Relevant bibliographies by topics / Feminist visual culture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Feminist visual culture'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Feminist visual culture"

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Board, Marilynn Lincoln, Fiona Carson, and Claire Pajaczkowska. "Feminist Visual Culture." Woman's Art Journal 24, no. 2 (2003): 39. http://dx.doi.org/10.2307/1358787.

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McDowell, Kelly. "Book Review: Feminist Visual Culture." Journal of Visual Culture 1, no. 2 (August 2002): 261–64. http://dx.doi.org/10.1177/147041290200100208.

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D'Enbeau, Suzy. "Feminine and Feminist Transformation in Popular Culture." Feminist Media Studies 9, no. 1 (March 2009): 17–36. http://dx.doi.org/10.1080/14680770802619474.

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Doyle, Jennifer, and Amelia Jones. "Introduction: New Feminist Theories of Visual Culture." Signs: Journal of Women in Culture and Society 31, no. 3 (March 2006): 607–15. http://dx.doi.org/10.1086/499288.

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Cvetkovich, Ann. "HISTORIES OF MASS CULTURE: FROM LITERARY TO VISUAL CULTURE." Victorian Literature and Culture 27, no. 2 (September 1999): 495–99. http://dx.doi.org/10.1017/s1060150399272129.

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VICTORIAN STUDIES has always been, for me, a form of cultural studies. As early as my sophomore year in college, while reading Raymond Williams’s Culture and Society for a modern humanities course, I was fascinated to learn that a case could be made for the nineteenth century as the period during which notions of culture were constructed. Williams’s work was presented without much contextualization and it was only much later that I came to associate it with either British cultural studies or Marxism. My somewhat unconscious interest in forging connections between culture and politics, which I would argue is the founding mission of cultural studies, was matched by another unconscious interest in Victorian studies, and more specifically, studies of the novel, as a field in which to pursue feminism. By the time I reached graduate school in the 1980s, feminism had become a field and a methodology, and within English departments, Victorian studies produced a rich range of scholars, including Elaine Showalter, Ellen Moers, Sandra Gilbert and Susan Gubar, and Nina Auerbach, who dominated the interdisciplinary field of women studies, which, like cultural studies, also sought to explain the relations between culture and politics. Their work on women authors and revising the canon was followed by that of an equally powerful group of feminist Victorianists, including Nancy Armstrong, Mary Poovey, Catherine Gallagher, and Eve Sedgwick, who explored not only how categories of gender and sexuality were integral to nineteenth-century social formations, but how they were invented in the modern period.
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Bleeke, Marian. "Feminist Approaches to Medieval Visual Culture: An Introduction." Medieval Feminist Forum 44, no. 2 (December 2008): 49–52. http://dx.doi.org/10.17077/1536-8742.1743.

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McHugh, Kathleen. "Prolegomenon." Film Quarterly 75, no. 1 (2021): 10–22. http://dx.doi.org/10.1525/fq.2021.75.1.10.

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Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The Uses of Anger.” Drawing from Lorde’s and Sara Ahmed’s ideas about the creative value of feminist anger, together with recent affect theory on “reparative reading” and “better stories,” the essay explores four contemporary directors’ films and media works for how anger shapes their texts and critical reception and cultivates a mode of affective witness in their audiences.
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Luzar, Laura Christina, and Monica Monica. "Penerapan Cultural Studies dan Aliran Filsafat dalam Desain Komunikasi Visual." Humaniora 5, no. 2 (October 30, 2014): 1295. http://dx.doi.org/10.21512/humaniora.v5i2.3272.

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Cultural studies is a diversity knowledge from different variety of perspectives, through the production of theory trying to intervene in political culture. Cultural studies explores culture as a practice purport in the context of social force. In this case, cultural studies is not only based on one point only, but also cultural studies tries to compose a variety of theoretical studies of other disciplines developed wider, so that covers a wide range of academic theories that already existed, including Marxism, Structuralism, Post-structuralism, and feminism. By eclectic method, cultural studies puts the positioning to all knowledges, including on its knowledge which integrates with culture, practice of signification, representation, discourse, authority, articulation, text, read, and consumption. Cultural studies could be described as a language game or formation of discourse associated with relation to power in signification practice of human life. In addition to cultural studies, there is also feminism theory participated in the concept of feminist cultural studies that reconstructs and transforms view of misperception between feminism and cultural studies. Feminism affects cultural studies, but not all feminism can be viewed as cultural studies, and not all cultural studies talks about gender. Both of cultural studies and feminism have substantive importance in relation to power, representation, pop-culture, subjectivity, identity and consumption. The theory of social construction is also has connectivity with cultural studies. Construction of reality is inseparable from mark, symbol, and language. Media are full of reality constructed for people to affect people as ethics persuasion in media do.
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Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.

