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McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.
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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts graduate of the University of Canterbury.
In my thesis I discuss the way Dr Sketchy's Anti-Art School combines and compromises between the life drawing format and the burlesque performance, despite the differences and seeming incompatibilities between these two forms. I investigate Dr Sketchy's as a contemporary cultural performance which combines and to some degree inverts established genres of performance. I give a detailed history of burlesque performance and of life drawing within art education to allow a comprehensive comparison of the two traditions, particularly the way each has conceptualized the nude female body. I argue that the combination of the two forms allows Dr Sketchy's Anti-Art School to transgress the traditional boundaries of each format and introduce influences that would otherwise endanger the status of life drawing and burlesque performance within their respective contexts. I also argue that the nude within Dr Sketchy's Anti-Art School transgresses the traditional conception of the nude within life drawing by using burlesque as an acceptable reference for the transgressive elements of the show.
The arguments put forward in this thesis are the product of extensive participant observation, interviews and literature reviews on the relevant art and performance traditions.
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McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.
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Thesis (Ph. D.)--North Texas State University, 1986.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
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Winthrop, Emily. "Allegories of the Modern: The Female Nude in Art Nouveau." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4203.
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Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting.
This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.
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Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.
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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period.Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.
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Cronje, Karen. "The female body as spectacle in nineteenth- and twentieth-century Western art." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52528.
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Thesis (MA)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: A spectacle denotes an impressive or deplorable sight, and necessarily involves the power and politics of viewing. The female body exists as a sexualised object of these processes of looking within Western culture, not only in high art, but also in discourses such as medicine and science. In both art and medicine the female body has been treated as a passive object to be studied, analysed and classified. Power relations and patriarchal ideologies have played a great part in the resulting objectifying representations, firmly locating images of the female body within the realm of the spectacle. Bodily perceptions, in terms of the female body, have changed much, particularly through the reinterpretation of sexuality through feminist theory. Modem culture and technology have opened up many new possibilities for the redefinition and understanding of the body. Modem bodies seem to be under as much close surveillance and scrutiny as their nineteenth century counterparts. This study explores these ideas through a wide range of examples from painting, photography and performance art, and non-art objects such as anatomical objects and medical illustrations. Central to the construction of the body as spectacle, are issues of looking and viewing. Chapter 1 examines ideas around the gaze; the politics and processes of vision, objectification and fetishisation are explored in relation to the functioning of the medical and aesthetic gaze. The concept of spectacle is also elaborated upon in terms of ideas around the nineteenth century carnival and freak show, and in terms of societal taboos and transgression. Aspects of aesthetic and medical discourse focus on the display and scrutiny of the female body. Chapter 2 examines the way in which these discourses attempted to reveal the female body by rendering it in highly visual terms. The dominant ideologies informing both discourses played an instrumental role and resulted in representations that defined the female body in normative standards and ideals of beauty and health. Pornography is considered as a modem discourse in which the female body is defined and displayed as an object of scrutiny. Feminist theory challenged exclusively male representations of the female body and the subversion of traditional forms of representation of women is studied by examining the work of Annie Sprinkle and Cindy Sherman. Many representations of the female body by feminist artists are considered highly disturbing and transgressive, precisely because they traverse traditional and acceptable representations of it. The idealised nude forms the epitome of contained ideals of health and beauty, and the work of Orlan and Cindy Sherman is examined within these terms in Chapter 3. These artists' representations of the female body are in direct opposition to such norms, rather settling for an open-ended, unconfined and abject representation. However, such transgressive cultural images produced by women artists are often regarded as pathological acts, and dismissed in terms of deplorable spectacle. The research concludes with a commentary on the candidate's practical work, which in dealing with the representation of the human body explores some issues of visuality, spectacle and fragmentation.
AFRIKAANSE OPSOMMING: 'n Spektakel kan op 'n indrukwekkende of betreurenswaardige skouspel dui; gevolglik betrek dit die politiese en magseienskappe van besigtiging. Die vroulike liggaam bestaan as 'n seksuele objek van só 'n proses van besigtiging binne die Westerse kultuur - nie net in kuns nie, maar ook in diskoerse soos geneeskunde en die wetenskap. In beide kuns en geneeskunde, is die vroulike liggaam beskou as 'n passiewe objek vir bestudering, analisering en klassifisering. Magsverhoudinge en ideologieë het gevolglik 'n groot rol gespeel in die uiteindelike objektifiserende representasies, en gevolglik is die uitbeelding van die vroulike liggaam in terme van spektakel vasgelê. Liggaamlike persepsies, veral in terme van die vroulike figuur, het noemenswaardige veranderinge ondergaan - veral deur die hervertolking van seksualiteit deur feministiese teorie. Moderne kultuur en tegnologie bied verdere moontlikhede vir die herdefiniëring en begrip van die liggaam. Die moderne liggaam word onder streng bewaking en betragting geplaas - net soos sy negentiende-eeuse ewebeeld. Hierdie studie ondersoek dié idees deur die bestudering van 'n verskeidenheid voorbeelde vanuit skilderkuns, fotografie en 'performance' -kuns, asook objekte soos anatomiese objekte en mediese illustrasies. Kwessies van besigtiging is sentraal tot die konstruksie van die liggaam as spektakel. Hoofstuk londersoek dus idees rondom besigtiging - onder andere die politiese en magseienskappe, en die gevolglike objektifiserende effek daarvan - in verhouding tot die funksionering van die mediese en die estetiese blik. Die konsep van spektakel word verder uitgebrei in terme van die negentiende-eeuse