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Journal articles on the topic 'Male nude in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Hsu, Chi-Wei. "Alice Neels Female Nudes: Society, Feminism and Art." Communications in Humanities Research 3, no. 1 (2023): 648–62. http://dx.doi.org/10.54254/2753-7064/3/20220547.

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Alice Neel is one of the most prolific contemporary American artists, a realist in an age of abstraction. Her tenacity in portraying the people, the world and the issues that come with them led her portraits to carry not just a likeness to the subject, but also the subjects social, political, economic baggage. With that, Neels candor in portraying her subjects also allowed for representation of women of all circumstances, something historically lacking. Specifically, in her ground-breaking nude portraits of women, she breaks down previous conception of female nudes by incorporating the status

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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.

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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a

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Cody, Steven J. "Aimé Mpane’s Nude: A Body that Questions." Zeitschrift für Kunstgeschichte 86, no. 4 (2023): 533–48. http://dx.doi.org/10.1515/zkg-2023-4005.

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Abstract Aimé Mpane is an especially versatile Congolese artist based in Brussels and Kinshasa. This paper examines his Nude (2006–2008), a life-sized sculpture of the idealized male form. Thinking carefully about Mpane’s treatment of the body, his selection of material, and his manipulation of the sculpture’s surface, I argue that Nude operates on an ethical level. The work engages with social conceptions of Black bodies, the history of nudity in western art, and—most interestingly—Frantz Fanon’s theory of embodiment, as presented in Black Skin, White Masks (1952). Nude thus allows us to expl

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Dimitrakaki, Angela. "(Post)modernism and Feminist Art History The Reception of the Male Nude in Twentieth‐century Greek Painting." Third Text 17, no. 3 (2003): 241–59. http://dx.doi.org/10.1080/0952882032000136876.

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Chittenden, Tara. "Sexing up the secondary art curriculum: a strategy for discussing Robert Mapplethorpe's photographs of S&M and the black male nude in art classrooms." International Journal of Education Through Art 5, no. 2 (2009): 157–67. http://dx.doi.org/10.1386/eta.5.2and3.157/1.

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Asen, Robert. "Appreciation and desire: The male nude in the photography of Robert Mapplethorpe." Text and Performance Quarterly 18, no. 1 (1998): 50–62. http://dx.doi.org/10.1080/10462939809366209.

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Saville, Julia F. "Nude male alfresco swimmers: the prehistory of a nineteenth‐century republican trope." Word & Image 25, no. 1 (2009): 56–74. http://dx.doi.org/10.1080/02666280802045954.

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Scheid, Kirsten. "NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE". International Journal of Middle East Studies 42, № 2 (2010): 203–30. http://dx.doi.org/10.1017/s0020743810000024.

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In his studio in Beirut in 1929, the young artist Moustapha Farroukh (1901–57) envisioned a composition to change his society. He hoped his oil painting would incite broad support among his fellow Lebanese for a revolution in conventional gender relations and women's participation in the urban social order. He titled the picture The Two Prisoners and based it on a European convention for representing the East: the Nude odalisque (Figure 1). The resulting painting exemplifies the complex role Arab intellectuals of the early 20th century played in the formation of modern art and universal modern

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Čubrilo, Jasmina. "Atelje Zore Petrović / Zora Petrovic’s studio." AM Journal of Art and Media Studies, no. 2 (December 15, 2012): 21–29. http://dx.doi.org/10.25038/am.v0i2.18.

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The big oil on canvas in the studio from 1941, and small, undated, double-sided tempera on the paper of the same name are complex images that define the horizon of Zora Petrović’s art world – different social, art, ideological discourses intertwine on its surfaces. These images reflect overlapping the private and public sphere, different power positions inside this overlapping and within the local art world of that time such as female artist vs. male art collector; female artist vs. male artist, female artist vs. male artist; female artist vs. female model, female artist/worker vs. female (upp

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Ciobanu, Estella Antoaneta. "Food for Thought: Of Tables, Art and Women in Virginia Woolf’s To the Lighthouse." American, British and Canadian Studies 29, no. 1 (2017): 147–68. http://dx.doi.org/10.1515/abcsj-2017-0023.