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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.
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Tycer, Alicia. "Feminist Views on the English Stage: Women Playwrights, 1990–2000. By Elaine Aston. Cambridge: Cambridge University Press, 2003; pp. 238. $75 cloth." Theatre Survey 46, no. 1 (May 2005): 153–55. http://dx.doi.org/10.1017/s0040557405330092.

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Elaine Aston begins Feminist Views on the English Stage by pondering why, given the optimism for English feminist theatre at the close of the 1980s, the 1990s saw a diminishing interest in women's voices. She asks, “If ‘masculinity and its discontents’ culturally and theatrically moved centre stage in the 1990s, what happened to women and to feminism?”(5) In order to counteract the prevailing view of the 1990s as a decade dominated by the overarching theme of “masculinity in crisis,” she focuses her book on women playwrights. Aston detects a theatrical backlash against the partial advances made by women playwrights during the 1980s, mirroring a backlash against feminism within popular culture in general. In contrast to the “shock fests” of the reemergent “angry young men,” who have often been charged with nihilism, she argues that the works she examines remain politically engaged. Aston explains that Feminist Views is motivated by her desire to prevent women playwrights from being “written out” of the theatrical record.
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Dissertations / Theses on the topic "Feminist visual culture"

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Charania, Moon M. "Spectacular Subjects: The Violent Erotics of Imperial Visual Culture." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/sociology_diss/54.

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The central concerns of this project are the visual constructions of feminine and feminist subjectivities, significations and semiotics of the (brown) female body, and the pleasures and power of global visual culture. I consider the primary visual fields that seek to tell the story of Pakistani women, and Muslim woman more broadly, after September 11th, 2001. Specifically, I offer detailed case studies of three visual stories: international human rights sensation Mukhtar Mai; twice elected Prime Minister of Pakistan and first woman to lead a Muslim country Benazir Bhutto; and female terrorists/religious martyrs of the Red Mosque events in Islamabad, Pakistan. I locate the relevance of these visual stories on three axes − human rights, democratization and the war on terror − where each operates as an arm of, what Jasbir Paur (2007) calls, the U.S. hetero-normative nation. I also examine the structures of affect, pleasure and eroticism that are embedded in these popularized representations and narrations in the U.S. cultural context. Finally, I offer ways to reread the potential radical subjectivities or possibilities that these visual subjects and their political labor open up.
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Huffstetter, Olivia Claire. "Feminist Pedagogy, Action Research, and Social Media: TabloidArtHistory's Influence on Visual Culture Education." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619043241765287.

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Villaplana, Ruiz Virginia. "Nuevas Violencias de género. Arte y Cultura Visual." Doctoral thesis, Universidad de Murcia, 2008. http://hdl.handle.net/10803/10721.