karnaval, asook in terme van taboes en sosiale oortreding. Sekere aspekte van estetiese en mediese diskoerse fokus op die vertoning en besigtiging van die vroulike liggaam. Hoofstuk 2 ondersoek die wyse waarop hierdie diskoerse die vroulike liggaam in hoogs visuele terme uitgebeeld het. Beide diskoerse is gemotiveer deur dominante ideologieë, wat gevolglik 'n instrumentele rol gespeel het in die uitbeelding van die vroulike liggaam. Sulke uitbeeldings is dikwels gemotiveer deur standaarde en ideale van skoonheid. Gevolglik word pornografie in hierdie hoofstuk bespreek as 'n moderne diskoers wat georganiseer is rondom die vertoning en besigtiging van die vroulike liggaam. Feministiese teorie skep 'n positiewe ruimte waarin sulke eksklusiewe, manlike definisies en uitbeeldings van die vroulike liggaam uitgedaag kan word. Die omverwerping van tradisionele metodes van uitbeelding word hier ondersoek deur die werk van Annie Sprinkle en Cindy Sherman te bespreek. Die herdefiniëring van die vroulike liggaam deur feministiese kunstenaars word dikwels beskou as onstellend; waarskynlik omdat dit tradisionele en aanvaarbare uitbeeldings van die liggaam oortree. Die werk van Orlan en Cindy Sherman word in terme van sosiale oortreding in Hoofstuk 3 ondersoek. Die klassieke naakfiguur stel die ideale van skoonheid en stabiliteit voor. Hierdie kunstenaars se uitbeeldings toon egter 'n doelbewuste verontagsaming van sulke ideale, deurdat hulle eerder 'n oop, onstabiele en gefragmenteerde figuur uitbeeld. Oortredings van kulturele norme deur vrouekunstenaars word dikwels beskou as patalogiese aksies; en dit word dus maklik afgekeur as 'n spektakel. Die navorsing word afgesluit met 'n bespreking van die kandidaat se praktiese werk, wat die uitbeelding van die menslike liggaam ondersoek. Gevolglik word kwessies van besigtiging, spektakel en fragmentasie verder ondersoek.
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Forman, Sophia R. "Bringing Back Color, Bringing Back Emotion: Exploring Phenomenological Empathy in the Reclamation of the Female Nude in Painting." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/187.
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At the nexus of the seemingly disparate art-theoretical topics of color and the female nude is a critical consideration of phenomenology in both one of its most basic senses—as the first-person experience of perceived phenomena—and as a larger philosophical position which, through its abstraction of perception to subject-object relationships, implicates the painted figure. Specifically, this paper conflates the phenomenology of color with the transcendental phenomenology of Edmund Husserl and Maurice Merleau-Ponty in investigating empathy. Structured as a dialectic, it establishes the most prominent views of both color and the female nude—the nude as a symbolic figure, color as perceptual experience—before delving into their various points of theoretical and art-historical intersection within these categories. This analysis ultimately forms the argument that color can be a powerful tool in reclaiming the female nude figure, stimulating emotive bodies that inspire empathetic viewers and intersubjective rather than objectifying, or abjectifying, dialogues.
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Thompson, Thomas S. "The Maturing of Rembrandt (1630-1662): Four Stages of Expressive Development in the Depiction of the Female Nude in Drawings and Etchings." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1400512462.
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Tell, Cornelia. "Vem får vara naken på Instagram? : En jämförande bildanalys av fotografier som tagits ner från, respektive tillåtits finnas kvar på, Instagram." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-406944.
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The aim of this essay is to examine the censorship that the social media platform Instagram exerts over pictures of female nudes, and whether the body type of the women depicted is a factor in how the censorship is carried through. This is executed by making a comparative picture analysis of eight nude photos published on Instagram, four of which are allowed on the platform and four which are not, and have therefore been deleted. The bodies are analysed, and aspects of how they are depicted which are related to the Instagram Community Guidelines, and furthermore if the body depicted conforms to the norms of our contemporary beauty standards and “the Male Gaze”, are reviewed. This fundamental part of the study isbased on the formal analysis and the methods of semiotics. Furthermore, the history of the nude in art, the body norms and ideals of our contemporary society, the Instagram Community rules and Guidelines and the artists are presented briefly. The discussion which has been carried through is based on the analysis and thesis of how female nudes of the Western art cannon have been received, judged, divided into categories and censored to answer the central inquires of the essay. In conclusion, this essay finds how pictures of nude women on Instagram are received, judged, and censored differently depending on whether they fit into the norms of beauty and conform to the male gaze. Hence, the rules of Instagram are found to have been followed through with double standard and bias.
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Kreilinger, Ulla. "Anständige Nacktheit : Körperpflege, Reinigungsriten und das Phänomen weiblicher Nacktheit im archaisch-klassischen Athen /." Rahden/Westf. : Leidorf, 2007. http://www.vml.de/d/detail.php?ISBN=978-3-89646-982-3.
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Höljö, Nikolina. "Att kliva utanför ramen : Nakenhet, feminism och kritik av tre performanceverk från 1960- och 70-talet." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-357940.
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This essay examines the performance artworks Action Pants: Genital Panic (1969), Interior Scroll (1975) and S.O.S Starification Object Series (1974-82) by artists VALIE EXPORT, Carolee Schneemann and Hannah Wilke. The objective is to analyse the expressions of these artworks, from a theoretical viewpoint of feminist art-theoreticians and their critique regarding the female body in representation. Performance- and body-art have been the subject of discussion with respect to the female nude in the history of art, and the patriarchal structures that surround it. These eminent theories about the female body in art differ from one another, leaving this study to investigate given works and the explicit body-language that unites them, with the aim to identify a favourable representation of the female body in 1960sand 70s performance art with the vantage point of these artworks. The present essay has demonstrated that vaginal iconology exists in all works and can be presented in various ways. It becomes clear that the work of VALIE EXPORT provides a framework most suitable as a feminist, critical strategy to counteract the notion of the male gaze, framing, and representation of the body as commodity in capitalist-society. However, the works of Schneemann and Wilke, with more essentialist themes, can through ambiguity contribute to a positive representation of woman in representation. There is no simple answer to which way 2 of using the body is the most beneficial for feminism, however, a critical representation of the female body in performance and body art, in relation to the artists’ own intentions, creates positive ambiguity, thus these artworks do not only reinforce patriarchal conventions regarding the female body.