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Abstract This article examines art as it is depicted ekphrastically or merely suggested in two scenes from Virginia Woolf’s novel To the Lighthouse, to critique its androcentric assumptions by appeal to art criticism, feminist theories of the gaze, and critique of the en-gendering of discursive practices in the West. The first scene concerns Mrs Ramsay’s artinformed appreciation of her daughter’s dish of fruit for the dinner party. I interpret the fruit composition as akin to Dutch still life paintings; nevertheless, the scene’s aestheticisation of everyday life also betrays visual affinities

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Zholkovsky, Alexander. "Digital High: The Art of Visual Seduction?" Arts 11, no. 5 (2022): 97. http://dx.doi.org/10.3390/arts11050097.

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The paper focuses on the structure of an advertising image for a 2010s computer company in the neo-capitalist Moscow, Russia. The analysis looks back to the pioneering studies of advertising as a commercial “applied art” by Sergei Eisenstein, Leo Spitzer and Roland Barthes. The picture’s plot and composition are shown to be a consistent and sophisticated near-artistic design that uses textual puns, poetic topoi and visual stereotypes (in particular, sex appeal) for the promotion of the advertised merchandise (a smartphone). The psychological naturalization of the design is clarified with refer

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Hajdú, Attila. "Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 21–40. http://dx.doi.org/10.14232/antikren.2018.1.21-40.

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Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present

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Stevenson, Tom. "The ‘Problem’ With Nude Honorific Statuary and Portraits in Late Republican and Augustan Rome." Greece and Rome 45, no. 1 (1998): 45–69. http://dx.doi.org/10.1093/gr/45.1.45.

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In his seminal work, The Power of Images in the Age of Augustus, Paul Zanker wrote of a problem with nude honorific statuary in Late Republican Rome and of ‘conflict and contradiction’ in the style of Roman portraits during the same period. The ‘problem’ was a matter of nudity and style; it also had a moral dimension. Under political or social pressure, there was a tendency at Rome to express the effects of cultural change in moral terms: viz., literary works concerned with political or social attitudes of the Romans tended to describe elements like luxuria and adulatio(‘luxury’ and ‘sycophanc

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Pavelchuk, Ivanna. "The search for Cezannism in the prac-tice of Adalbert Erdeli of 1930–1940." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 2 (2019): 82–88. http://dx.doi.org/10.33625/1993-6400-2019-2-82-88.

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Pavelchuk I. The search for Cezannism in the practice of Adalbert Erdeli of 1930–1940. The paper explores the trends of Cezannism in the artwork of the prominent Transcarpathian painter Adalbert Erdeli (1891–1955), who was memorized in the history of the Ukrainian art as one of the founders of artistic education in Transcarpathia. Chronological systematization of the visual tendencies in the artwork of A. Erdeli: Impressionism (1915–1926), Cezannism (1930–1940), Fauvism (1943–1955) – was never performed in the Ukrainian art studies before. The process of mastering the principles of Cezannism h

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Vanover, Ty. "Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe." Arts 13, no. 3 (2024): 103. http://dx.doi.org/10.3390/arts13030103.

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There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism

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Kwak, Su-Joung, and Eun-Mi Choi. "Nail Styling, Using the Formative Characteristics of Fractal Geometry: Focusing on paintings." Journal of the Korean Society of Cosmetology 29, no. 5 (2023): 1208–21. http://dx.doi.org/10.52660/jksc.2023.29.5.1208.

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In the modern times, fractal geometry has been used in diverse fields including society, economy, business administration and public administration. In particular, the formative characteristics of fractal geometry have been studied as a new formative element and found across art and culture sectors such as architecture, fashion and diverse art works. Under these circumstances, this study applied 20th- century paintings in which such formative characteristics of fractal geometry are reflected to nail art for the purpose of providing data which are useful in designing and expressing unique artwo

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Maistrenko-Vakulenko, Yuliia. "Drawing legacy of professor of Kyiv State Art Institute Kostiantyna (Kostia) Yelevy." Bulletin of Lviv National Academy of Arts, no. 40 (July 1, 2019): 46–54. http://dx.doi.org/10.37131/2524-0943-2019-40-6.

