on homo-sexuality, disease, illness and the deliberate masquerades that are often under-taken by HIV-positive Australian homosexual males as a response to socialised stigma. Through these masquerades, they enhance the physicality of their bodies so as to conform to Western cultural perceptions of masculine and healthy body ideals and thus avoid stigma that would otherwise be placed on them. This exploration draws upon theories from sociology to discuss these physical enhancements with an emphasis on the period since the onset of HIV/AIDS in the early 1980s. Secondly, it explores the works of visual artists that comment on the HIV/AIDS pandemic prior to the mid 1990s when no effective long-term treatments were available. Thirdly, it investigates HIV/AIDS-based art produced since the mid 1990s, after long-term treatments became available, and discusses how this work contrasts with the earlier works. Also discussed are the parallels and differences between the body of work that is supported by this exegesis and these other contemporary artworks that address HIV/AIDS issues.
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Ribeiro, Lindsay Caroline de Brito. "Corpo delével : uma poética da autoimagem distorcida." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284602.
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Orientador: Marta Luiza StrambiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação, inserida na linha de pesquisa em "Poéticas Visuais e Processos de Criação", consiste num relacionamento entre pesquisas prática e teórica, incluindo uma análise crítica através de textos sobre minha produção plástica que tem ênfase na problemática da autoimagem, uma distorção da aparência física, que surge como mais um sintoma das neuroses contemporâneas, acometendo, principalmente, as adolescentes que aspiram a um corpo construído, alimentado pelos sistemas da moda e do consumo. Considera ainda a ideia do desenho como conceito de intertextualidade e relaciona, entre os procedimentos e possibilidades de concepção e produção dos trabalhos, essas questões do corpo conexas à ordem cotidiana, à "brevidade e fragilidade da vida", refletidas nessa estética do corpo contemporâneo. O corpus imagético dessa pesquisa torna-se um elemento problematizador de articulações crítico reflexivas, envolvendo a ampliação de repertório na área da arte contemporânea
Abstract: This dissertation, part of the "Visual Poetics and Creation Processes" line of research, focus on the relationship between practical and theoretical research, including a critical analysis of texts about my artistic production that has an emphasis on the issue of self-image, a distortion of physical appearance, which arises as another symptom of contemporary neuroses, having as main target those teenagers who aspire to an artificial body, powered by systems of fashion and consumption. It also considers the idea of drawing as a concept of intertextuality and links between the procedures and possibilities for design and production work, these body issues related to the everyday routine, the "brevity and fragility of life", reflected in this contemporary aesthetics of the body. The image corpus of this research becomes a problematizing element of critical reflective relations, involving the expansion of the repertoire in the field of contemporary art
Mestrado
Artes Visuais
Mestre em Artes Visuais
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Silva, Tarcisio Torres. "Estéticas políticas da tela : ativismo e o uso da imagem em redes de comunicação digital." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284502.
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Orientador: Hermes Renato HildebrandTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho procurou investigar a utilização da imagem em manifestações ativistas contemporâneas com ampla repercussão mundial, considerando o impacto das novas tecnologias de comunicação sobre tais práticas, assim como sua relação com as mídias tradicionais. A ênfase dada ao campo da imagem é uma tentativa de propor novas perspectivas de análise a um ambiente de significação em transformação. Em sua composição, nota-se uma produção crescente de cunho amador, além de seu caráter híbrido que agrega ações físicas e virtuais, assim como a propagação em redes de comunicação horizontais e verticais. Para que o objetivo proposto fosse atingido, abordou-se inicialmente o potencial estético-político das imagens mecânicas e eletrônicas com o intuito de localizar elementos existentes em tecnologias de mídia anteriores ao digital que contribuíssem para a argumentação inicial. Em seguida, foi apresentado o campo da biopolítica, com ênfase nos trabalhos de Foucault, além de conceitos essenciais para as análises que se seguiriam, tais como "multidão" (Hardt e Negri) e "trabalho imaterial" (Lazzarato e Negri). Após esta localização teórica, foram propostos dois blocos analíticos. Em ambos, optou-se por observar movimentos que surgiram ao longo do desenvolvimento deste trabalho. No primeiro, destaca-se a Revolução Verde no Irã e a Primavera Árabe no Norte da África e Oriente Médio. Neste momento em especial, foi evidenciado o poder de afecção das imagens dessas manifestações, assim como sua participação na "partilha do sensível", conceito proposto por Jacques Rancière. No segundo bloco, enfatizou-se a ação da ativista egípcia Aliaa Magda Elmahdy e dos grupos feministas Femen e Pussy Riot. Além disso, foi proposta nesta etapa a atualização do conceito de biopolítica por meio das idéias de Nicolas Rose e Giorgio Agamben. Em ambos os momentos de análise, foi observado que o corpo aparece como um elemento central para a compreensão das imagens selecionadas, pois ele é a chave para que sejam entendidas as forças biopolíticas que agem sobre a sociedade contemporânea. Como conclusão, observou-se que as imagens ativistas, de cunho amador e que circulam pelas redes de comunicação digital propõem um novo olhar para a produção político-visual contemporânea em função das particularidades por elas apresentadas. Além disso, tais imagens denunciam um campo paradoxal em que ao mesmo tempo se observa a tentativa de transgressão e uma incômoda simbiose com os sistemas estabelecidos de controle da vida
Abstract: This research investigated the use of the image in contemporary activist expressions which echoed worldwide, considering the new communication technologies impact on such practices and also its relation to traditional media. The emphasis given to the image field is an attempt of proposing new perspectives of analysis to a changing environment of signification. It can be noticed in its composition a growing amateur production, in addition to its hybrid nature which assembles virtual and physical actions, as well as propagation on vertical and horizontal communication networks. In order to achieve the research goal, it was initially discussed the political-aesthetical potential of mechanical and electrical images. The intention was to situate existing elements in media prior to digital that could contribute to the initial argumentation. It was then presented the biopolitics field, emphasizing the works of Foucault and also essential concepts to the following analysis such as "multitute" (Hardt and Negri) and "immaterial labor" (Lazzarato and Negri). After this theoretical approach, two analytical sections were presented. Some of the main movements which emerged along with the development of this research are mentioned in both. In the first section, the Green Revolution in Iran and the Arab Spring in North Africa and Middle East stand out. In this case, it was intended to demonstrate the power of affection inherent in the manifestation images, as well as their contribution to the "distribution of the sensible", a concept proposed by Jacques Rancière. In the second section, the actions of the Egyptian activist Aliaa Magda Elmahdy and the feminist groups Femen e Pussy Riot are emphasized. Besides these analyses, the concept of biopolitics is updated by means of the ideas of Nicolas Rose and Giorgio Agamben. In both moments of investigation, it was observed that the body emerges as a central element to the comprehension of the selected images because it is the key to understanding biopolitcs forces operating on contemporary society. In conclusion, it can be noticed that the amateur activist images circulating in digital communication networks provide a new look to the contemporary visual political production given their particularities. In addition, such images denounce a paradoxical field where it is observed at the same time an attempt to transgression and an uncomfortable symbiosis with established systems of life control
Doutorado
Artes Visuais
Doutor em Artes Visuais
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Nunes, Gabriel Brito. "f l æ s h - corpo e/é imagem." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21052013-092230/.
