Relevant bibliographies by topics / Feminine masquerade

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Feminine masquerade'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Feminine masquerade"

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Belsey, Catherine. "Popular Fiction and the Feminine Masquerade." European Journal of English Studies 2, no. 3 (December 1998): 343–58. http://dx.doi.org/10.1080/13825579808574422.

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Salotto, Eleanor. "Detecting Esther Summerson's Secrets: Dickens's Bleak House of Representation." Victorian Literature and Culture 25, no. 2 (1997): 333–49. http://dx.doi.org/10.1017/s1060150300004824.

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In this essay, I suggest that we may read Esther Summerson's narration in Bleak House through the lens of recent feminist theoretical speculations on mimicry and masquerade. I argue that Esther's narrative is a duplicitous one in that it redeploys masculine modes of discourse, calling attention to the production of women in that discourse. Writing a narrative about her life, Esther, in effect, copies masculine discourse, but she also writes over it imprinting her own signature. Esther's writing sheds much light on the text's obsessive focus on writing and copying; she produces copy, the copy o
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Bowen, Kate. "Giving Hegemonic Masculinity a Face Lift: Masquerade in John Woo's Face/Off and the Somatechnics of Masculinity in Crisis." Somatechnics 11, no. 1 (April 2021): 10–26. http://dx.doi.org/10.3366/soma.2021.0337.

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In 1990s America, the question of what made a ‘real’ man was at the forefront of debates about sex and gender. During this pivotal moment in American history, hegemonic masculinity in particular was experiencing numerous threats to its ontological security. For instance, masculinity was infamously pronounced in crisis, the advent of the ‘new man’ betrayed anxieties about an image-conscious and feminine performance of masculinity, and there was mounting social pressure from civil rights, feminist, and queer groups for straight, white, masculinity to be challenged as the centre of the patriarcha
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Waggoner, Catherine Egley. "The emancipatory potential of feminine masquerade in Mary Kay cosmetics." Text and Performance Quarterly 17, no. 3 (July 1997): 256–72. http://dx.doi.org/10.1080/10462939709366189.

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Shields, Vickie Rutledge, and Colleen Coughlin. "Performing rodeo queen culture: Competition, athleticism and excessive feminine masquerade." Text and Performance Quarterly 20, no. 2 (April 2000): 182–202. http://dx.doi.org/10.1080/10462930009366293.

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Mouton, Janice. "From Feminine Masquerade to Flaneuse: Agnes Varda's Cleo in the City." Cinema Journal 40, no. 2 (2001): 3–16. http://dx.doi.org/10.1353/cj.2001.0004.

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Kaplun, Marianna V. "Gender projections in the novel Soul in A Mask by N. V. Nedobrovo." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 188–200. http://dx.doi.org/10.37816/2073-9567-2021-60-188-200.

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The prose novel by N. V. Nedobrovo Soul in A Mask, written in 1914, incorporates basic ideas of the writer’s work and continues development of gender (feminine) discourse of the modern era. To a large extent, the search for a “soul in a mask”, the ability to express a lyrical “I”, coupled with the theatricality of being, the need for a social masquerade, are characteristic of the majority of modernist works. The theme of masks is equally present in the lyrics of symbolism and close to Nedobrovo acmeism (for example, in the work of A. A. Akhmatova, Nedobrovo’s closest friend). The masquerade pe
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Stalpaert, Christel, and Sophie Doutreligne. "Performing with the Masquerade: Towards a Corporeal Reconstitution of Sophie Taeuber’s Dada Performances." Performance Philosophy 4, no. 2 (February 1, 2019): 528–45. http://dx.doi.org/10.21476/pp.2019.42228.

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This contribution aims for a “corporeal reconstitution” (Irigaray) of Sophie Taeuber’s (1889-1943) dance performances at the Cabaret Voltaire and the Galerie Dada in 1916/17. This means that the movements from the static images informing the history of Dada art need to be re-imagined. It implies a rendering perceptible of Taeuber’s trained dancer’s body, its particular movements, and the quality of these movements. Through testimonies of contemporaries, it becomes clear that Taeuber not only dances in a costume or behind a mask but with the mask, the costume and sound poems. The reconstitution
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Murphy, Ian. "Anima animus." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 97–115. http://dx.doi.org/10.33178/alpha.4.07.