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The study attempts to illuminate and analyze facts from the biography of the professor of the Kyiv Art Institute Kostia Yeleva. The creative and pedagogical path of Kostia Yeleva is investigated, in particular, attention is paid to the artistic analysis of his drawing heritage. The chronology of Professor K. Yeleva's teaching period at the Kiev Art Institute has been clarified. Kostya Yeleva played the role of a historical link between M. Boichuk's school and the modern art process through his students: professor of the department of drawings Y. Iatchenko, professors of the department of paint

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Bai, Li-Yuan, Jing-Ru Weng, Chia-Yung Wu, Chang-Fang Chiu, Su-Peng Yeh, and Yu-Min Liao. "OSU-A9, An Indole-3-Carbinol Derivative, Induces Cytotoxicity In Acute Myeloid Leukemia Through Reactive Oxygen Species-Mediated Apoptosis." Blood 122, no. 21 (2013): 2531. http://dx.doi.org/10.1182/blood.v122.21.2531.2531.

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Abstract Introduction Indole-3-carbinol (I3C) is a broadly targeted phytochemical shown to prevent carcinogenesis in animal studies and to suppress the proliferation of cancer cells of human breast, colon, prostate, and endometrium. Here we aim to test the anticancer effect of OSU-A9, an I3C derivative with improved potency, in acute myeloid leukemia (AML). Materials and Methods The in vitro activity of OSU-A9 was evaluated in AML cell lines (HL-60 and THP-1) and primary leukemia cells from 18 AML patients. THP-1 xenograft tumors in athymic nude mice was used for in vivo study. Results OSU-A9

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Akdenizli, F., and V. Chechyk. "From Kharkiv to Istanbul: Creative Work of Mykola Kalmykov – Naci Kalmukoğlu." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (2021): 96–106. http://dx.doi.org/10.33625/visnik2021.02.096.

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The article is dedicated to the art of Mykola (Nikolay) Kalmykov, whose maturity and creative activity took place in historical and cultural realias of Turkey in the 1920s and 1940s. Years of artistic formation associated with Ukraine in the first decades of the 20th century are an integral part of his creative biography. A high level of academic training, knowledge of historical styles, obtained at Kharkiv Art School, on the one hand, on the other hand, admiration for the artists of the “Seven” group, of which M. Kalmykov was an active member, for applied forms of creativity, orientation towa

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SCHMID, CAITLIN. "Ice(d) Music/Cello/Bodies: Re-staging Charlotte Moorman's Ice Music (1972–2018)." Twentieth-Century Music 17, no. 2 (2020): 213–45. http://dx.doi.org/10.1017/s1478572220000067.

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Abstract1972: Charlotte Moorman walked onto a concert hall stage – nude – and played a cello made of ice until it melted. 2001: Joan Jeanrenaud re-staged Moorman's piece wearing a wetsuit and brandishing a pitchfork. 2017: Seth Parker Woods performed a ‘protest’ version on an obsidian-coloured ice instrument. In this article, I argue that Ice(d) Music/Cello/Bodies has become a musico-political palimpsest, a measure of the way Moorman and her art have been recuperated through performative historiography. Through a reconstruction of the historical circumstances under which Moorman, Jeanrenaud, a

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Knowles, Marika Takanishi. "Tricky, Fine, and Trapped: Painting the Femme Forte in Early Seventeenth-Century France." Zeitschrift für Kunstgeschichte 82, no. 1 (2019): 92–114. http://dx.doi.org/10.1515/zkg-2019-0004.