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Considerando o corpo o elemento central da performance arte, o texto a seguir procura compreender que tipo de espaço se reserva nesse campo artístico para a presença corpórea e o que esta adquire ou perde, quando a imagem deixa de corresponder a um referente físico independente de si, para representar um complexo de processos digitais e analógicos. Este texto tem como premissa o reconhecimento de que a formação do sujeito depende da imagem do corpóreo e, portanto, medita sobre o papel do corpo na produção e na interpretação imagéticas. Inserida em um contexo critico dos desafios pelos quais passa a performance arte através de sua institucionalização - com seus subsequentes processos de hierarquização e estabelecimento de arquivos e documentos - essa pesquisa almeja explorar possíveis efeitos dessa contextura sobre o corpo. Por se desenvolver num formato que considera a escrita como performance, essa dissertação é proposital e excessivamente investida das particularidades e projeções de um corpo específico - o do autor/performer - e baseada nas práticas artísticas concebidas para e em relação com a prática de leitura e de escrita dessa pesquisa de mestrado. Da mesma forma, aqui, o espectador daquelas práticas artísticas - assim como o espectador desse ato performático - é tido como corpo particular no qual a obra de arte ganha seu significado, através da contingência da representação do corpóreo. Por fim, essa pesquisa serve-se de uma discussão sobre o corpo que pretende experienciá-lo ao dele se afastar minimamente, para poder alcançar o que dele não se pode dissociar: a carneConsidering the body as the central element of the discipline of performance art, the following paper seeks to comprehend the nature of the space opened by this artistic disciplino to the corporeal presence in relation to the new condition of the image - when it longer corresponds to a physical referent outside itself, but represents a concatenation of the image, Also, this research aims to critically explore the chalenges inflicted on the body by the institucionalization of performance art through the hierarchical and archiving process of institutional documentation. This dissertation is based on a format that considers writing to be a performace and is thus highly and intentionally invested with the projections and particularities of a specific body - that of this author and performer. Besides, this written research is developed from an in intimate relation to the artistic practices conceivid during the period of two years´s performance acts - as well as, you, the spectator of this performance act - is also seen as particular body - which gives meaning to the artistic object through the contingency of the interpretation of the corporeal representation, Finally this research uses a dicussion about the body - which intends to experience it while minimally distancing oneself from it - in order to reach that part of the body from which it is impossible do disassociate: flesh.
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Asawarachan, Tanawan. "The Disney Influence on Kindergarten Girls' Body Image." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271773/.
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Media is now a part of the early childhood world. In many countries, including industrialized and developing countries, children spend more time consuming various kinds of media. The impact of media on children's perception of their body images has been and continues to be a concern of parents and early childhood professionals. This research examined the influence of Disney movies on Thai kindergarten girls' body images and self-esteem. Thai kindergarten girls completed three measures of body self-image: the Body Figure Preference Scale, the Body Esteem Scale, and the Self-Esteem Scale. The girl participants were randomly assigned to two groups: focused on a female theme (FFT) and focused on a non-human theme (FNT). The experimental group viewed "female" Disney movie themes, while the control group viewed "animal" Disney movie themes. Girls in the experimental group expressed greater body image dissatisfaction scores after watching Disney movies, which was an expected finding. Results from the present study suggest that girls in both groups become concerned about their body esteem after video exposure. However, there was no significant difference in self-esteem between girls in FFT and FNT. In summary, the findings of this study support the belief that Disney movies influence young girls' perceptions of their body image, and they have an awareness of their body size. It can be concluded that Disney movies have an influence on Thai girls' body image dissatisfaction and body esteem. The results also indicated that Thai girls are not totally aware of the influence of Disney media on their self-esteem. Understanding how Disney movies, in particular, and other media, in general, influence young children, especially girls, can encourage parents and educators to identify risk factors associated with children's body image dissatisfaction and low self-esteem.
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Jeon, Minjee. "Ultrasound—Re:viewing Bodies." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5434.
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A medical evaluation of physical impairment imposes the additional burden of “labeling” the patient with the condition. The binary nature of the normal versus abnormal label emphasizes difference and can lead to trauma. Understanding differences, however, can lead to the generation of new forms and thus, more sensitive differentiation and representation. Tension is created by exploring different bodily forms—a dialectic between form and essence. I am designing a space that visualizes and illuminates difference as a source of trauma and amplifying the tension by comparing figures that represent varying degrees of normalcy. This forms a critique of idealized form and creates a context for people unaffected by this type of trauma to reflect on possible realities outside of their assumptions of normality.
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Essid, Kaouthar. "Imageries de la mort et art contemporain." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010739.