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This essay explores Jennifer Jason Leigh’s portrayal of the young prostitute Tralala in Last Exit to Brooklyn (Uli Edel, 1989) as a case study in performance style that can be usefully understood as bisexual. Drawing firstly upon Joan Riviere’s concept of womanliness as a masquerade, it examines how Tralala’s feminine performativity masks a confused, neurotic and androgynous gender identity and a raging bid for phallic power. As played by Leigh, Tralala’s snarling speech and undulating swagger evokes the wounded rage, rebellion and alienation of 1950s Method “bad boy” stars such as Marlon Bran
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Gündar, Zehra. "MARIANNE MOORE: NO WAY OUT, GENDERING BODY THROUGH POETICS AND POETRY AS ECRITURE FEMININE." IEDSR Association 7, no. 18 (March 18, 2022): 276–93. http://dx.doi.org/10.46872/pj.507.

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This study analyzes Marianne Moore’s poems Marriage, To be Liked by You Would be a Calamity and Feed Me, Also, River God from a poststructural feminist framework as posited in the writings of Hélène Cixous, Julia Kristeva and Luce Irigaray. The study approaches the poems as examples of ecriture feminine, which is literally the feminine writing aimed at relocating the feminine and female body back into discourse. Women’s non-representation in the male-centered discourse, female essentialization based on her biology and perception of the female body as the locus of male desire are among the prim
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Dissertations / Theses on the topic "Feminine masquerade"

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Boyes, Emma Louise. "The masquerade of the feminine." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16250/1/Emma_Boyes_Thesis.pdf.

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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes th
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Boyes, Emma Louise. "The masquerade of the feminine." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.

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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes th
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Burton, Laini Michelle, and n/a. "The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070122.110616.

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Blonde hair is a potent and highly visible sign in western culture. Although the popularity and desirability of blonde hair in the West is well documented, since the 1950s, blonde hair has also generated many negative associations and these have contributed to myths around blondeness. In particular, women who dye their hair blonde find themselves in a paradoxical position; they simultaneously evoke desire and derision. This thesis uses the model of feminine masquerade outlined by Joan Riviere (1929) as a locus for discussing the transgressive potential of the knowing use of blondeness as a sig
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Burton, Laini Michelle. "The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365277.

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Blonde hair is a potent and highly visible sign in western culture. Although the popularity and desirability of blonde hair in the West is well documented, since the 1950s, blonde hair has also generated many negative associations and these have contributed to myths around blondeness. In particular, women who dye their hair blonde find themselves in a paradoxical position; they simultaneously evoke desire and derision. This thesis uses the model of feminine masquerade outlined by Joan Riviere (1929) as a locus for discussing the transgressive potential of the knowing use of blondeness as a sig
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Irimescu, Alexandra. "Les blogs personnels de mode en tant que nouvelles technologies de genre : Construction/déconstruction de l’éthos féminin." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2055.

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Le blog est un catalyseur idéal des transformations sociales et technologiques définitoires pour les sociétés occidentales. Il traduit une double prise de distance des individus: la première anti-hégémonique, par le refus du monopole de la production de modèles de genre et de l’information, et la deuxième expressiviste et identitaire liée à la prise de parole non-médiée des femmes dans l’espace public digital. Cette recherche prolonge les questionnements sur la possibilité de manifestation dans le numérique d’un expressivisme de genre. En ce sens, le blog personnel de mode est questionné comme
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Grimborg, Lotta. "Den feminina maskeraden : Attributen som skapar ytspänningar." Thesis, Konstfack, Ädellab/Metallformgivning, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5192.