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Brendel, Maria Lydia. "Allegorical truth-telling via the feminine Baroque : Rubens' material reality : reframing Het pelsken." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ55305.pdf.
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Seaman, Leah M. "The depiction of female emotion as seen through the work of Italian Renaissance artists Artemisia Gentileschi and Michelangelo Caravaggios Judith Beheading Holofernes and Artemisia Gentileschi and Cavaliere dArpinos Susanna and the Elders." Marietta College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors161944857779248.
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Carnvik, Sofia. "Jag tänker på mig själv som en nakenakt : En studie av Marianne Lindberg De Geers skulptur Jag tänker på mig själv i relation till nakenakten som motivkategori." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-377652.
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The aim of this thesis is to describe and analyze the Swedish artist Marianne Lindberg De Geer’s public sculpture Jag tänker på mig själv in relation to the female nude as a traditional motif within the western art and aesthetic. The artwork in question depicts two naked upright standing women, one of whom is represented as emaciated and skinny and the other one as voluminous and fat. By using previous research on the subject of aberrant bodily representations as its main theoretical framework and with a methodological approach based on visual semiotics, this study has found that Jag tänker på mig själv is to be seen as a deviant representation of the female body in several ways. The way in which the female body is represented in Marianne Lindberg De Geer’s sculpture has shown to deviate not only from the traditional female nude but also from the visual norms that usually characterizes aberrant representations of the female-coded body.
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Stubblefield, Shannon. "The nude female performer." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1562505.
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A live nude female performer can occupy a powerful identity equal to a man because she willingly places herself in front of an audience. She commits to this state of profound vulnerability as a means of gaining ownership of her body that men by virtue of their power in society take for granted. The female body occupies physical space, unlike how a body image seen on a television or in a magazine does. The actuality of the live female nude creates a transformation from the purely sexualized body to an authentic female nude body. This authentic female nude body, via her control of her physicality, is a “loud” and often rejected body. The acknowledgement of her authenticity is an acknowledgement of her power and this is common ground on which the female audience member and performer can relate intersubjectively. On the surface, it seems the most effective solution to eliminating objectification and this obstruction of the female body would be to take focus away from her body. Yet paradoxically, female subjects have altered these culturally shaped identity norms of objectification through nude performance, liberating the hyper-sexualized projections attached to the female body and replacing them with symbols of innocence, creativity and power.
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Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).
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Smither, Devon. "Identity crisis : the nude in 1930s modern Canadian art." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27693.
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In their unwillingness to fully assimilate or relate the human body to its surroundings, many artists who painted nudes in the 1930s in Canada found their works the subject of censure and moral debate. Rather than becoming the site of praise for a new Canadian sensibility in the visual arts, the nudes painted in this period would not come to be associated with a uniquely Canadian artistic practice, and the genre failed to assume a pivotal place within the canon of Canadian art history. Viewers could not imagine themselves as heroic pioneers in front of a painting like Lilias Torrance Newton’s Nude (1933), or could they see anything distinctly modern and revolutionary in its execution that would allow them to hold up such an image as an example of an inherently Canadian art. The nude in Canada did not incite the admiration of an art-going public who instead came to associate a national art movement with the landscape paintings of the Group of Seven. Censored, debated, praised, and criticized, the nude genre ultimately failed to have the same impact as landscape painting on the visual arts in Canada.
Landscape painting was able to mediate the relationship between the natural world and its human inhabitants in a way not offered by the nude or figurative painting. In 1916, Saturday Night magazine published an article jocularly recounting how the typical Canadian artist was a “husky beggar” who pulled on a pair of Strathcona boots and set off into the woods with a rifle, a paddle, and enough baked beans for three months. Such assertions would lead a critic like Barker Fairley to complain later that, “[N]ot one Canadian in a hundred goes into an art gallery looking for anything but hills and trees and lakes and clouds and flowers and fruit.” Ultimately, the nude was not able to provide a collective viewing position that could embody a national sentiment. It was unable to penetrate the Canadian consciousness in a way that would win it a place alongside the rolling topography and pristine lakes of the Group of Seven.
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Pennings, Mark W. "Charles Wheeler and the nude in Australia." Connect to thesis, 1991. http://repository.unimelb.edu.au/10187/1432.
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The place for Charles Wheeler’s nudes in Australian art history has not been adequately gauged by art historians. He was one of Australia’s most notable painters of the nude, not perhaps because his vision was particularly inventive or original, but rather because he was an important, conservative conduit of that European tradition. Wheeler was very popular with the buying public over many decades, but success with his nudes was fundamentally a critical one. The positive response to Wheeler’s nudes, paintings which combined elements of the academic tradition and more fashionable conventions, presents an intriguing reflection on the nature of art criticism in Australia. The style of Wheeler’s discourse is indebted not only to late nineteenth century British models, as it was represented in the writings of critics such as R.A.M. Stevenson, who was primarily concerned with technique, but also to current debates about art and morality. One of the determining characteristics of this discourse was an interest in defining the limits between naked and nude. Critics were particularly concerned to protect the nude as a genre against moral attack by refusing to engage in a discussion of its sensual aspects. While the public was keen to debate the moral problems associated with the nude, the critics were anxious to avoid these issues. They felt that questions of morality were not central to artistic merit, and sensed that by engaging in discussion of this kind, the nude was on danger of being brought into disrepute.
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Kane, Maureen Kay. "The Restoration of Venus : the Nude, Beauty and Modernist Misogyny." Thesis, Griffith University, 2010. http://hdl.handle.net/10072/367838.