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La mort est une réalité qui nous hante et qu'on s'obstine à occulter. Cette hantise de la mort peut-elle en faire un objet d'art ou l'objet d'un art qui tend à réévaluer le statut du corps humain à notre époque ? Il existe une opposition fondamentale entre le corps humain voué à la disparition et la conception contemporaine d'un corps beau et inaltérable. A travers ce memento mori, je traite la mort en tant qu'expression plastique et je soulève le questionnement de sa légitimité en tant que langage pictural. Ma confrontation avec la mort m'a amenée à réaliser des œuvres qui méditent sur l'existence, sur la temporalité et sur la nature du rapport de l'être humain à son corps et sur la mort dans ses diverses connotationsDeath is a fact that persues us inspite of our efforts to dissimulate it. The question seems accordingly to be : can this obsession be turned into an object of art which tends to reconsider the status of the human body in our epoch ? There is an essential opposition between the human body that is doomed to vanish and the contemporary vision of a beautiful and unaltered body. Threoughout this "memento mori", I tried to explore death as a plastic expression which raises the question of its legitimacy as a pictorial language. My confrontation with death allowed me to achieve several works that meditate upon existence, temporality, and the nature of the relationship between the human being and his body, and death in its various connotations
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Rogers, Jordan N. "Every Body Matters: College-Aged Women's Experiences of Body Positivity and Self-Acceptance." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703325/.
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The purpose of this transcendental phenomenological inquiry was to explore college-aged women's experiences of body positivity and self-acceptance. I applied a conceptual framework that blended feminist identity development model (FIDM) and relational cultural theory (RCT) to answer the following questions: (a) what are the lived experiences of college-aged women who identify as having a positive and accepting body image? and (b) how do college-aged women's intersecting identities contribute to the development of positive and accepting body image? Ten college-age women participated in the current study. The participants provided detailed accounts of their experiences of body image throughout their life. Five overarching themes were identified through data analysis of the interview transcripts: (a) advocating for self and others, (b) beauty expectations and societal definitions, (c) intersecting identities, (d) journey of acceptance, and (e) relationships and community. Participants offered insight into the development of their current position of body positivity and self-acceptance that serve as implications for other relevant contexts. Implications and recommendations drawn from the participants' experiences can inform preventative and treatment care in educational settings, family environments, clinical practice, and integrated care.
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Engelbrecht, Larita. "Representations of excess in relation to the body in a selection of contemporary visual artworks." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20224.
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Thesis (MA (VA))--Stellenbosch University, 2012.ENGLISH ABSTRACT: This dissertation investigates forms of excess in representations of the body in specific examples of contemporary visual art in South Africa and internationally. Representations of excess are phenomena that have gained increasing prominence in recent art practice both locally and abroad. The discussion is focused on two artworks that are examples of this increasing phenomenon of excess in contemporary art: the Swedish video artist Nathalie Djurberg’s video installation Experimentet (2009), and South African performance artist Steven Cohen’s film Golgotha (2007-9). My discussion of the two artworks revolves around the central question: what is the signifying role of excess in representations of the human body in contemporary visual art? This central question is asked throughout the dissertation with two aims in mind: firstly, to situate within a theoretical framework the phenomenon of excess in relation to depictions of the body in contemporary art; and secondly, to situate my own arts practice within this framework. The analysis of Djurberg’s Experimentet and Cohen’s Golgotha is spread over four discussions, each relating to a specific aspect of the representation of excess in relation to the body. Firstly, I investigate the grotesque body with regards to Mikhail Bakhtin’s notion of grotesque realism and Jacques Lacan’s psychological notion of the fragmented body, or corps morcelé. Secondly, I examine the ‘body spectacle’ as a cultural critique of capitalism, and make specific reference to Cohen’s use of real human skulls as shoes in Golgotha as a cultural critique of capitalism. In this discussion I also investigate George Bataille’s philosophical enquiry into the notion of expenditure as a critique of capitalism. The ‘body spectacle’ is situated in the context of late-twentieth-century theorist Frederic Jameson’s view of the postmodern and his exposition of the ‘waning of affect’. Thirdly, I investigate excess and mimesis in representations of the female body, with specific reference to Djurberg’s Experimentet. Here the discussion is situated within the context of French feminist psychoanalytical theory with Luce Irigaray’s concept of the role of excess in mimesis. The study then turns to investigating the experiences elicited in spectators by representations of excess in relation to the body. I draw from George Bataille’s writings of the function of taboo and Mikhail Bakhtin’s insistence on the ambivalence of grotesque imagery to explain my own observations on images of excess. Here I argue, in reference to both Experimentet and Golgotha, that excess is characterised by the paradoxical stance of being simultaneously attracted and repulsed. Lastly I discuss my own current art practice with reference to the theoretical framework outlined here around representations of excess in relation to the body.
AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die voorkoms van oordaad in die uitbeelding van die menslike liggaam in spesifieke voorbeelde van kontemporêre Suid-Afrikaanse en internasionale visuele kunswerke. Oordaadsuitbeelding is ‘n verskynsel wat opvallender voorkom in huidige plaaslike en internasionale kunspraktyke. Die verhandeling fokus primêr op twee kunswerke ter illustrasie van hierdie verskynsel: die Sweedse videokunstenaar Natalie Djurberg se video-instellasie Experimentet (2009), en Suid-Afrikaanse ‘performance’- kunstenaar Steven Cohen se film Golgotha (2007 -9). My bespreking van die twee kunswerke wentel rondom die sentrale vraag: watter aanduidende rol speel oordadigheid in uitbeeldings van die menslike liggaam in kontemporêre visuele kuns? Ter beantwoording van hierdie vraag het hierdie ondersoek ten doel om, eerstens, die verskynsel van oordaadsuitbeelding van die menslike liggaam in kontemporêre kuns binne ‘n teoretiese raamwerk te plaas. Ten tweede gaan ek my eie kunspraktyk binne hierdie raamwerk plaas. Die oorsig van Djurberg se Experimentet en Cohen se Golgotha word oor vier hoofstukke versprei. Elke hoofstuk bespreek ‘n spesifieke aspek van oordaadsuitbeelding rakende die menslike liggaam. Ten eerste bespreek ek die groteske liggaam aan die hand van Mikhail Bakhtin se idée van groteske realisme en ek verwys ook na Jacques Lacan se psigoanalitiese idée van die gefragmenteerde liggaam, of corpse morcelé. Die tweede ondersoek in die verband van oordaadsuitbeelding verwys na die ‘liggaamspektakel’ as kulturele kritiek op kapitalisme, met spesifieke verwysing na Cohen se gebruik van egte menslike skedels as skoene in Golgotha. Ek bespreek ook George Bataille se filosofiese ondersoek na die idée van ‘uitgawe’ as kritiek op kapitalisme. Die ‘liggaamspektakel’ word geplaas binne die konteks van die laat-twintigste-eeuse teoretikus Frederic Jameson se opvatting van postmodernisme en sy verduideliking van die afname in gevoelsinhoud. Ten derde ondersoek ek oordaad en nabootsing in uitbeeldings van die vroulike liggaam, met spesiefieke verwysing na Djurberg se Experimentet. Hier is die bespreking geplaas in die konteks van die Franse feministiese psigoanalitiese teorie van Luce Irigaray se konsep van die rol van oordaad in nabootsing. Die studie verander dan na die ondersoek na die ervarings wat by die gehoor ontlok word deur die uitbeeldings van oordaad rakende die menslike liggaam. Ek verduidelik my eie observasies oor oordaadsuitbeelding deur gebruik te maak van George Bataille se skrywes oor die funksie van taboe, sowel as Mikail Bakhtin se aandrang op die ambivalensie van groteske beelde. Hier argumenteer ek, met verwysing na Experimentet en Golgotha, dat oordaad gekenmerk word deur die paradoks van gelyktydige aantrekking en walging. Ten einde bespreek ek my eie kunspraktyk met verwysing na die teoretiese raamwerk uiteengesit rondom uitbeeldings van oordaad rakende die liggaam.