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La escritura de esta tesis Nuevas violencias de género, arte y cultura visual, parte de la relación entre la cultura visual y la violencia de género, evidenciando las nociones de narración, enunciación, práctica artística en las Bellas Artes y comunicación en la sociedad actual. Esta tesis implica la consideración una serie de argumentaciones sobre la construcción cultural de la violencia social. El tema que desarrolla esta investigación es la representación de las nuevas violencias de género en la práctica artística, los relatos de los medios de comunicación y la creación visual del videoarte. El período en histórico en el que se enmarca esta tesis se articula desde las prácticas feministas a partir de los años setenta, ochenta y noventa hasta la actualidad donde confluyen las nociones de cultura y globalización. La hipótesis e idea núcleo de esta investigación parte los relatos artísticos audiovisuales que han sido determinantes en la construcción de las imágenes de la violencia de género heredadas en nuestra tradición occidental, pero también atiende a la escritura de realizadoras y artistas o de textos teóricos silenciados. El objetivo de esta tesis es exponer el género como construcción social y la violencia de género en las obras de vídeocreación tomando como eje temporal inicial la década de los setenta, y como punto final las narrativas del vídeoensayo en la actualidad. Para ello las líneas metodológicas de las que se parten son la teoría interdisciplinar feminista crítica, la teoría estética, los estudios de crítica cultural y los estudios de comunicación. La tesis propuesta es deudora de las aportaciones metodológicas de la teoría interdisciplinar feminista y crítica y de los estudios de género, que permiten una aproximación al espacio de interpretación hermenéutico-retórico aportado desde estas teorías en la esfera de las Bellas Artes.Esta tesis se desarrolla mediante la consulta en archivos fílmicos internacionales para la elaboración de un corpus de obras fílmicas y videográficas que proponen la emergencia de nuevas violencias de género y su implicación el discurso de las Bellas Artes. Nuevas violencias de género, arte y cultura visual plantea una reflexión desde las estéticas y las prácticas documentales del cine y el vídeo. Las redes de archivos, autoras y distribuidoras en Europa y USA son, entre ellas: Blickpilotin (Berlín), Video Femmes (Québec), Film Archive imaginaria (Bologna), Woman Make Movies (Nueva York), Cinenova (Londres) y Electronic Intermix, Frameline (San Francisco). En este sentido, las líneas metodológicas que se aplicarán para el análisis prácticos de los relatos culturales en torno a las nuevas violencias estarán enfocadas desde el método de análisis y la investigación en archivos fílmicos internacionales para la elaboración de un corpus de obras del arte feminista y videoarte, situando en oposición la esfera de las Bellas Artes al discurso de la comunicación de masas en la cultura visual. El método de análisis presta atención a varias perspectivas teoría fílmica feminista, estudios de género, comunicación de masas, sociología, y análisis del discurso pero está guiado por la preocupación de una serie de cuestiones comunes: análisis de la representación de la violencia de género y sus categorías ideológicas, la relación con el imaginario social, función especular de los discursos dominantes, los imaginarios de que genera la esfera artística y los medios de comunicación.En definitiva, una mirada hacia la Cultura Visual de las prácticas artísticas feministas. Voces silenciadas que demandan la consideración de una hermenéutica que advierta de los fundidos en negro que supone la lógica de la dominación, la violencia de género en la Cultura Visual contemporánea. Relatos de la Cultura Visual que responden a otras formas de mirar para una nueva lectura crítica.
The writing of this thesis New gender violence, art and visual culture part of the relation betwee the visual culture and the violence of genre, demonstrating the notions of story, statement, artistic practice in the Fine Arts and communication in the current society.This thesis implies the consideration a series of argumentations on the cultural construction of the social violence. The topic that develops this research is the representation of the new violences of genre in the artistic practice, the statements of the mass media and the visual creation of the videoart. The historical period in that this thesis places is articulated from the practical feminists from the seventies, eighties and nineties up to the current importance where there come together the notions of culture and globalization.The hypothesis of this research departs the artistic audio-visual statements that have been determinant in the construction of the images of the gender violence inherited in our western tradition, but also its attends to the writing of producers and artists or of theoretical silenced texts. The aim of this thesis is to expose the genre as social construction and the gender violence in the works of Fine Arts taking as temporary axis the decade of the seventies, and as final point the narratives of the videoessay at present. For it the methodological lines of those who split are the theory interdisciplines critical feminist, the aesthetic theory, the studies of cultural critique and the studies of communication. The proposed thesis is a debtor of the methodological contributions of the theory to interdiscipline feminist and critique and of the studies of genre, which allow an approximation the hermeneutic - rhetorical space of interpretation contributed from these theories in the sphere of the Fine Arts.This thesis develops by means of the consultation in movie international films and video archives for the production of a corpus of films, videoessay and videoart that propose the emergency of new gender violences and their implication the speech of the Fine Arts.New gender violence, art and visual culture raises a reflection from the aesthetics and the documentary practices of the cinema and the video. The film and video archives, authoresses and distributors in Europe and USA are, among them: Blickpilotin (Berlin), Video Femmes (Quebec), Film Archive imaginaria (Bologna), Woman Make Movies (New York), Cinenova (London) y Electronic Intermix, Frameline (Usa). In this respect, the methodological lines that will be applied for the analysis practical of the cultural statements concerning the new violences will be focused from the method of analysis and the research in films and videoart international archive for the production of a corpus of works of the art feminist and videoarte, placing in opposition the sphere of the Fine Arts to the speech of the Communication of masses in the Visual Culture. The method of analysis there payes attention to several perspectives movie theory feminist, gender studies, communication of masses, sociology, and analysis of the speech but it is guided by the worry of a series of common questions: analysis of the representation of the gender violence and the ideological categories, the relation with the imaginary social one, function to speculate of the dominant speeches and the imaginary ones of which it generates the artistic sphere and the mass media.Definitively, a look towards the Visual Culture of the artistic practices feminists. Silenced voices that demand the consideration of a hermeneutics that warns of the bankrupts in black, that supposes the logic of the domination, the gender violence in the Visual contemporary Culture. Statements of the Visual Culture that answer to other ways of looking for a new critical reading.
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Åsberg, Cecilia. "Looking at Science, Looking at You! : The Feminist Re-visions of Nature(Brain and Genes)." Linköpings universitet, Tema Genus, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-66375.