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The title of this project is intended to convey the main thrust of my studio research, in which I articulate a series of female nudes in an Australian landscape. It is also, however, a response to Wendy Steiner’s book, The Exile of Venus: The Rejection of Beauty in 20th-Century Art, which argues that, in many respects, the history of elite art in the twentieth century is one of resistance to the female subject as the symbol of beauty. Steiner traces this resistance to Kant’s theory of the sublime in art, whose effect was to identify feminine beauty with impurity, an identification taken to extremes by avant-garde modernists whose art, in the words of abstract expressionist Barnett Newman, sought “to destroy beauty.” The result was art that, in Steiner’s words, turned the female subject from paragon into “a monster, an animal, an exotic, a prostitute … in the name of purity and civilized values.” I argue that modernism’s quest for purity was actually a quest for truth which took art in two broad directions: a) toward increasing abstraction and minimalism that sought the unadorned pure forms that underpin all art, giving it value; and b) toward the deliberate portrayal of abject ugliness on the assumption that reality was, after all, not beautiful and that truthfulness therefore demanded that we represent it as it was. The first path is not (necessarily) inimical to beauty, but the rejection of beauty by the latter caused not just a rejection of the female form as symbol, but, as Steiner claims, a misogynistic denigration of woman that led to a century of pornography, shock and alienation in work that often provoked anger and outrage.
Although I had commenced my nudes-in-the-landscape project some years before reading Steiner’s work, her analysis offered me an explanation for my own alienation from much of the modern art world, with what seemed to me its repeated and deliberate perversions. It also helped confirm and support my persistent interest, not only in pursuing traditional modes of art practice, but in creating works intended to be beautiful. If the twentieth century proved that art need not be beautiful to be art, it nevertheless did not succeed in expunging the human desire for and responsiveness to beauty, certainly not in the female form which became more blatantly deployed, often in debased form, in popular culture. The challenge for an artist now concerned with beauty and the female nude is to inquire how and whether the undeniable but problematic power of female beauty can any longer be used for artistic purposes.
My research also inevitably raised the question of the place of theory in art. Against the theory-dominated practice of much modern art, I felt the need to defend an older idea (which I felt verified in my personal history) that theory may grow significantly out of the practice as much as the other way around.
The five panels completed for this DVA project are my response to these challenges using the most traditional symbol of beauty, the female nude drawn from life. Indeed the paintings try to make an emphatic point by using multiple nudes integrated into a Queensland rainforest landscape and painted on such a scale as to envelop the viewer. This exegesis expounds this work by explaining first the artist and her artistic trajectory, with both her persistent and developing concerns, and second the means and methods she employed to try to achieve the strong but implicit structure of composition that must support any work that aspires to beauty.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Tolley, Rebecca. "Review of Curve: The Female Nude Now, by David Ebony & others." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5723.
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Blount, Jennifer Lynn. "The black male nude a study of John Singer Sargent's Thomas McKeller nude within the context of nineteenth-century art and culture /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/blount.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2009.Title from PDF title page (viewed Sept. 2, 2009). Degree earned with the cooperation of additional faculty from the University of Alabama. Includes bibliographical references (p. 88-91).
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Wyatt, Malinda. "William Rimmer's Concept of the Heroic Male Nude." VCU Scholars Compass, 1986. http://hdl.handle.net/10156/1443.
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Achard, Madeleine. "« Cette femme était très belle… ». La postérité de Bethsabée dans la littérature et les arts." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL094.
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Nous avons aspiré à mettre à lumière à travers ces travaux la façon dont la figure de Bethsabée fut appréhendée, interprétée et représentée dans la littérature et les arts, de la Bible à nos jours, à travers un choix d’œuvres varié. À la fois diachronique et comparatiste, la perspective que nous avons suivie repose sur la mise en regard du texte et de l’image ; elle est également fondée sur le rapprochement d’œuvres littéraires d’époques et de langues diverses, de façon à dévoiler les chaînes interprétatives qui se sont élaborées et répondues au fil des siècles autour de celle qui fut successivement la femme d’Urie, l’amante de David, la mère de Salomon et l’ancêtre du MessieThis thesis of French and comparative Literature aims at highlighting the way the biblical figure of Bathsheba was perceived, interpreted and depicted in Literature and Arts, from the biblical backgrounds to our days, throughout a selection of various works. Both diachronic and comparatist, our analysis is mainly based on the parallel view of texts and images. It also lies on the simultaneous analysis of literary works belonging to different times and languages, in order to enhance the traditions which progressively emerged and responded to one another throughout the centuries about a woman who, in a single lifetime, was the wife of Uriah, the lover and spouse of king David, the mother of his son Solomon and one of the most subversive ancestors of Jesus Christ
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Birch, Hannah L. "A study of the figure in intaglio." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1318608.
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This project chronicles my explorations of the human figure in intaglio and relief printmaking and in the medium of artists' books. I had very little experience in the field of printmaking prior to my acceptance into the Masters program at Ball State University. I found intaglio, or etching into a metal plate, stimulating and exciting because there are very few limitations in terms of what I can do with this medium. I received a Bachelors of Fine Arts in drawing from SUNY Fredonia. Creating artwork in the printmaking medium has allowed my drawing skills to continue to grow and provided a variety of new technical possibilities. I choose to work with the figure because it is an important subject for an artist to study in order to learn to draw. Since all humans share the same basic structure, it is something that everyone should relate to. It is also something that translates into every possible medium, from cave drawings to fashion design. Many of the artists I have studied, such as Albrecht Durer, and Francisco Goya, worked with the figure in printmaking. Their work provided inspiration while I pursued my own work in this field.Department of Art
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Bimber, Jayson. "Good is dead /." Online version of thesis, 2007. http://hdl.handle.net/1850/5278.
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Radić, Xavier. "Queer reflections on Baron Wilhelm von Gloeden a creative reconsideration of pose, gaze and technique : this exegesis [thesis] is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design in the year 2004 /." Full thesis. Abstract, 2004.