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McFarland, Michael Blaine. "Measuring Male Body Dissatisfaction: Factorial and Construct Validity of the Body Parts Satisfaction Scale for Men." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30492/.
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Given the centrality of body dissatisfaction in the manifestation of health risk behaviors (e.g., eating disorders, muscle dysmorphia) and psychological distress in men, the ability to measure it accurately is essential. Across two studies, the psychometric properties and factor structure of a new measure of male body satisfaction were established. The Body Parts Satisfaction Scale for Men (BPSS-M) was found to have three scores: full body muscularity and leanness (18 items), upper body (12 items), and legs (4 items). All three scores were internally and temporally reliable, and support was found for the convergent, discriminant, and concurrent validity of the scores. The BPSS-M represents an advance in the measurement of male body image, providing researchers and clinicians with a versatile and valid way to assess this important construct.
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Crocker, Trisha. "Me, myself, and I : women's perceptions of their body-image using clay making as a tool for exploration." Thesis, University of Derby, 2018. http://hdl.handle.net/10545/622774.
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An expanse of research literature has confirmed that a significant percentage of women are concerned about their body size and appearance. Western cultures have emphasized that women must look good to be worthy. Media attention that alludes to the benefits of a thin, fit body exacerbates women's beliefs that they need to look a certain way to be acceptable and to fit in. How though, can the majority of women fit into a world of contrary ideals? Being strong and healthy does not absolutely mean a woman has to be model thin with conspicuous abdominal muscles and extreme body definition. In the field of art therapy, there has been no specific research to demonstrate the advantages of clay for the exploration of body-image, male or female. The research undertaken focuses on and evaluates the manner and methods in which clay can be employed as an enabling material for body-image issues with women within art therapy practice. With the help of small groups of female participants who were invited to attend sessions in my pottery to make their body-images from clay and join in discussion, I was able to explore within a safe and contained environment the ways in which clay can be utilised within an art therapy setting. None of the women who took part in the research had a diagnosis relating to body-image issues. By pursuing the methods of Participatory Action Research (PAR) for Study One I employed the fundamental features of Cycles of Reflection. The results of Study One assisted me in choosing Interpretative Phenomenological Analysis (IPA) to further the research. In this way, I would be able to identify the most robust of themes within the dialogues of the three women who attended the individual sessions that comprised Study Two. The final results of the research point to a positive and contained means of working with clients and patients in order to provide a significant resource to help women explore and be more accepting of their bodies.
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Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.
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Dell'Era, Maria Elena. "The Effects of Mirror Confrontation on Body Image Ratings." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277965/.
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There are conflicting data in the literature regarding the effects of mirror exposure on subjective body-image evaluation. Much of the objective self-awareness research by Duval and Wicklund concluded that the presence of a mirror leads people to evaluate themselves negatively, while other studies have reported contrary findings. The primary purpose of this study was to determine the effects of mirror confrontation on individuals' body image ratings. Subjects were 88 childless, female university students. Using the Eating Disorders Inventory-Body Dissatisfaction subscale (BDS) as a screener, subjects were assigned to either a High Satisfaction group or a Low Satisfaction group. The subjects then completed the Multidimensional Body-Self Relations Questionnaire (MBSRQ) in either a Mirror or No Mirror condition. Results suggest that the presence of the mirror had no measurable effect on the subjects' ratings of themselves on the MBSRQ. There was a main effect for satisfaction level, and no interaction was found between the satisfaction level and the mirror condition. Possible explanations for these findings are offered.
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Lorenz, Stacy Nicole. "Valued Living in Breast Cancer Survivors: The Role of Body Image and Acceptance-Based Factors." Xavier University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1471280202.
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Ingram, Seth. "The Extraordinary Double Body: Images in Literature, Art, and on the Sideshow Stage." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1323292411.
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Carr, Jarice N. "Lipodystrophy, Body Image and Depression in Hiv Positive Black Women." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500152/.
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Human immunodeficiency virus (HIV) seropositive men on highly active antiretroviral therapy treatment (HAART) who experience lipodystrophy syndrome (LD), a side effect of HAART, rate themselves as more depressed than those who did not experience LD(Crane et al., 2008). Furthermore, men who rated their LD symptoms as more severe also scored higher on depression measures than men who experienced less severe symptoms. It is unknown these findings can be generalized to other groups of HIV positive individuals. The current study seeks to fill this gap in the literature by exploring the associations between LD, body image, and depressive symptoms in an archival sample of HIV positive Black women. This study aims to describe the body changes associated with HAART in a Black female sample and explore the relationships between LD, body image, depression, and quality of life. Findings supported past research indicating a correlation between depression and poor body image but did not indicate that body image quality of life moderated the relationship between perceived body changes and depression. Results expanded on the literature by indicating that perceived body changes may be more distressing to Black women with HIV than objective changes. Lastly, findings suggested that Black women may have inaccurate perceptions of their own body changes. These findings are particularly informative for healthcare workers who treat HIV+ women. It is imperative that they consider clients’ self-report as well as clinical symptoms.