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We live in a world constructed by predeterminations, divided by gender. It’s a masquerade that we’re all taking part in, men by their gaze and women by embodying it. I’ve investigated spaces where feminine attributes are interconnected to a female body, and aspects that shape the misleading mask. In my research I discovered that there are three areas where a woman and female attributes are merged: In media where the stereotype image of a woman is confirmed in glossy magazines and in reality shows. In the bathroom, a room that represents the starting point of the masquerade. And last in typical
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Berseneva, Olga. "Statut métapsychologique de la mascarade féminine et de la parade virile." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0131.

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L'approche métapsychologique vise à décrire les processus psychiques déployés dans la mascarade féminine et dans la parade virile du point de vue topique. Les concepts fondamentaux de la psychanalyse permettent que soient interrogées les catégories du féminin et du masculin. Si l'on se fie au déséquilibre existant dans la littérature qui traite de la question du masculin et du féminin, on en déduit que l'énigme de la femme fait discourir là où la question du masculin ne ferait pas débat. Il est également courant d'associer la mascarade à la position féminine tandis que son corrélât pour l'homm
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Ortega, Laura M. "The Commodification of Queer Virgins in Shakespeare, Spenser, and Keats." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1905.

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The purpose of this thesis was to explore selected works from William Shakespeare, Edmund Spenser, and John Keats, in order to expose textual instances of feminist thought. This analysis was aided with feminist theorists falling under the main strains of queer theory, materialism, and gender performance. Specifically, this thesis focused on the ways in which women, particularly virgin daughters, were viewed as property by their male kin. It also looked at how these women engaged in various symbolic masquerades and/or actual cross-dressing as a response to the aforementioned phenomenon. Finally
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Palmcrantz, Nicolina, and Marlene Gröning. "Disneys feministiska ikon – eller? : En feministisk analys av filmen Mulan." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-26933.

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I denna uppsats analyseras Disneyfilmen Mulan från 1998 ur ett feministiskt perspektiv. I en tid då feminismen återigen står högt upp på dagordningen och eftersom det fortfarande debatteras kring Mulan och feminism ville vi författare undersöka på djupet om Mulan kan kallas för feministisk. Med utgångspunkt i Judith Butlers feministiska teorier om hur genus konstrueras och är en maskerad kompletterat med Laura Mulveys teorier kring den manliga blicken i film samt Margareta Rönnbergs förklaring av den kvinnligt kodade hedoniska makten kontra den manligt kodade agoniska så har vi författare gjor
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De, La Cruz-Guzman Marlene. "Of Masquerading and Weaving Tales of Empowerment: Gender, Composite Consciousness, and Culture-Specificity in the Early Novels of Sefi Atta and Laila Lalami." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417002139.

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Books on the topic "Feminine masquerade"

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Phillips, Ruth B. Representing woman: Sande masquerades of the Mende of Sierra Leone. Los Angeles, Calif: UCLA Fowler Museum of Cultural History, 1995.

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Atkinson, Alastair James. Gazing into the dark continents: The function of fantasy and masquerade within narrative cinema, based in feminist film theory. [Derby: University of Derby], 1998.

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Schofield, Mary Anne. Masking and unmasking the female mind: Disguising romances in feminine fiction, 1713-1799. Newark: University of Delaware Press, 1990.

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Masquerade: The Feminist Illusion. Trafford Publishing, 2004.

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Masquerade: The Feminist Illusion. Hamilton Books, 2005.

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Tan, Jia. Digital Masquerade: Feminist Rights and Queer Media in China. New York University Press, 2023.

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Digital Masquerade: Feminist Rights and Queer Media in China. New York University Press, 2023.

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Book chapters on the topic "Feminine masquerade"

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Cowie, Elizabeth. "Female Sexuality, Feminine Identification and the Masquerade." In Representing the Woman, 222–60. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25269-5_7.

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"Feminine Excess:." In Masquerade and Gender, 123–62. Penn State University Press, 1993. http://dx.doi.org/10.5325/j.ctv14gp3x8.8.

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"5. Feminine Excess: Frances Burney's The Wanderer." In Masquerade and Gender, 123–62. Penn State University Press, 1993. http://dx.doi.org/10.1515/9780271074863-006.

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"CHAPTER II. Feminine Mimicry and Masquerade." In Gender and Romance in Chaucer's "Canterbury Tales", 55–92. Princeton: Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863754.55.