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Arnold, J. David. "Naked portraits : figures in oil." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864927.
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The purpose of this project is to create a group of paintings/portraits of two close friends, using the medium of oil bars on gessoed paper. This medium will be explained in the text of the paper. The paintings were an attempt to describe aspects of personality that I see in my friends, their own personal struggles and victories. I observed these changes first hand. I told the story of these changes, as they evolved, in the paintings.The six paintings explore the naturalistic style which is new for me. It will open other avenues of visual expression. It was necessary for me to spend time in research and study of other contemporary artists who have worked with the figure and portraits. The study of other artists is an artistic discipline that helped me clarify, in my own mind, the purpose and problem-solving that took place in the course of my study.Department of Art
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Loveridge, Camilla C. "Resisting aggression : Graphic re-presentations for other bodies." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/796.
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These chapters consider how art can provide a space for wider critical debate on established patriarchal power relations, which have operated in Western culture since the Enlightenment period. As a female artist, I want to explore the space in art of both the female body and the community body. This work seeks to position the female body within the "form" of her subjectivity, to destabilize patriarchal strongholds through the displacement of the traditionally aestheticised female "nude”. That is, I examine the (historicized) notion of a “subject” and the representation of an "object”, and understand the female "nude” as a representation of patriarchal dominance to this day. I use my art work: of women to explore recent feminist theory that investigates these historicized notions, hoping to present images that critique rather than wholly participate in the tradition of objectifying women without question. Ultimately, I move to a broader field, to incorporate an idea of a community "body" that is embracing of those bodies culturally precluded from subjective empowerment. My attention is specifically focused on the remediation of the once "derelict" land and "polluted" waterways of East Perth, to the "pristine" condition of what is now an exclusive corporate and residential site. I intend to address my art to the many "marginalized" bodies, traditionally and presently obstructed from subjective representation within our Western culture. In bringing both "bodies" together, my art aims to help disrupt the patriarch from his central subjective stronghold. Chapter 1 explores the (assumed) privileged "gaze" of the Western male artist (and my own naive participation in this practice). which transforms the "deformed" physical "matter” of women into the "iconic", conceptual "form" of the patriarch's "Woman". Chapter 2 examines the space for a female voice that recent psychoanalytic theory evokes in challenging the conventions of patriarchy. At this point in particular, my praxis seeks to reflect this emergence for women, as reconnections to the "matter" of the maternal body are made. Chapter 3 investigates how feminist theory resists the patriarchal icon for female "beauty" (in the classical "nude"), through its representation of new bodily images and identities for women. Subsequently, I journey in my visual practice in responding to this "resistance", and focus specifically on the feminist notion of "ambiguity" for female self-expression, as a means to subversively obstructing patriarchal hegemony. Chapter 4 articulates the significance of "desire" for women in their discovery of themselves at an intimate level, without the intervention of masculine visual penetration. I represent this intimacy (this "divinity" for women), through tactile qualities in my practice, which serve to connect women to themselves, whilst interrupting the penetration of the patriarchal gaze. Finally, Chapter 5 shows how the resistance and corporeality of the female body comes to symbolize the existence of the “community body" that works to reclaim a "presence" (a place of domicile) within the redeveloped site of East Perth.
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Simic, Anderson Magdalena. "(Dis)identifying female archetypes in live art." Thesis, Lancaster University, 2007. http://eprints.lancs.ac.uk/78761/.
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My thesis considers a feminist arts practice as a form of political agency. My research is practice-led. It consists of three performances/live art events (Medea/Mothers’ Clothes, Magdalena Makeup and Joan Trial), its documentation on three sets of DVDs and a written dissertation. Female archetypes, which have tended to be associated with the canonical, underpin my research investigations. Through my arts practice I intervene in three archetypal images of women that are representative of the patriarchal canon: Medea (the anti-mother), Mary Magdalene (the penitent whore) and Joan of Arc (virgin martyr). I juxtapose their ‘universality’ with the experiential, the local and the contemporary. I draw on the authoritative personal voice of the lived anxiety of the experience of motherhood (Medea), name identification (Mary Magdalene), spirituality/heroism (Joan of Arc) and the sense of ‘being foreign’, seen as ‘Other’. Working from my subject figuration of a ‘Foreigner’ (Croatian, living in Britain), my local community and experience of my daily life as a mother and artist-researcher in Liverpool, I (dis)identify with socio-culturally prescribed forms of the feminine, as conventionally represented by these archetypes. The production of my arts practice is understood as my political commitment to the world, a part of and an intervention into my everyday living. This thesis is situated and contextualized within the field of contemporary British Live Art practices, feminist solo performance and transnational arts practices. For the purposes of facilitating my agency as an artist, throughout the thesis I use postcolonial and transnational feminist studies as well as feminist discourses on the ‘politics of location’ and ‘lived experience’, particularly the work of Sara Ahmed, Atvar Brah, Teresa de Lauretis, Inderpal Grewal, Caren Kaplan, Doreen Massey, Chandra Talpade Mohanty, Elspeth Probyn, Gayatri Spivak and Iris Marion Young.
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Kurosawa, Yukie. "Pages from my diary : a series of paintings and prints." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864930.