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Hammon, Sarah A. "Body Dissatisfaction, Disordered Eating Behaviors and Body Image Quality of Life in African American Women with Hiv." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177208/.
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The purpose of the current study was to further our understanding of the subjective experience of middle-age African American women who are HIV+ and on highly active antiretroviral therapy, particularly how self-reported lipodystrophy (LD), levels of body dissatisfaction, body image quality of life, and engagement in disordered eating behaviors are related. Multiple regression, MANOVA, MANCOVA, ANOVA, and chi-square were utilized to test hypotheses. Results revealed that HIV+ and HIV- women did not differ significantly on their levels of body dissatisfaction or drive for thinness. When HIV+ women were examined in more detail a pattern emerged: women who self-reported fat hypertrophy had significantly higher levels of body dissatisfaction, bingeing, but not purging, and dietary restriction and fear of weight gain compared to women who did not self-report LD. About 75% of the sample was overweight or obese, and when BMI was controlled for, these differences persisted for body dissatisfaction and disordered eating behaviors for fat hypertrophy, but not fat atrophy. Overall, the findings indicate that the type of LD, specifically hypertrophy, is more related to body dissatisfaction and disordered eating behaviors, than LD in general. Clinical implications and limitations of these findings are discussed.
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Taylor, Daniel P. "Does self-referent cognition act as a mediator between mood and body image." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/MQ52080.pdf.
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Goldstein, Alexis. "The Roads are Bumpy Ones: A Study of Body Image Through Abstract Performance." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2267.
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An overwhelming number of contemporary adolescents struggle with difficult issues. Many of these problems are socially related whereas others can be directly related to the degradation of the family unit. Among the most damaging of issues is distorted body image, which infect youth, often causing them to communicate aggressively, and even landing them in compromising situations. I have sought to challenge my students to redefine themselves through expressive movement and the creation of abstract rhythmic sounds. In teaching these techniques, I have given my former students the means to combat negative thoughts and actions, as well as an excellent tool for self-discovery. In leading a number of workshops targeted to specific populations, I have taught an innovative technique of movement expression that replaces the spoken word, thereby allowing an individual to unlock the previously undiscovered power of his/her body.
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MacIsaac, Sarah Louise. "'We are the selfie generation!' : an ethnographic study of contemporary bodily culture within a Scottish school and physical education context." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25522.
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Schools are rich and intense social environments where young people constantly interact with one another, negotiate social relationships and construct their identities. The school context also influences how young people experience and relate to their bodies. Physical education can be especially influential here – an environment where young people learn about the body and through the body within a highly visible setting. Research has investigated how bodily meanings and power relations are constructed within schools and physical education but these processes are ever evolving. For example, the ingraining of online social interaction within young people’s lives currently adds new dimensions to how young people learn, interact and perceive themselves and their bodies. This thesis presents findings from a year-long ethnographic study located within a Scottish secondary school. Participant observation and qualitative interviews were used to explain the contemporary bodily culture amongst young people and to investigate how engagements with online social spaces were shaping young people’s bodily perceptions and practices. Findings evidenced three overarching tenets of informal pupil culture. These were: the centrality and importance of the body within social life; the omnipresence of online social spaces and online social interaction; and the development of a celebrity-esque culture amongst the pupil population. Accordingly, pupils constructed and negotiated hyper-risky social environments where the body and the self were hyper-visible, hyper-scrutinised and hyper-controlled. Working within a critical realist framework, theoretical insights from Erving Goffman, Michel Foucault and Pierre Bourdieu were utilised to suggest that the online environment represented a very important and attractive medium for identity construction where young people had opportunities, and felt pressure, to create idealised images of themselves. Online self-presentation also had offline implications for how pupils behaved, viewed themselves and for how they perceived and treated others. Physical education therefore became an especially risky social space as it was characterised by a lack of control over bodily identity, which juxtaposed sharply with the intense control over self-presentation afforded online. The online realm was also a highly influential context for learning about health and the body and a space where looking ‘healthy’ was very fashionable. Accordingly, this thesis suggests that socially safe and critical environments should be constructed in physical education. The thesis also concludes by arguing that physical education has unique potential to contribute positively to young people’s lives through practical, experiential learning. Physical education can foster and create a refreshing culture, contrasting and challenging superficial dimensions of contemporary bodily culture. It can become a space that diminishes the significance of outward experiences: a space where young people positively experience their bodies and the world around them; where they can reflect and marvel upon such experiences; and learn to respect their own and each other’s bodies in a very intrinsic and deep sense.
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Cooper, Simon George Art College of Fine Arts UNSW. "Mutant manifesto: a response to the symbolic positions of evolution and genetic engineering within self perception." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44255.
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Believing that ideas about evolution and genetics are playing an increasing role in popular conceptions of who we are and what it means to be human, I sought ways to express this through my art. In particular I tried to articulate these notions through figurative sculpture. As the role of figurative sculpture in expressing current ideas about being human has declined in the West, I saw this as a challenge. It was the intent of my Masters program to reposition the sculpted body back within contemporary western cultural contexts. For an understanding of those contexts I relied heavily on my own culturally embedded experience and observations. I took as background my readings of evolutionary inspired literature and linked it with my interpretations of the genetic mythologies so prevalent in recent movies. The result was an image of contemporary humans as multifaceted, yet subservient to their genes. These genes appear to be easily manipulated and the product of technological intervention as much as, if not more than, inherited characteristics. As part of developing a sculptural form able to manifest this, I investigated some non-western traditions. I used field trips and residencies to research Buddhist and Hindu sculptures of the body and developed an interest in the spatial and conceptual relationships between those bodies. Through making figurative work in the studio, I came to realise the figures' inadequacy in expressing temporal relationships. As temporal change is a fundamental element of evolution and genetics, I needed to explore this element. The result was a number of series; groups of works that create their own context of relationships. Not all these groups use sculptures of the body but they evoke the notion of bodies, naturally or technologically hybridised, mutating, transforming, evolving and related to each other generationaly through time.