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Abstract Between the late 1620s and late 1640s, Jacques Blanchard, Simon Vouet, and Claude Vignon all painted the femme forte (strong woman), an exemplary, heroic femal type whose popularity was linked to the presence of Marie de Medici and Anne of Austria on the royal stage of France. This article puts early seventeenth-century French paintings of femmes fortes into conversation with period discourse regarding the reception of paintings and the status of women. Pictorial representation tended to cast the femme forte into contexts that compromised her exemplary status. Nude, on the verge of de

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McCafferty, Sharisse D., and Geoffrey G. McCafferty. "The Conquered Women of Cacaxtla." Ancient Mesoamerica 5, no. 2 (1994): 159–72. http://dx.doi.org/10.1017/s0956536100001127.

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AbstractThe vividly painted “Battle Mural” of Cacaxtla (Tlaxcala, Mexico) depicts the gory results of a battle between racially distinct factions, characterized by their opposing jaguar and bird insignia. The two central Bird figures that remain standing are shown as captives, and in both cases they are attired in elaborate costumes that include diagnostic items of female clothing, including thequechquemitlcape and long skirt. Other figures are nude or are shown in simple male costumes, including themaxtlatlloincloth. This paper considers arguments of whether the two central figures were biolo

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Chen, Qun, Chuang Yang, Lei Chen, et al. "YY1 targets tubulin polymerisation-promoting protein to inhibit migration, invasion and angiogenesis in pancreatic cancer via p38/MAPK and PI3K/AKT pathways." British Journal of Cancer 121, no. 11 (2019): 912–21. http://dx.doi.org/10.1038/s41416-019-0604-5.

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Abstract Background Pancreatic cancer (PDAC) is a highly invasive cancer with poor prognosis. Recent research has found that the transcription factor Yin Yang 1 (YY1) plays an inhibitory role in the development of pancreatic cancer. It has been reported that tubulin polymerisation-promoting protein (TPPP) plays an indispensable role in a variety of tumours, but its expression and role in pancreatic cancer have not yet been elucidated. Methods In this study, we performed ChIP-sequencing and found that YY1 directly binds to the promoter region of TPPP. The expression of TPPP in pancreatic cancer

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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, s

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Stinebring, Anna-Claire. "Encountering Adam and Eve at the Apocalypse." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 72, no. 1 (2022): 94–121. http://dx.doi.org/10.1163/22145966-07201004.

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Abstract This essay deals with Jan Sanders van Hemessen’s Last Judgment of 1537-1539. This triptych was commissioned by Adriaan Rockox and his wife for their family chapel in Saint James’s church in Antwerp. As mentioned above, altarpieces – mostly triptychs – are prominent examples of art made for the purpose of remembrance in the Catholic tradition. They served to stimulate contemplation of death and afterlife, as well as prayer for the salvation of the dead. Van Hemessen, no doubt in concordance with the wishes of his patrons, enhances this purpose by taking the Last Judgment for the subjec

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Alhowail, Ahmad H., Matthew Eggert, Jenna Bloemer, et al. "Phenyl-2-aminoethyl selenide ameliorates hippocampal long-term potentiation and cognitive deficits following doxorubicin treatment." PLOS ONE 18, no. 11 (2023): e0294280. http://dx.doi.org/10.1371/journal.pone.0294280.

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Chemotherapy-induced memory loss (“chemobrain”) can occur following treatment with the widely used chemotherapeutic agent doxorubicin (DOX). However, the mechanisms through which DOX induces cognitive dysfunction are not clear, and there are no commercially available therapies for its treatment or prevention. Therefore, the aim of this study was to determine the therapeutic potential of phenyl-2-aminoethyl selenide (PAESe), an antioxidant drug previously demonstrated to reduce cardiotoxicity associated with DOX treatment, against DOX-induced chemobrain. Four groups of male athymic NCr nude (nu

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Kikuchi, K., N. Kashiwazaki, M. Nakai, J. Noguchi, J. Ito, and H. Kaneko. "95 IN VITRO MATURATION AND FERTILIZATION OF OOCYTES FROM OVARIAN TISSUES CRYOPRESERVED AND XENOGRAFTED INTO NUDE MICE." Reproduction, Fertility and Development 22, no. 1 (2010): 206. http://dx.doi.org/10.1071/rdv22n1ab95.