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The creative project, which focused in painting and print making was the conclusion of my graduate program in studio art. I executed eleven oil paintings and eleven woodblock prints which demonstrated my development as a twodimensional artist.Although oil painting is the primary medium that I worked in for this project, I expanded my visual vocabulary to include woodblock printing. These paintings and prints were exhibited at the University Theater Gallery on Ball State University's campus in April of 1992.Painting is a vehicle to express my ideas to others. It is also a vehicle for my personal discovery' Being Japanese (Eastern) living in America (Western) has created a cultural duality in my life, which is the main focus of this creative project. The emotional content of each piece is expressed through visual metaphors.This project involves the exploration of the female figure as a self-portrait, rendered in an environment that visually represents my emotional state of mind. It is a visual diary which started out with the creation of small black and white woodblock prints. I created the images of the four seasons with a female figure surrounded by decorative patterns. This idea expanded as I worked on the oil paintings, which are larger in format (human scale). My intention was to provide a stimulus for emotional response while gaining a greater understanding of how colors, shapes, and other elements operate expressively. For example, in most of the images I intentionally positioned the figure so that the face is turned away from the viewer and not portrayed. This allowed the viewers to project their own feelings onto the work.Along with the creation of the paintings and the prints, I researched past and contemporary artists who shared my ideas and concerns. These artists include the post impressionists--Van Gogh and Paul Gauguin; the Nabis--Pierre Bonnard and Edouard Vuillard; the Fauves--primarily Matisse; German Expressionists; and a contemporary English artist, Howard Hodgkin.Department of Art
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DiFranco, Maria K. "The Female Experience of Cancer, Seen Through Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461107465.
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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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Ovalioglu, Nilufer. "The female bouffon." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/4712.
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This dissertation examines the notion of the female in performance, the latter term applying to occasions that are outside as well as within theatrical venues. I attempt to address the complex and mutually entailed interrelation between the 'normative' as it has, and continues to, govern female behaviour, and those manifestations deemed transgressive of these in some respect. I seek to postulate a conception of the performing female as a phenomenon which owes its force to the presence of both polarities. My preferred term for such a figure is the female bouffon, and after a preliminary definition of associated terms, I discuss the carnivalesque, socially licenced occasions of 'misrule' in pre-modern societies, where norms were temporarily suspended to permit women to 'make a spectacle of themselves'. Some contemporary parallels are furnished. I then address the larger and more discursive issues of the reflexive and self-applied norms of proper female conduct as offered and justified by industrial, scientifically authorized societies. From the above, I turn to the extraordinary creative ferment of the turn of the twentieth century, which witnessed the rebellious re-institution of older performance genres as well as the invention of new ones. I then discuss the associated theatrical theorizing that accompanied this era. After a detailed examination of the work of two contemporary practitioners, who, I consider, gather together past and present themes of bouffonerie in a compelling way, I give examples of my own performance practice, and some analysis of its reciprocal relation with an audience. I conclude with some speculative thoughts as to the future of the bouffonesque female performer.
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Barry, Marie Porterfield. "Lesson 21: Vision and Abstraction by Female Artists." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/23.
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Wallis, Karen. "Painting & drawing the nude : a search for a realism for the body through phenomenology & fine art practice." Thesis, University of the West of England, Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252566.
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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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Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.
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Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.
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Tsaturyan, Christina Ann. "Sport as Art: The Female Athlete in French Literature." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2347.
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The modern conception of organized, codified sport originated in Europe during the 19th century. At this time, instructors began to institute the practice of certain physical activities at school as a means of teaching morals, forming character, and initiating social exchange. Sport is particularly appropriate for forming men because of its public, physical nature. The values it instills—courage, strength, leadership—are also decidedly masculine. What, then, is made of the female athlete? Are the noble qualities that sports affirm inapplicable to women? In this thesis, I argue that female participation in sports often leads to masculinization, unless the sport is transformed into a type of “art” or otherwise feminized by focusing on its ability to enhance feminine roles (e.g. mother). This aestheticization/feminization renders female participation acceptable and allows women to receive their own “formation,” increase their aristocratic elegance, and participate in important social exchange. Sometimes these results come at a cost, such as marginalization or sexualization, but there are far fewer examples of such in the works of female authors. Society generally renounced physicality during the 17th and 18th centuries, and “sport” was an exclusively noble activity, so I will look predominantly at works from the 19th century—the period in which sport became codified, and consequently, “masculinized.” Because the 19th century is often considered a “Renaissance of the Renaissance,” I will also reference the 16th century to set the stage.
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Rizzo, Nicolo' <1995>. "NUDE "IS A VERB": Conversazione con Tatiana Brodatch Studio della riscoperta del nudo scultoreo negli ultimi decenni, fino al caso di Tatiana Brodatch." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17008.
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L'intervista con l'artista Tatiana Brodatch permette di aprire uno studio attorno al nudo scultoreo. Lo scopo è quello di capire se il suo caso è isolato, oppure se altri artisti nei decenni precedenti hanno sperimentato con il nudo in scultura.
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Gibson, Olga. "Exploring infertility through art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1996. https://ro.ecu.edu.au/theses/1727.
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This study, entitled "Exploring infertility through art" focuses on researching the use of art to explore the psychogenic, psychological and physiological aspects of infertility and the psychosomatic avenues of expression possibly resulting in, or contributing to, infertility. The term psychogenic means "pertaining to disorders which are functional in origin" (Chaplin, 1973, p. · 391), or "term usually employed of disorders which originate in mental conditions, though they may come to involve physiological changes, as a result of these mental conditions" (Drever, 1978, p. 231). A psychogenic disorder is ''a functional disorder which has no known organic basis and is therefore likely to be due to conflict or emotional stress" (Chaplin, 1973, p. 391). An initial literature review suggested that this specific topic has not been researched previously, and very little literature is available on the use of art therapy with clients with fertility problems. Although there is very little within art therapy literature, however, studies that exist in the wider psychological literature directly related to the subject area have been investigated. A phenomenological method of research was employed to investigate the links between creativity and fertility, and to establish the plausibility of using art therapy interventions within a medical and/or therapeutic setting treating an infertile client population. It was found that art therapy as a healing modality has much to offer women wishing to transform their feelings of loss and grief into creativity and personal power.
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Lloyd, Sharni, and mikewood@deakin edu au. "Exploratory surgery of the female psyche." Deakin University, 1996. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051111.115947.
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The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is feminine authority, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society.
Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following;
Explore their own psychology beyond the existing socially constructed gender roles.
Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes.
Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science.