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Vision has often been a central concern of feminist studies of science, medicine and technology. In cultural or social feminist analysis, the male gaze and the ways in which technoscience accommodates, and in effect organizes the watching of women, has been an important part of the feminist interrogation of the gender and power relations that produce the subjects and the objects of science. This attention is due to the intimate, and power-saturated, merge of processes of seeing and processes of knowing. Inherent in the notion of vision, there is always a politics to ways of seeing, ordering and observing, of organising the knowledge of the world. Historically, this can be exemplified by the eighteen-century Swedish “father” of biological classification, Linnaeus. Taking a leap away from Christian assumptions, Linnaeus placed human beings in a taxonomic order of nature together with other animals.

ISBN 91-87792-49-4 not valid for this book.

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Rhoades, Melinda Justine. "Addressing the computing gender gap a case study using feminist pedagogy and visual culture art education /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1217107478.

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Rhoades, Melinda J. "Addressing The Computing Gender Gap: A Case Study Using Feminist Pedagogy and Visual Culture Art Education." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1217107478.

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Chen, Ting-Yu. "Using visual culture to address gender expectations in middle school art education: Visual art curriculum design based on the Manga Ranma1/2." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1129.

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In this thesis, I identify and explore approaches to middle school art curricula that address the cultural expectations of gender in visual culture media. I use images from the Japanese comic Manga: Ranma1/2 to develop units of instruction with goals of engaging students in relating the study of art to their visual culture outside the classroom. The unit has three lessons that deal with cultural expectations of gender to help students become aware of understand gender differences in contemporary society. In the lessons, students examine how the Manga characters are depicted differently according to the character's gender. Also, the teacher utilizes feminist pedagogy which considers how educators and students can work in a classroom with less power struggles. Educators provide students space to let them open-minded to have conversation in the classroom. Through sharing personal experience and interacting with classmates and teachers, students may owing to the empower activity to get more confidence in their academic studies.
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Corey, Jessica Rose. "Literate Artifacts and Psychosocial Compositions: Feminist Activism's Composing, Archiving, and Revising of Social Narratives." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448646252.

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Bonnet, Claire. "FEMME: extinct stereotypes." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6950.

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My research is about stereotypes of women. Responding to scepticism towardsfeminist movements, my degree project aims to challenge the power structure of today’s Western society. How does visual communication play a big role in creating and/or reproducing inequalities? I have created a retro-futuristic exhibition, placed in an imaginary museum. In a utopian world based in 2050, the exhibition femme: extinct stereotypes, aims to show, explain and deconstruct how women were portrayed around 2020; how society and (pop)culture were deforming humans into stereotypical women.I have created a speculative scenario through different objects and artifacts displaying the expectations and instructions on how women should or should not behave. By showcasing the past and its conventions, this retro-futuristic exhibition questions their normality and rationality.
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Crippa, Benedetta. "World of Desire." Thesis, Konstfack, Grafisk design & illustration, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5855.

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This project report offers an in-depth, detailed account of my creative process and work during my two-year Master in visual communication at Konstfack, Stockholm. My degree project is a celebration of plurality and visual democracy. Starting with identifying different norms pervading the graphic design discipline in the Western world today, both in terms of aesthetic values and systems of thinking, I have worked to propose and visualize alternative possible futures.  Drawing has been my main carrier through an intense journey of un-learning and re-learning resulting in an artist’s book in unique copy.  With this book, I want to problematize the dominant discourses around objectivity as a utopian ideal with a suppressive agenda, while visualizing a world I can recognize myself in. I have used decoration as a method, emotion and femininity as explorative standpoints, giving space to the metaphorical, the ambiguous and the spiritual to challenge current visual norms.  This book emerges as an affirmation of my own quest for visual belonging  as a graphic designer and a woman; a testimony of the practice of drawing as actualized power.
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Books on the topic "Feminist visual culture"

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Women on screen: Feminism and femininity in visual culture. Basingstoke: Palgrave Macmillan, 2011.