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Primordial follicles act as stores of ovarian follicles and are potential sources of oocytes for medical, agricultural, and zoological purposes. Ovarian xenografting seems to be advantageous for maturing the oocytes in primordial follicles (primordial oocytes) and useful for the conservation and reproduction of domestic or endangered animals. We have generated viable embryos from porcine primordial oocytes xenografted into nude mice (Kaneko et al. 2006 Reproduction). Xenografting of ovarian tissues after cryopreservation would be a very powerful tool for this purpose. Recently, Moniruzzaman et

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Luti, Benedetto. "Reclining Male Nude." Lancet 352, no. 9130 (1998): 825. http://dx.doi.org/10.1016/s0140-6736(05)60729-5.

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Dauchy, Erin M., Robert T. Dauchy, Steven M. Hill, et al. "Abstract 222: Exposure to dim light at night disrupts the nocturnal melatonin signal in male nude rats bearing tissue-isolated castration-sensitive VCaP human prostate cancer: Impact on tumor circadian dynamics of the Warburg effect, lipid signaling and proliferation." Cancer Research 82, no. 12_Supplement (2022): 222. http://dx.doi.org/10.1158/1538-7445.am2022-222.

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Abstract Over 248,000 men in the U.S. alone this year will be diagnosed with prostate cancer, and over 33,300 will die from the disease. The World Health Organization, in the case of breast cancer, has classified night-shift work involving light at night (LAN)-induced circadian disruption to be a probable carcinogen (Class 2A). Exposure to LAN suppresses nighttime pineal melatonin (MLT) production that influences normal and neoplastic tissue metabolism, physiology, and proliferation. Previously, we showed in rodent and human tumors in vivo that MLT inhibits linoleic acid (LA)-uptake and conver

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Moon, Henry H., Katrina L. Clines, Mark A. Cooks, Charlotte A. Cialek, Marian A. Esvelt, and Gregory A. Clines. "Castration Determines the Efficacy of ETAR Blockade in a Mouse Model of Prostate Cancer Bone Metastasis." Endocrinology 160, no. 8 (2019): 1786–96. http://dx.doi.org/10.1210/en.2019-00261.

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Abstract Bone metastasis is a painful complication of advanced prostate cancer. Endothelin-1 is a tumor-secreted factor that plays a central role in osteoblast activation and the osteosclerotic response of prostate cancer metastatic to bone. Antagonists that block the activation of the endothelin A receptor (ETAR), located on osteoblasts, reduce osteoblastic bone lesions in animal models of bone metastasis. However, ETAR antagonists demonstrated limited efficacy in clinical trials of men with advanced prostate cancer who also received standard androgen deprivation therapy (ADT). Previous data

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Minns, Frank. "Art: Egon Schiele: the Radical Nude." British Journal of General Practice 65, no. 630 (2014): 33. http://dx.doi.org/10.3399/bjgp15x683233.

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Polinska, Wioleta. "Women and the Male Nude." Theology & Sexuality 2000, no. 12 (2000): 48–67. http://dx.doi.org/10.1177/135583580000601204.

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Tang, Cong, Rui Traquete, Elizabeth Henderson, et al. "Abstract 5779: Enhancing selectivity and overcoming tissue-specific toxicity in drug discovery: A novel BET inhibitor with targeted delivery for prostate cancer treatment." Cancer Research 84, no. 6_Supplement (2024): 5779. http://dx.doi.org/10.1158/1538-7445.am2024-5779.

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Abstract Improving selectivity and circumventing tissue-specific toxicity remain significant challenges in the realm of contemporary drug discovery. Despite the advanced development of highly selective inhibitors, their systemic distribution often stimulates off-tissue unwanted side-toxicity. To address this, we engineered a highly selective inhibitor that specifically targets and releases a small molecule drug payload to a desired cell type. As a proof of concept, we apply this method to epigenetic inhibitors of BET proteins, which are crucial regulators of gene transcription implicated in th

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Markowitz, Sally, and Lynda Nead. "The Female Nude: Art, Obscenity, and Sexuality." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 216. http://dx.doi.org/10.2307/431556.