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Tsukada, Karen Y. "How you look depends on where you are: individual and situational factors in body image." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1060363686.
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Schlechter, Willem Philippus George. "Cowboys and cocks : the heterosexual construction and homosexual appropriation of masculinity." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21758.
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Thesis (MPhil)--Stellenbosch University, 2008.ENGLISH ABSTRACT: This study explores the performative construction and appropriations of heteronormative masculinities by heterosexual and homosexual men respectively. My interest in masculinity as a culturally constructed fantasy is extended to imply a desire for the masculine. The idea of masculine desire is further developed by indicating a possible (homo)sexual desire for the heteronormative representation of masculinity. In highlighting the artificial and material qualities of the assumed stable phallus, the impassable structure of hegemonic masculinities, such as manifested in the cowboy and bodybuilder, is turned into the penetrable penis as object of the male gaze. I will concentrate on the fetishization of heterosexual masculine signifiers in physique photography in order to demonstrate this shift in the male gaze. Masculinity as a (de)attachable component allows the de-subjectification and thus, depowering of heteronormative masculinity by the possible appropriation thereof by gay men.
AFRIKAANSE OPSOMMING: Hierdie navorsing ondersoek die performatiewe konstruksie en apropriasie van heteronormatiewe manlikhede deur onderskydelik heteroseksuele en homoseksuele mans. My belangstelling in manlikheid as ‘n kultureel gestruktureerde fantasie word uitgebrei om ‘n begeerte vir manlikheid te impliseer. Die idee van manlike begeerte word verder ontwikkel deur ‘n moontlike (homo)seksuele begeerte vir die heteronormatiewe uitbeelding van manlikheid aan te dui. Deur die artifisiële en materiële kwaliteite van die veronderstelde stabiele fallus te beklemtoon, word die ondeurdringbare hegemonie van manlike strukture, soos dit voorkom in die cowboy en liggamsbouer, verander in die penetreerbare penis as objek van die manlike (male) ‘gaze’. Ek konsentreer op die fetisering van heteroseksuele manlike tekens in ‘physique’ fotografie ten einde hierdie skuiwing in die manlike ‘gaze’ te demonstreer. Manlikheid as ‘n (ont)hegbare komponent veronderstel die de-subjektivisering, en dus ontmagtiging van heteronormatiewe manlikheid deur die moontlike appropriasie daarvan deur gay mans.
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Costa, Claudia Cristina. "Corpos híbridos: a construção do corpo humano na modernidade a partir da arte e da tecnologia." Universidade Tecnológica Federal do Paraná, 2009. http://repositorio.utfpr.edu.br/jspui/handle/1/170.
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Essa pesquisa investiga o corpo humano na atualidade a partir de seu aspecto
cultural. É analisado o corpo híbrido, resultado do encontro entre suas dimensões
biológicas e tecnológicas. Através de um Essa pesquisa investiga o corpo humano na atualidade a partir de seu aspecto cultural. É analisado o corpo híbrido, resultado do encontro entre suas dimensões biológicas e tecnológicas. Através de um recorte histórico que busca alguns momentos onde o corpo humano interage direta ou indiretamente com criações tecnológicas, o corpo híbrido é evidenciado a partir da análise de algumas criações artísticas que utilizam em seus processos o corpo humano em interação com tecnologias.This paper focus on the study of cultural aspects of the human body. The hybrid body is analysed as a result of the mixing of both biological and technological dimensions. Through a historical approach which points out some moments when the human body interacts implicitly or explicitly with technological creations, the hybrid body is put in evidence with the analyses of some artistic creations which include the human body as a way of interacting with new technologies.
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Christopher, Annabel. "What are the psychosocial consequences of body image issues in adolescent males with cancer?" Thesis, University of Surrey, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658859.
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Adolescence is a period of development where body image, as part of a wider development of sense of self, is seen as a key task. Body changes due to cancer can be distressing and disrupt healthy body image development. Body image problems can be problematic and lead to eating disorders, low self-esteem and problems with peer relationships. Very little research has focused on whether there are particular body image issues for adolescent males with cancer. Seven males aged 14-21 who had experienced cancer were interviewed about their body image and the transclipts were analysed using Interpretative Phenomenological Analysis (IPA), which is an inductive, exploratory and idiographiG. approach to enable a rich understanding of the paIiicipants' experiences. Four super-ordinate themes emerged which were "developing identity within a maturing male body with cancer", "social role of the body in identity development", "adolescent males do not readily talk about the body", and "trying to feel normal in the context of cancer". Clinical implications of the results are considered, along with areas for future research following on from this initial exploratory study.
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Kessler, Kelly L. "Self-Objectification, Body Image, Eating Behaviors, and Exercise Dependence among College Females." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30477/.
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The purposes of this study were to examine the associations between (a) self-objectification, (b) body shame, (c) appearance anxiety, and (d) exercise dependence. Participants (N = 155) completed a demographic questionnaire and a survey packet including the Body Surveillance subscale and Body Shame subscale of the Objectified Body Consciousness Scale, Appearance Anxiety Scale, Eating Attitudes Test 26, and the Exercise Dependence Scale. Correlations were conducted revealing associations between self-objectification, body shame, appearance anxiety, and eating attitudes. Associations were also found between body shame and exercise dependence. Partial correlations were conducting revealing body shame and appearance anxiety mediated the relationship between self-objectification and eating attitudes. Body shame also mediated the relationship between self-objectification and exercise dependence.
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Peterson, Vanessa Margaret, and res cand@acu edu au. "Body Image and Dieting Behaviours: a Study of athletes and non-athletes." Australian Catholic University. School of Exercise Science, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp38.29082005.