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Dark designs and visual culture. Durham: Duke University Press, 2004.

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Women and visual culture in nineteenth-century France, 1800-1852. London: Leicester University Press, 1998.

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Visual habits: Nuns and American postwar popular culture. Toronto: University of Toronto Press., 2005.

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The spectacular modern woman: Feminine visibility in the 1920s. Bloomington: Indiana University Press, 2004.

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The language of the eyes: Science, sexuality, and female vision in English literature and culture, 1690-1927. New York: State University of New York Press, 2005.

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Fiona, Carson, and Pajaczkowska Claire, eds. Feminist visual culture. Edinburgh: Edinburgh University Press, 2000.

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(Editor), Fiona Carson, and Claire Pajaczkowska (Editor), eds. Feminist Visual Culture. Edinburgh University Press, 2000.

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Carson, Fiona. Feminist Visual Culture. Routledge, 2016. http://dx.doi.org/10.4324/9781315023663.

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Fiona, Carson, and Pajaczkowska Claire, eds. Feminist visual culture. New York: Routledge, 2001.

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Book chapters on the topic "Feminist visual culture"

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Sperling, Alison. "Radiating Exposures." In Cultural Inquiry, 41–62. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_03.

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The brief explorations of radiation exposures presented within this essay draw primarily from nuclear art and culture and contribute to the field of nuclear aesthetics, which has long been fixated on the problem of visibility and the representation of nuclear residues. The examples draw primarily from photographic technologies and other aesthetic registers that capture visual residues of radiation. The challenges of nuclear aesthetics are also political and social. This constellation of objects and inquiries is meant to explore the fraught political, environmental, and social relations between radiation, visibility, toxicity, through the concept of exposure. They offer feminist glimpses into other ways of thinking exposure, as it develops in relation to (often imperceptible) toxicity that is not inscribed into a logic that partitions the passive victim of suffering from some pure or unaffected subject. They are examples that are both forms of exposure specific to the nuclear while also, perhaps, helping to expose more nuanced and complex ways of understanding forms of exposure that extend beyond nuclearity.
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Barnard, Malcolm. "Feminism: Personal and Political." In Approaches to Understanding Visual Culture, 89–114. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-11046-6_6.

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Copeland, Roger. "Dance, Feminism, and the Critique of the Visual." In Dance, Gender and Culture, 139–50. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23842-2_9.

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Copeland, Roger. "Dance, Feminism, and the Critique of the Visual." In Dance, Gender and Culture, 139–50. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_9.

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Cammarata, Valeria. "Through Different Eyes. Feminine Science and Literature in Early Modern Culture." In Archaeologies of Visual Culture, 19–118. Göttingen: V&R unipress, 2016. http://dx.doi.org/10.14220/9783737002202.19.

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Murray, Derek Conrad. "The Evolution of the Selfie: Influencers, Feminism, and Visual Culture." In Visual Culture Approaches to the Selfie, 90–123. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367206109-4.

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"Black Feminist Criticism." In Dark Designs and Visual Culture, 179–83. Duke University Press, 2004. http://dx.doi.org/10.1215/9780822386353-018.

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"Black Feminist Criticism:." In Dark Designs and Visual Culture, 179–83. Duke University Press, 2004. http://dx.doi.org/10.2307/j.ctv113193j.21.

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Zheng, Wang. "Fashioning Socialist Visual Culture." In Finding Women in the State. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292284.003.0007.

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Xia Yan, the underground leader of the left-wing films in the 1930s and top official of the film industry in the PRC since 1954, embodied the cultural history of the CCP. A brief biography of this Communist feminist artist leader disrupts the reductive dichotomy of the Party vs. artists in film studies and illuminates a tension-ridden history of socialist filmmaking that constituted a highly contentious site in the socialist revolution. Situating his politically engagingartistic creativity inside ashiftingpolitical process, this chapter traces Xia Yan’s major role in transmitting the New Culture agenda of transforming a patriarchal culture in socialist cultural production and delineatesdiverse and contradictory politicalpositions and artistic preferences in artists’ innovative experimentsofcreating a socialist new culture. It also analyzes his films that continued the paradigm of revolutionary heroines.
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"17 Black Feminist Criticism: A Politics of Location and Beloved." In Dark Designs and Visual Culture, 179–83. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822386353-019.