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Kent, Miriam. "Playing Superheroine: Feminine Subjectivity and (Postfeminist) Masquerade." In Women in Marvel Films, 93–118. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.003.0005.

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This chapter provides an interrogation of the relevant notions of postfeminist masquerade with regards to Marvel superheroines, a widely-occurring narrative phenomenon that is also inflected by contemporary postfeminist practices and a mode of representation that has noticeably proliferated in these texts. Building on existing scholarship, the chapter examines the notion of the superheroine undercover, a tradition that reaches back to foundational popular feminist texts such as Charlie’s Angels (ABC, 1976–1981) and questions the implications of this tradition in the context of contemporary superheroic feminine identity. Taking account of the constructed qualities of femininity, contemporary superheroines are often introduced in disguise with the film’s narrative positioning them as ordinary civilian women before divulging their heroism. This narrative turn occupies a specific ideological role relating to postfeminist culture. This concept is explored using The Avengers’ (2012) Natasha Romanoff and expanded on in a discussion of identity crisis in the superheroine Captain Marvel.
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"Four. Speaking as Rahel: A Feminine Masquerade." In Speaking through the Mask, 48–60. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732003-006.

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"4. Playing Superheroine: Feminine Subjectivity and (Postfeminist) Masquerade." In Women in Marvel Films, 93–118. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474448840-006.

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Bolton, Lucy. "‘The brunette with the legs’: the significance of footwear in Marnie." In Shoe Reels, 166–79. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451406.003.0014.

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Marnie (1964, Alfred Hitchcock) is a film about sex and crime; in particular, about ‘the sexual aberrations of the criminal female’, according to the title of the book Mark Rutland reads to try to understand his new wife. The conduct of said criminal female, Margaret Edgar, Marion Holland, or just plain Marnie, is based on feminine masquerade and an aesthetics of what Michele Montrelay might call ‘dotty objects’: gloves, purses, handbags, nail files, hair combs, stockings and – most significantly – shoes. This chapter demonstrates the film’s deployment of shoes as a trope of Marnie’s identity, and explore how they symbolise different sides to Marnie at stages in her story. In so doing, the film imbues feminine artifice with significance and stature, enabling Marnie’s identity to be explored by elements of the mise-en-scene that might ordinarily be considered simply decorative.
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Musser, Amber Jamilla. "Femme Aggression and the Value of Labor." In Sensual Excess, 144–66. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479807031.003.0007.

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This chapter makes the question of affective labor explicit as it works through Maureen Catbagan’s video series Crush (2010–2012), which features a woman in high heels crushing plastic toys. Catbagan’s decision to feature a white woman in this critique of domestic labor brings to light the pervasiveness of discourses of white feminine misery as read through Joan Riviere’s “Womanliness as Masquerade,” while also highlighting the object-centered nature of fetishism. Catbagan’s project asks viewers to read for race and sensuality in other modes because their Filipino identity is rendered invisible. This reorientation of representation produces brown jouissance in relation to mimesis and virality, thereby upending questions of value and commodification.
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Yip, Man-Fung. "The Difficulty of Difference." In Martial Arts Cinema and Hong Kong Modernity. Hong Kong University Press, 2017. http://dx.doi.org/10.5790/hongkong/9789888390717.003.0005.

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Eschewing a reductive reading, this chapter considers the complex and often ambivalent gender politics associated with the woman warrior figures—or nüxia, meaning literally “female knights-errant”—in Hong Kong martial arts films of the late 1960s and early 1970s. In particular, it argues that the truly transgressive aspect of these fighting female characters lies not so much in their taking on of qualities (such as violent physicality) historically aligned with men; rather, what is potentially more radical is their adeptness in assuming and performing multiple gender identities, from female masculinity (the appropriation and refunctionalization of hegemonic masculine norms) to the feminine masquerade (the deliberate flaunting of femininity). Such gender play bears a more destabilizing potential by virtue of its ability to bring about a blurring of gender identities, and thus to undermine and challenge the notion of masculinity and femininity as fixed, immutable categories.
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