Archetypal myths of the feminine have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, Individuation is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The true feminine is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority.
This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her.
Western epistemology, with its emphasis on objective investigation and empiricism contributes to the support for and promotion of inferior female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view.
Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for truth and absolute can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure.
Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment.
Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to eve and the siren. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the feminine aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess.
The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings.
Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian.
The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices
and technique while making reference to imagery from previous works, The Three Graces Victorious, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated.
Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed.
To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his Four Seasons series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys.
Although The Three Graces Victorious; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.
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Moore, Cathie A. "Eternal Gaze: Third Intermediate Period Non-Royal Female Egyptian Coffins." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1401301633.
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Viljoen, Estella. "From Manet to GQ a critical investigation of "gentleman's pornography" /." Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-03122004-082238.
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Kok, Cornelius Wilhelmus. "Molecular characterization of human vaginal mucosa obtained from fresh harvest and implants in an experimental nude mouse model." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6879.
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Thesis (MMedSc )--University of Stellenbosch, 2011.ENGLISH ABSTRACT: The present study investigated in particularly the specific nature of the supporting stromal layer located between the implanted human cyst and host murine tissue, which has yet to be reported. During an initial phase of this study, the particular light microscopic properties of the existing hematoxylin and eosin (H&E) stained experimental cyst was investigated, with regards to the presence or absence of specific morphological features, namely spongiosis, exocytosis, epithelial keratinization, epithelial thickness and hyperplasia, and the vascularity and fibrosis present in the stroma of these experimental sections. Subsequent analysis reported significant spongiosis, in addition to increased exocytosis of immune cells and epithelial keratinization in a number of cysts. Additionally, increased epithelial thickness and hyperplasia was reported in only 2 / 10 experimental tissues, whereas increased vascularity was observed in the stroma following analysis of H&E and Special staining, such as Verhoeff-von Gieson and Masson trichrome results. During the second phase of the study, immunohistochemical analysis with a particularly wide array of antibodies raised against specific human and mouse antigens had been applied. This involved automated immunohistochemical staining with mouse anti-human primary antibodies, in addition to manual staining with rabbit anti-mouse primary antibodies. Subsequent visualization was achieved by means of linking to biotinylated secondary antibodies, and Streptavidin-HRP incubation for standard visualization, followed by counterstaining with Hematoxylin. Maintained positive expression of cytokeratins 5, 13, and 14 was demonstrated in both control human vaginal mucosa and experimental cysts, whereas similar findings were not reported for cytokeratin 1, given the vast keratinization which was observed. Human collagen type IV and laminin of the basement membrane reported positive expression in 9 / 10 and 6 / 10 control human vaginal mucosa tissues respectively. In comparison, negative mouse collagen type IV and laminin was reported in most experimental cysts compared to positive staining in positive control mouse tissues. Immunohistochemical staining for human elastin, fibronectin, von Willebrand factor, and fibroblasts revealed maintained positive staining in all control human vaginal mucosa and experimental cysts. However, maintained expression of CD34 (endothelial marker), CD1a (langerhans cells), and human VEGFR-3 in experimental cysts was not demonstrated, compared to positive expression in control human vaginal mucosa. Subsequent analysis of murine antigens illustrated uniformly negative staining for mouse fibronectin, langerhans cells (CD207), and fibroblasts, in addition to negative staining in positive control mouse tissue sections. Furthermore, negative staining for mouse VEGFR-2 was reported in all experimental cysts; however strong positive staining of this marker in mouse kidney tissue had been reported. The findings of this study suggested that the exact nature of the stromal layer is of both human and murine origin. Furthermore, the tissue region located beneath the human vaginal epithelium is suggested to be of human nature, whereas the second distinct region located at the periphery of experimental cyst tissues, is suggested to be murine origin; however the findings of immunohistochemical analysis could not illustrate definitively the exact nature of the intermediate stromal layer, but could in fact demonstrate a mixture of human and murine tissue.
AFRIKAANSE OPSOMMING: Die huidige studie het die spesifieke molekulêre en histologiese eienskappe van die stromale laag geleë tussen menslike sist- en muis velweefsel bestudeer, wat tans nog nie bekend is nie. Gedurende die eerste fase van hierdie studie is die besondere lig-mikroskopiese eienskappe van die bestaande hematoksilien en eosien (H&E) eksperimentele siste bestudeer, met betrekking tot die aan- of afwesigheid van spesifieke morfologiese eienskappe, naamlik spongiose, eksositose van immuunselle, epiteel keratinisasie, epiteel dikte en hiperplasie, en laastens die stromale vaskulariteit en fibrose. Gevolglike analise het daarop gedui dat beduidende spongiose, eksositose en epiteel keratinisasie gevind word in die eksperimentele siste in vergelyking met kontrole vaginal weefsel. Hierteenoor is die verdikking van die epiteel en hiperplasie in slegs 2 / 10 eksperimentele siste gevind, terwyl vermeerderde vaskulariteit aangedui is na gevolglike H&E en spesiale (soos byvoorbeeld Verhoeff-von Gieson en Masson trichrome) kleuringsresultate. Die tweede fase van die studie het die immunokleuring met verskeie mens- en muis spesifieke antiliggame behels, waarby die uitdrukking van verskeie mens antigene vergelyk is met dié van muis. As sulks is ge-automatiseerde immunohistochemie toegepas met muis primêre antiliggame, tesame met fisiese kleuring met konyn primêre antiliggame toegepas. Gevolglike visualisasie is aangedui deur middel van binding met sekondêre antiliggaam en Streptavidin- HRP, gevolg deur teenkleuring met Hematoksilien. Algehele behoud van positiewe uitdrukking van sitokeratien 5, 13, en 14 is bevind, terwyl sitokeratien 1 uitdrukking nie