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Conference papers on the topic "Feminist visual culture"

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Albero Verdú, Sofía, and Fernando Fernández Torres. "Momeht Fanzine. La muerte, el amor y la diversidad a través de la creación artística colectiva." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9540.

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El propósito de esta comunicación es analizar los aspectos estéticos, sociales y políticos de Momeht, un fanzine colectivo creado por componentes de la asociación cultural Engafat, bajo los preceptos de la expresión artística precaria, libre y crítica que caracteriza a este tipo de publicaciones.A través de un análisis visual se abordan las contribuciones de un total de 22 autores y autoras. Los resultados del análisis de estas obras arrojan luz sobre cómo se articulan e interaccionan distintas voces críticas actuales al reflexionar sobre la muerte, la diversidad y el amor. Desde una mirada estética, este fanzine materializa un discurso artístico rico, polivocal y complejo compuesto por elementos dispares como el debate conceptual, la metáfora, la ironía, la sátira, el humor y la crítica, etc. A través de procesos de creación e investigación de estructura variable, las personas que intervienen beben de fuentes dispares: desde ensayos académicos, pasando por textos y otras manifestaciones de movimientos sociales, hasta la cultura rock y punk de los 60 y 70. Desde un punto de vista social y político, se detecta que pese a su breve trayectoria, Momeht ha supuesto la creación de un lugar común para desarrollar la creación artística y la cultura crítica por parte de un nutrido grupo de especialistas en arte, feminismo, diseño, música e ilustración. Todos ellos y ellas actualmente desarrollan sus carreras en contextos profesionales diversos, ligados a las artes visuales y en conexión a la pequeña localidad industrial de Ibi, en Alicante.Las conclusiones apuntan a la apertura de un camino de expresión libre y crítica a través de Momeht, la reivindicación de los Derechos Humanos, así como la creación y posibilidad de ampliación de redes personales y profesionales en el contexto artístico actual dentro y fuera de la provincia de Alicante.
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Campos Gil, Isabel. "El lenguaje y los movimientos de ocupación. Un recorrido por las nociones dominantes del lenguaje en relación con la ocupación como movimiento contra-cultural en la hegemonía occidental." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4892.

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El lenguaje ha sido estudiado por cada época o civilización a través de lo constitutivo de lo social, de la encarnación de la norma. Desde la época cristiana hasta las nociones dominantes del estructuralismo lingüístico y sobre las reglas del juego en el orden simbólico. A través del estudio de la perfomatividad, se introduce un planteamiento que parte de una serie desvíos de las estrategias de los movimientos sociales de ocupación para la transformación de los códigos del lenguaje en una relación transfeminista. Desde una mirada pos-crítica de la producción de subjetividades políticas y su constitución en los sujetos, se plantea el lenguaje como una tecnología de identidades de género y en su relación con el orden social hegemónico. Hacia una lectura posestructuralista, estableciendo alegorías sobre la estrategia del ajedrez en la lingüística (desde las metáforas fílmicas y literarias) y plantea el tablero de ajedrez como espacio cuya propiedad se encuentra en la figura paterna y en la que gobierna un régimen tanatopolítico, abandonado por las luchas cotidianas. Presenta reflexiones poniendo el tablero de ajedrez como espacio entre lo habitado y lo deshabitado, entre la presencia y la ausencia, entre lo abandonado y las reglas. Entendido como sistema binario por su representación, basada en la organización de dos tonalidades antagónicas y presentado los sujetos del juego en oposición que se puede ver como resultado de espejo. A través del análisis del juego, cuya presencia de las mujeres como sujetos históricos, además, ha estado anulada, presenta la dicotomía del pensamiento posmodernista y las estructuras que lo sustentan. Con el objeto y el sujeto puesto en el análisis de estudio, se realiza una mirada que constituye un recorrido por los movimientos sociales de ocupación en cuanto al modelo de pensamiento dominante, poniendo en jaque las nociones de signo de Saussure interpeladas y desequilibradas por la teoría del discurso feminista. Estableciendo en el lenguaje, a su vez, lugares de resistencia política.http://dx.doi.org/10.4995/ANIAV.2017.4892
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Sgaramella, Chiara. "Ecologías sensibles. Arte de enfoque colaborativo y crisis ecosocial en el contexto americano." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8981.