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Research has shown that elite female athletes competing in competitive sports may experience weight consciousness and face demands to conform to unrealistic standards of body weight. The purpose of this research was to investigate body image and dieting behaviours in adolescent female athletes and non-athletes. A self-reporting questionnaire was administered to 60 athletes aged between 13-16 years derived from eight different sporting populations, and a control group consisting of 60 non-athletes or inactive individuals aged between 13-16 years. Two major areas relating to weight and eating behaviours were examined: disordered eating and distorted body image. Other variables under investigation included current attempts at weight loss, level of acceptance of thin female stereotypes promoted by the media, reasons for dieting, and perception of one’s own body image. Results indicated that the majority of the athletes displayed a positive body image and were generally happy with their overall body shape. This group was less likely to employ weight loss behaviours. However, the non-athletes were more likely to display distorted body image and distorted eating behaviours. Consistent with the cultural expectations of thinness, large proportions of the non-athletes wished to lose weight, even though their actual weight (i.e. Body Mass Index) was normal or underweight. Weight concerns in the non-athlete group related more to attaining a media driven “ideal” of femininity. The weight concerns recorded amongst a small number of athletes were related more to improving sporting performance. Although no clinically diagnosed cases of eating disorders were recorded, eating behaviours, weight reduction practices and body image beliefs indicated that the adolescent female non-athletes may be at risk of developing disordered eating and body image problems.
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Evans, Laura E. "Eating Our Words: How Museum Visitors and a Sample of Women Narratively React to and Interpret Lauren Greenfield's THIN." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299860725.
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Barrere, Sophie. "Le grotesque : petit traité anarchique sur les oeuvres d'art." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30065/document.
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Sans souci de chronologie ou de catégories, cette recherche aborde les œuvres d’art sous la focale du grotesque, révélant une traversée de l’intime à l’universel qui les habite. Ceci débute par un franchissement au-delà du sens, pris dans l’espace du langage et de ses déterminismes. Le grotesque apporte par la contradiction systématique et le déplacement sémantique, une échappée. L’œuvre d’art fonctionne à partir et au-delà de cette illusion du sens à créer du commun, à travers l’anecdote. Une vigilance au « faire » plastique révèle les puissances qui travaillent le corps de l’artiste et mettent en jeu rythme, retournement et instant, où au-delà du visible s’articule l’apparaître, où la création se décrit comme un engagement vital vers ce point d’impossible autour duquel se décide le trait de pinceau, l’acte d’inscription. Dans cette compréhension, l’œuvre d’art est un surplus de fonctionnement, une coupure de la réalité qui origine l’histoire. Des réflexions psychanalytiques approfondissent l’enjeu de cette inscription, qui par le phénomène du transfert réactive la subtilité du processus d’identification. Ceci ouvre le rythme éthique où il est question de place occupée, d’une alternance vie, mort, dont le corps porte la dette séculaire comme sentiment archétypal du vivre ensemble. Ce processus de l’identification réactivé, relance le sujet face à son manque à être, castré, mortel, pris dans ce cycle de temporalité qui le précède et l’excède, face à ce grand Autre, ce « au moins un » qui y échappe.Voici une réflexion temporelle sur le poids du symbolique qui inconsciemment et indépendamment du pathologique peuple nos images et crée ce partage de l’intime à l’universelWithout regard to chronology or category, this research addresses the Art under the lens of the ludicrousness, revealing a crossing of intimacy to the universal that inhabits them. This starts with a crossing beyond the senses, taken in the space of language and its determinants. Ludicrousness brings the systematic contradiction and movement semantic, a breakaway. The Art works from and beyond the illusion of the senses to create the common, through the story. Vigilance to the "do" plastic reveals the powers that work on the artist's body and involve rhythm, reversal and instant, where beyond the visible articulated the show, where the creation is described as a vital commitment to this point of impossible around which decides the brush stroke, the act of register. In this understanding, the artwork is an operating surplus, a break from reality which origin the story. Psychoanalytic reflections deepen the stake of this registration, which the transference phenomenon reactive the subtlety of the process of identification. This opens up the ethical pace, where it comes to the space occupied, an alternation of life, death, whose body bears the secular debt as archetypal sense of living together. This process of identification reactivated revives the subject facing its lack of being, castrated, fateful, caught in this cycle of temporality that precedes and exceeds him, face to this big Other, this "at least one" that escapes. Here's a temporal thought on the significance of symbolism which people our images unconsciously and independently of the pathological and create this sharing of intimacy to the universal
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Lelièvre, Marie. "Soins de support art-thérapiques en oncologie : d'un état des lieux à l'élaboration et l'évaluation d'un dispositif." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20109.
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Le traitement du cancer a des conséquences biopsychosociales importantes sur les patients. Près de 80% d’entre eux ressentent douleur, fatigue, et l’impact émotionnel peut se manifester par de l’anxiété. La qualité de vie (QdV) des malades atteints de cancer est devenue la préoccupation première de l’état français. Les soins de support se sont développés depuis 2003 dans cet objectif et pour améliorer le vécu des effets secondaires. Ils offrent différents suivis dont l’art-thérapie. De précédentes études ont montré l’efficacité des thérapies médiatisées auprès de patients hospitalisés. Des améliorations de la QdV, de la fatigue et de l’anxiété y ont été observées. Elles montrent toutes une efficacité de l’art-thérapie, quels que soient sa durée et le type de médiation.Cette étude propose de comparer 2 groupes expérimentaux suivant des art-thérapies différentes, à un groupe contrôle (N=29). L’ouverture et la pensée divergente pour la créativité, QdV, anxiété et image du corps ont été évaluées avec un ensemble de questionnaires soumis aux volontaires, en test et re-test (+3 mois). Les deux art-thérapies sont à médiation plastique et se décomposent en trois temps : relaxation, création et verbalisation. Les séances de l’Art-Thérapie Continue (ATC) n’ont pas d’ordre, de nombre ou de thèmes déterminés à l’avance, tandis que le programme Sens Et Motions (SEM) est structuré en 6 séances autour des sens. Les résultats quantitatifs montrent que le suivi d’une thérapie médiatisée accentue l’amélioration du bien-être physique des malades. L’ATC ramène le niveau d’anxiété de ses participants à un niveau « normal », tandis que SEM diminue la sensation de fatigue et restaure l’image du corps. L’analyse qualitative renforce ces constats et ajoute des axes d’amélioration comme l’estime de soi.Un programme art-thérapique doit être pensé avec une structure et des objectifs, afin de répondre aux besoins spécifiques d’une population et s’associer aux traitements médicaux pour une meilleure adhésion ou acceptation de leurs effetsCancer treatment induces serious biopsychosocial consequences for patients. About 80% of patients feel pain, fatigue, and emotional impact can lead to anxiety. The quality of life (QoL) of people with cancer has become the major concern for the French Governement. Supportive care has developed since 2003 to that end and to lessen the side-effects incidence. It offers different types of monitoring including art-therapy. Prior studies have shown efficacy of therapies that are proposed to hospitalized patients. Improvement of QoL, fatigue and anxiety have been observed. All these studies show efficacy of art-therapy, regardless of duration and types of mediation.This study compares 2 experimental groups involved in different kind of art-therapy, with a control group (N=29). Openness and divergent thinking for creativity, QoL, anxiety and body image are explored with a standard assessment protocol submitted to participants in test and re-test (+3 months). The two art-therapies consist of 3 phases: relaxing, creating and debriefing. The 'Continuous Art-Therapy' (CAT) sessions have no predetermined order, number or theme, while 'Senses and Motives' (SEM) is a structured program of 6 art-therapeutic sessions. The quantitative results show that an art-therapy practice improves the sensation of physical well-being. CAT brings the level of anxiety of its participants down to a healthy level, and opens them to the action, whereas SEM reduces the feeling of fatigue and restores the body image. The qualitative analysis strengthens these findings and adds areas of improvement like self-esteem.An art-therapy program can be conceived with a structure and objectives in order to respond to the patients’ needs: self-esteem and body-image restorations, decreased anxiety. It can associate with medical treatments for a better acceptance or physical well-being
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Solomon, Zanne. "The dionysian in performance reclaiming the female transgressive performing body." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002380.