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Albano, Ninotchka Mumtaj. "OBJECTIFYING NUDE ART THROUGH SARTRE’S “THE IMAGINARY”." Philosophia: International Journal of Philosophy 20, no. 1 (2019): 80–96. http://dx.doi.org/10.46992/pijp.20.1.a.5.

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Rosen, David. "The Lost Art of Nude Fan Dancing." Sexuality & Culture 23, no. 3 (2019): 1019–24. http://dx.doi.org/10.1007/s12119-019-09612-8.

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Nead, Lynda. "The Female Nude: Pornography, Art, and Sexuality." Signs: Journal of Women in Culture and Society 15, no. 2 (1990): 323–35. http://dx.doi.org/10.1086/494586.

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Sliti, Adel. "Carol Ann Duffy's ‘Standing Female Nude’." Critical Survey 35, no. 3 (2023): 1–16. http://dx.doi.org/10.3167/cs.2023.350301.

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Abstract The present article addresses the evocative potential of posing nude in Carol Ann Duffy's poem ‘Standing Female Nude’. My assumption is that the posing model/prostitute displays two bodies: the physical body and the signifying body. The interplay between both bodies triggers a process of signification whereby art is not simply a studio production but a meta-frame encapsulating a reflection on society, culture, self-representation and politics of identity. The poem substantiates the poet's experimental method of writing which draws on nude art genre, the dramatic monologue, theatre and

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Abbasi, S., and A. Honaramooz. "305 OPTIMIZING DONOR AND RECIPIENT FACTORS IN XENOGRAFTING OF TESTIS TISSUE." Reproduction, Fertility and Development 22, no. 1 (2010): 308. http://dx.doi.org/10.1071/rdv22n1ab305.

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Grafting of donor mammalian testis tissue into recipient mice allows completion of spermatogenesis in the grafted tissue and therefore can serve as a new option for preservation of male germ line. For testis tissue xenografting, castrated male nude mice typically serve as recipients, each receiving 8 testis tissue fragments; however, no study has comprehensively investigated donor and recipient factors. The objective of this study was to determine the effects of strain of immunodeficient recipient mouse (nude v. SCID), gonadal status (intact v. gonadectomized), and gender (male v. female) on t

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Park, Junu. "Determining Fair Use and the Role of Transformative Use Test: On the Rulings in Wofsy v. De Fontbrune." Korea Copyright Commission 142 (June 30, 2023): 77–116. http://dx.doi.org/10.30582/kdps.2023.36.2.77.

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Recently, as the size of the cultural industry has grown and cultural and informational products that utilize copyrighted materials have increased, there have been notable fair use rulings by t he U.S. S upreme C ourt ( such a s G oogle v . Oracle and Andy Warhol v. Goldsmith). Korea Supreme Court upheld an appellate court ruling that the use of nude photographs in satire posters was not fair use. Courts need to show both ① consistency in the application of fair use doctrine in past and recent rulings on new types of cases, and ② that all rulings are consistent with the purpose of copyright la

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Stanley, Lawrence A. "Art and "Perversion": Censoring Images of Nude Children." Art Journal 50, no. 4 (1991): 20. http://dx.doi.org/10.2307/777319.

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Okediji, Moyo. "The Naked Truth: Nude Figures in Yoruba Art." Journal of Black Studies 22, no. 1 (1991): 30–44. http://dx.doi.org/10.1177/002193479102200104.

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Picard, Alyssa. "“To Popularize the Nude in Art”: Comstockery Reconsidered." Journal of the Gilded Age and Progressive Era 1, no. 3 (2002): 195–224. http://dx.doi.org/10.1017/s1537781400000232.