daarwerklik vergelykbaar is met dié van kontrole mens vaginale weefsel nie. Die uitdrukking van mens kollageen IV en laminien van die basaal membraan is verder bestudeer, en het egter positiewe kleuring in 9 / 10 en 6 / 10 van kontrole mens vaginale mukosa aangedui. In vergelykking hiermee kon die huidige bevindings egter net positiewe kleuring in 4 / 10 en 3 / 10 eksperimentele siste vir kollageen IV en laminien onderskeidelik, illustreer. Immunohistochemiese analise van menslike elastien, fibronektien, von Willebrand (vW) faktor en fibroblaste het op deurgaans positiewe uitdrukking van hierdie merkers aangedui in beide eksperimentele en kontrole menslike weefsel. In teenstelling hiermee is volgehoue uitdrukking van CD34 (endoteel merker), CD1a (Langerhans sel merker) en mens VEGFR-3 in ekperimentele siste egter nie illustreerbaar nie, in vergelykking met deurgaans positiewe uitdrukking van hierdie antigene in kontrole mens vaginale mukosa. In opvolging is deurgaans negatiewe uitdrukking van muis fibronektien, langerhans sel (CD207) en fibroblaste bevestig, terwyl negatiewe kleuring ook deurgaans in positiwe kontrole muis weefsel, bekom deur die disseksie van ‘n naakte muis, gevind is. Verder is ook negatiewe kleuring vir VEGFR-2 in alle eksperimentele siste gevind, terwyl egter sterk positiewe kleuring in muis nierweefsel as positiewe weefsel gevind is. Die resultate van die huidige studie het daarop gedui dat die stromale laag onderliggend tot mens vaginale epiteel van menslike oorsprong is, terwyl die periferale stroma onderliggend tot muis velweefsel, ongetwyfeld van muis oorsprong is. Laastens kon die spesifieke oorsprong van die tussenliggende stroma nie aangedui word nie, maar dat dit moontlik uit beide menslike- en muisweefsel bestaan.
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Warr, Cordelia. "Female patronage and the rise of female spirituality in Italian art of the thirteenth and fourteenth centuries." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/3957/.
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This thesis deals with the two partially interlocking aspects of female patronage and female spirituality in Italian art during the thirteenth and fourteenth centuries. My aim has been to expand the knowledge of this subject not through a detailed examination of one female patron, her spirituality, and how it affected her commissions, but through a number of representative examples in order to show the breadth and diversity of women's influence over art, both active and passive. I have therefore surveyed previous assumptions on female patronage and the opportunities that existed for it, taking a number of smaller examples so as to lay a base for my later arguments. One of the main problems that emerged was a misunderstanding of the clothes depicted as being worn both by the subjects of the paintings and by the donors, and also the subjective use of clothes in order to put across a message. This aspect also bears on the variety of women's religious experience which underlies the whole of this investigation. It forms a base for my chapters on commissions by and for the Poor Clares and the female Vallombrosan order. Finally, I have looked at two examples of lay female patronage only one of which takes a woman as its subject, and examined the reasons for the choice of subject in relation to the spiritual influences of the commissioner and also the ways in which the direct influence of the patron can be assessed. My research has indicated that both lay women and nuns were not only capable of paying for ambitious projects but that they could also positively affect their iconography. Women's influence over art during this period, and the impact of their spirituality on it, both actively and passively, has only previously been investigated in a few instances. The aim of this thesis is to provide an overview of the female patronage and female spirituality in art and to show that women's influence over art was present in many spheres of society and was not an exception to the rule.
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Roussos, Rita. "Images of the female body in Greek Art of the fourth century B.C. and the female spectator." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492705.
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Kaercher, Julianne C. "Female duality and Petrarchan ideals in Titian's Sacred and profane love." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237842179.
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Gerstein, Rosalyn. "Interpreting the female voice : an application of art and media technology." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/15110.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1986.MICROFICHE COPY AVAILBLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 224-227.
by Rosalyn Gale Gerstein.
Ph.D.
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Nosal, Yvette D. "Trauma and Addiction: Art Therapy With the Dually Diagnosed Female Client." Ursuline College / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=urs1208901830.
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Gunson, Hannah Mahrii. "The Performing Female Body: The National Theatre Frankenstein as Performance Art." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/9096.
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The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.
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Yusuf, Abass Babatunde. "Adherence to ART among HIV Infected Female Sex Workers in Nigeria." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/7524.
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A lack of adherence to antiretroviral therapy (ART) increases the risk of onward human immunodeficiency virus (HIV) transmission and mortality. The purpose of this cross-sectional study based on Andersen's conceptual framework was to test the associations between age, marital status, job/occupational status, education, membership in a peer support group, community, and facility ARV drug refill and alcohol and substance use, and adherence to ART among female sex workers (FSWs) who are 15 years and older in Rivers and Cross Rivers states Nigeria. Data were abstracted from existing program data collected between January 2015 and December 2017 by Heartland Alliance International, Nigeria. Results from chi-square statistics showed that age, job/employment, and marital status were not associated with adherence to ART. Binary logistic regression analyses showed that respondents with senior secondary education were 1.385 times more likely to adhere to ART than other education levels (OR = 1.385, 95% CI = 1.203, 1.593). Respondents who had ARV refill in the facility were 1.737 times more likely to adhere to ART than respondents who had community ARV refill (OR= 1.737, 95% CI: 1.297, 2.326). Also, respondents who were a member of a support group were 6.430 times more likely to adhere to ART compared to those not in a support group (OR= 6.430, 95% CI: 4.682, 8.831). Lastly, respondents who did not abuse alcohol or substance were 1.820 times likely to adhere to ART compared to those who did (OR= 1.820, 95%: CI: 1.356, 2.444). All-inclusive key population policies could aid in lessening the barriers the FSWs face in receiving comprehensive health services as well as endorsing interventions such as alcohol and drug rehabilitation, counseling, and incentives to join peer support groups that could benefit FSWs, their clients, and families.