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In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".
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Souza, Virgínia Laís de. "Quando o monstro convoca a resistência biopolítica: estratégias comunicativas na arte e na vida." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20672.
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The subject of this thesis is the monstrous body. This topic has been addressed by authors such as Jean-Jacques Courtine (2013; 2008), who explored the difficulties faced by human beings coping with (so-called) abnormal body types. However, the main goal of the present work is to analyse how a monstrous body can lead the individual to other forms of existence, over and above the stigmas that frequently paralyse the self. Based on the discussions taken up by Antonio Negri (2007, 2003) and Barbara Szaniecki (2014), the monster and the singular characteristics of monstrosity can be viewed as triggers for political and communicational processes and not merely as physical bodies which are socially excluded. In this sense, the monstrous body can be seen as a corpusmedia constituted from its co-evolutionary relations with the environment. The main hypothesis of this thesis is that artistic creations have contributed at a fundamental level to recent changes in our understanding of the monstrous body, undercutting recurrent interpretations that placed monstrous bodies solely within the scope of the exotic and led to their consistent marginalisation as an object of study. It is not merely a question of integrating a stigmatised body into society, but of analysing the power of art to reveal alternatives to our preconceptions of how to look at and represent a body that has been excluded from society. The empirical corpus of this research is derived through dance and theatrical presentations performed mainly in the 2000s, whose performers ranged from backgrounds as immigrants, foreigners and individuals of African descent to artists with physical disabilities. Among these presentations are included works by choreographers such as Jérôme Bel, Claire Cunningham, Faustin Linyekula and the theatre companies Theater Hora and Back to Back. The relevance of this thesis lies in demonstrating how these bodies can subvert stereotypes which have been rooted for centuries in social discourse and media. This work also seeks to highlight the construction of discursive practices that recognise monstrosity when compared to normal standards but which are not confined to pre-conceived interpretations, leading to new patterns of subjective analysis
O tema desta tese é o corpo monstruoso. Ele tem sido estudado por autores, como Jean-Jacques Courtine (2013; 2008), que explicitam a dificuldade em lidar com este tipo de alteridade. No entanto, o objetivo principal da pesquisa é analisar como o corpo monstruoso pode ser acionador de outros modos de vida, para além dos estigmas que o paralisam. Ao partir da discussão proposta por Antonio Negri (2007; 2003) e Barbara Szaniecki (2014), o monstro e as singularidades monstruosas são considerados acionadores de processos comunicacionais e políticos e não apenas excluídos da sociedade. Neste sentido, considera-se o corpo monstruoso como um corpomídia constituído a partir de relações co-evolutivas com seus ambientes. A hipótese principal é que alguns processos de criação artística têm colaborado de maneira fundamental com a recente mudança de entendimento do corpo monstruoso, desestabilizando as leituras recorrentes que apenas o restringiam ao âmbito do exótico e da marginalização. Não se trata de transformar o corpo estigmatizado em um corpo inserido socialmente, mas de afirmar a potência da arte para apresentar outro modo de olhar e constituir um corpo até então excluído. O corpus empírico da pesquisa são espetáculos de dança e teatro, criados especialmente a partir dos anos 2000, que apresentam em cena artistas imigrantes, estrangeiros, negros e deficientes. Entre eles, destacam-se os trabalhos dos coreógrafos Jérôme Bel, Claire Cunningham, Faustin Linyekula e das companhias Theater Hora e Back to Back. A relevância da tese está em demonstrar como é possível lidar com estes corpos de modo a subverter estereótipos arraigados durante séculos em nosso discurso (social e midiático). Busca-se evidenciar também a construção de práticas discursivas que reconhecem a sua monstruosidade em relação aos padrões considerados normais, mas não se deixam enclausurar em leituras pré-concebidas, acionando novas redes de subjetividades
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Gartrell, Stacey R. "Father Absence, Onset of Menarche, and Body Dissatisfaction: Importance of Father Absence." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc277647/.
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Relationships between body dissatisfaction, dieting methods, father absence, and puberty timing were investigated in this study. Participants included adolescent females from Wave 1 of the National Longitudinal Survey of Adolescent Health. Logistic regression results indicated that girls without a biological father in the home were significantly more likely to have an early onset of puberty than on-time or late. Girls who experienced early puberty exhibited higher levels of body dissatisfaction, but didn't use more dieting methods. Early onset girls more likely used dieting methods if their biological father was present than absent; however, no significant difference in body dissatisfaction was shown. A negative relationship with fathers indicated more body dissatisfaction. None of the attained findings were found when the biological mother was absent, and having a stepfather did not seem to matter. Evidence was revealed that fathers play a role in their daughters' view of their own bodies.