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Of all the figures in the struggle over turn-of-the-century vice reform, Anthony Comstock is perhaps the last one might expect to encounter immortalized in the nude. He acquired his fame as a censor of nudity, among other offenses: from 1873 to his death in 1915, Assistant United States Postmaster Comstock lent his name and his enthusiasm for law enforcement to the prosecution of the “Comstock Laws,” the eponymous statutes which restricted the dissemination of vicious images and information through the United States mail. In his government post and as the head of New York City's private Societ

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Cohen, H., I. Sabbagh, P. Guillaumot, and J. Bertrand. "Increased dopaminergic inhibition of prolactin in the hypoprolactinaemic IPL nude rat." Journal of Endocrinology 107, no. 3 (1985): 325–29. http://dx.doi.org/10.1677/joe.0.1070325.

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ABSTRACT In this study, aimed at investigating whether dopaminergic regulation of prolactin could be implicated in the hypoprolactinaemia observed in the IPL nude rat, dopaminergic inhibition of prolactin was suppressed using a catecholamine synthesis inhibitor α-methyltyrosine (MT) and a dopaminergic antagonist sulpiride. Adult male rats (IPL nude and normal) were injected through implanted atrial cannulae with either MT (250 mg/kg) or physiological saline (control). Rats were decapitated 2 h after the injection. Plasma prolactin levels, compared with basal values, increased by 15·6 ± 1·9 (s.

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del Mar Pérez-Gil, María. "Undressing the Virgin Mary: Nudity and Gendered Art." Feminist Theology 25, no. 2 (2017): 208–21. http://dx.doi.org/10.1177/0966735016679907.

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Stripping the Virgin Mary of the myths, stories, and dogmas surrounding her is a task that has particularly appealed to a branch of feminist theology which seeks to reclaim her as a figure of female empowerment. This article aims to explore the transformation of Mary’s body into an element of resistance in the work of some contemporary artists. By depicting her nude or semi-nude, artists disrupt the gender values commonly associated with the Virgin and open up alternative possibilities of affirmative selfhood through her body. I contend that, in these works, the Virgin’s body functions as a ‘r

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Lilley, Ed. "Art, Fashion, and the Nude: A Nineteenth-century Realignment." Fashion Theory 5, no. 1 (2001): 57–77. http://dx.doi.org/10.2752/136270401779045743.

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MARKOWITZ, SALLY. "Lynda Nead, The Female Nude: Art, Obscenity, and Sexuality." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 216–18. http://dx.doi.org/10.1111/1540_6245.jaac53.2.0216.

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Samu, Margaret. "The Nude in Eighteenth- and Nineteenth-Century Russian Sculpture." Experiment 18, no. 1 (2012): 33–60. http://dx.doi.org/10.1163/221173012x643044.

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Abstract This article analyzes Russian attitudes toward nudity in art in the eighteenth and nineteenth centuries, from the importation of Italian nudes by Peter the Great to the continued study of the nude model by Socialist Realist artists. Questions addressed include the reception of nude sculpture in Russia and its change over time; the role of life models; and the subject matter sculptors chose.

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Moskowitz, Anita F. "A LATE DUGENTO MALE NUDE STUDIED FROM LIFE." Source: Notes in the History of Art 16, no. 4 (1997): 1–8. http://dx.doi.org/10.1086/sou.16.4.23205147.

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Collon, Dominique. "The Queen under attack—A rejoinder." Iraq 69 (2007): 43–51. http://dx.doi.org/10.1017/s0021088900001042.

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The object once known as the Burney Relief, and now renamed The Queen of the Night (hereinafter referred to as the Queen) is a mould-made plaque of straw-tempered clay (Fig. 1). Integral with the rectangular background (49.5 × 37 cm) is a nude figure who wears the horned headdress of a Mesopotamian goddess, has lowered wings, dewclaws and bird's talons, holds the divine rod-and-ring symbol in each hand, stands on the backs of two addorsed lions, and is flanked by large owls. Traces of black, red and white paint survive. Since it was first published in the Illustrated London News on 13 June 193

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