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La presente comunicación recoge los resultados parciales de una estancia de investigación predoctoral realizada en el Center for Creative Ecologies de la University of California Santa Cruz, Estados Unidos. Partiendo de un análisis de los múltiples niveles de invisibilización de la crisis ecosocial contemporánea (Herrero 2013; Riechmann 2011), se exploran las intersecciones entre formas de arte vinculadas a la ecología y procesos colaborativos de creación. En concreto, haciendo referencia al potencial del arte para reconfigurar lo sensible y las formas de visibilidad (Rancière 2007) junto a su capacidad de abordar temas complejos como las problemáticas ambientales desde una perspectiva postantropocéntrica (Demos 2017), se examina el trabajo de artistas y colectivos actualmente activos en el continente americano como Carolina Caycedo (Colombia), The Harrison Studio (Estados Unidos) y Desert Art Lab (Estados Unidos). A través del análisis crítico de proyectos artísticos y entrevistas semiestructuradas con los artistas, se estudian la intencionalidad de los creadores y las diferentes estrategias colaborativas empleadas para hacer visibles los impactos del modelo extractivista, las luchas sociales para la preservación de los ecosistemas naturales y de los saberes indígenas y los procesos de resiliencia y adaptación de los organismos no-humanos a las alteraciones antropogénicas del clima. El contexto geopolítico escogido resulta particularmente significativo por la pervasividad del paradigma neoliberal y por la consecuente erosión de derechos, tanto sociales como ambientales, que lo ha caracterizado en las últimas décadas. Al mismo tiempo la presencia de movimientos contraculturales vinculados a la ecología, al feminismo y a la defensa de las culturas nativas de las Américas ha permitido el emerger de otras sensibilidades y modelos de convivencia que han alimentado e inspirado las expresiones artísticas estudiadas.
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Giocondo, Juliana Frank De Souza. "A POLINIZAÇÃO DE PLANTAS UTILIZADAS NA PRODUÇÃO AGRÍCOLA BRASILEIRA." In I Congresso Brasileiro de Biodiversidade Virtual. Revista Multidisciplinar de Educação e Meio Ambiente, 2021. http://dx.doi.org/10.51189/rema/1065.

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Introdução: Aproximadamente 600 insetos sobrevoam as produções agrícolas brasileiras, dos quais 250 tem potencial de polinização direta, mas as abelhas predominam representando 78,99% das espécies, porém, os besouros, as borboletas, as mariposas, as aves, as vespas, as moscas, os morcegos e os percevejos também fazem parte da lista. Esse serviço ecossistêmico de polinização tem uma importância não só do ponto de vista biológico de conservação das espécies em si, como também econômico. Objetivo: Conhecer os principais polinizadores de plantas agrícolas brasileiras. Metodologia: Para a metodologia foi utilizada pesquisa bibliográfica, análise e interpretação de dados. Resultados e discussão: Polinização é a transferência dos grãos de pólen das estruturas masculinas das flores, os estames, para a parte feminina, o estigma, da mesma flor ou de uma outra flor da mesma espécie vegetal. O pólen transferido então germina no estigma e fertiliza os óvulos localizados no ovário da flor. Esse processo, chamado fertilização, faz com que cada óvulo forme um embrião que ao se desenvolver produz fitormônios (hormônios vegetais) responsáveis pelo crescimento e amadurecimento do ovário, formando então o fruto. Várias plantas dependem exclusivamente ou primordialmente desse serviço, analises mostram que 76% dessas plantas a ação desses polinizadores aumenta a quantidade e a qualidade das produções agrícolas. Em 2018, as culturas agrícolas dependentes da polinização responderam por US$12 bi (R$ 43 bi). Cerca de 80% desta quantia está associada a quatro cultivos de grande importância agrícola – soja, café, laranja e maçã. Conclusão: A fim de que seja conservada a polinização, é necessário que seja mantido o ambiente e elementos necessários para tal, como habitats, alimentos, água, sombra, e etc. Áreas naturais ou seminaturais dentro de paisagens agrícolas frequentemente não oferecem tais habitats. Isso porque, as extensas áreas com plantações, especialmente as grandes monoculturas, não suportam comunidades mais diversas (com muitas espécies) e abundantes (com muitos indivíduos por espécie) de polinizadores, devido ao curto período de florescimento das culturas, ao baixo número de locais para ninhos e de recursos florais.
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