Academic literature on the topic 'Masculine beauty (Aesthetics)'
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Journal articles on the topic "Masculine beauty (Aesthetics)"
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OJALA, HANNA, TONI CALASANTI, NEAL KING, and ILKKA PIETILÄ. "Natural(ly) men: masculinity and gendered anti-ageing practices in Finland and the USA." Ageing and Society 36, no. 2 (October 29, 2014): 356–75. http://dx.doi.org/10.1017/s0144686x14001196.
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ABSTRACTThe neo-liberal ideologies that point to individual responsibility for risks increasingly influence countries of the global North. The anti-ageing industry reflects this dictate and encourages middle-aged people to use their products and services to manage their ageing. However, given the negative connotations attached to the term ‘anti-ageing’, which is usually seen to focus on aesthetics and thus be a woman's concern, men may be likely to disavow being involved in such activities. The article uses interview data collected from men aged 42–70 from Finland and the United States of America to explore whether and how men adhere to the call to manage their ageing when such anti-ageing activities are seen to be potentially feminising. We find that these men reflected neo-liberalism in the sense that they felt that, although ageing cannot be prevented, it can be controlled. Also while they generally rejected anti-ageing products and services that they judged to affect aesthetics, they reported that they use those that they define as promoting health and performance instead. For them, masculinity is the instrumental focus on performance to the exclusion of beauty or attractiveness. Masculine anti-ageing bodily strategies must also be ‘natural’, involving hard work rather than the use of products, which they regard as never having been scientifically proven to enhance performance. Thus, in talk of their anti-ageing, men distance themselves from women.
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Zhang, Jingke. "Reach on Natural Beauty on Aesthetic Education in Teaching Chinese as a Second Language." International Journal of Educational Research and Development 1, no. 1 (May 30, 2022): 7. http://dx.doi.org/10.56028/ijerd.1.1.7.
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This dissertation demonstrates the vitality of nature.Natual beauty can enrich students’life and emotions. It naturally edifies students’temperament, inspires students’revolutionary enthusiasm and cultivates their patriotic thoughts and feelings. Nature can be shown with grandeur, magnificence, and masculine beauty in articles using in teaching Chinese as a second language. The beauty of freshness and softness means that the forms of many strange scenes in nature can deviate from the general rules of balanced, symmetrical and harmonious forms into pure beauty. Nature contains a lot of strange scenery,which brings a profound sense of beauty .So it is important to demonstrate the importance of natural beauty in teaching Chinese.
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Braz, André, and Camila Cazerta de Paula Eduardo. "Reshaping the Lower Face Using Injectable Fillers." Indian Journal of Plastic Surgery 53, no. 02 (August 2020): 207–18. http://dx.doi.org/10.1055/s-0040-1716185.
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AbstractThe lower third is very important for the pleasant appearance of the face. A well-contoured jawline is desirable in men and women, giving a perception of beauty and youth. It is also key to sexual dimorphism, defining masculine and feminine characteristics. The nonsurgical rejuvenation and beautification of the lower third of the face is becoming more frequent. Injectable fillers can reshape the jawline, lift soft tissues, and improve facial proportions, effectively improving the appearance of the area.It is paramount to understand the facial anatomy and perform a good facial assessment in order to propose a proper aesthetic treatment plan. The aesthetic goal of the rejuvenation approach is to redefine the mandibular angle and line. In young patients, beautification can be achieved through correction of constitutional deficit or enhancement of the contour of the face, improving the facial shape. It is very important to possess knowledge of facial anatomy and of the aging process in order to deliver effective and safe results.In this article, we discuss the anatomy of the lower third of the face, facial assessment, aging process, and treatments of the chin, prejowls and mandibular line and angle with injectable fillers. The authors’ experience in the approach of this area is discussed.
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Кошлякова, Мария, and Mariya Koshlyakova. "The gender dimension of corporate standards for staff appearence." Servis Plus 9, no. 1 (March 6, 2015): 79–85. http://dx.doi.org/10.12737/7586.
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Corporate standards of appearance based on the strategy of positioning the organization, implementing a number of aesthetic factors, which include gender characteristics. The style of corporate standards of appearance is determined largely by the severity of the characteristics on a scale of masculinity —femininity. Masculine type of clothing is perceived as a purely functional and business. Key features of normative masculinity in clothes are the elements of status. Today the masculine type of clothing is increasingly in demand in the corporate standards of organizations that impose strict requirements for staff appearance. Standards of feminine type are associated primarily with taboo or propaganda of sex symbols in staff appearance. It can be successfully implemented in those spheres of business where the quality of beauty, strength and youth act as a competitive advantage (firms operating in the market of entertainment and gaming services, the industry of sports, modeling), or where competitive advantages are based on care, empathy, communication skills (organization of welfare service, preschool and school education, and others). Unidentified type embodies the style unisex as a means of "raising" of women to men. That type of gender may be relevant to areas of business where there is an absolute erasure of gender roles, such as sports or IT technology. Androgynous type is a structure that includes elements of traditional male and female clothing. This type is used in the areas of business where competition is based on combining the standards of masculinity and femininity at the same time, for example, service, tourism and other similar activities.
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Kool, Sharon. "At the Still Point of the Turning World: Freud's Reception of Winckelmann's Greece." Psychoanalysis and History 16, no. 2 (July 2014): 137–52. http://dx.doi.org/10.3366/pah.2014.0149.
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Freud's theory is primarily concerned with memory, about the present contained within the past. It is also rooted to the past in another way; Freud's reception of the Greek classical tradition played a vital role in the genesis of his oeuvre. Winckelmann's revival of ‘Greece’ dominated German culture up to the late nineteenth and early twentieth century, yet besides the importance of Bildung in shaping Freud's early Gymnasium experience, his influence upon Freud is often neglected. While Freud's debt to German Hellenism is clearly demonstrated in his library of classical literature and his collection of Greco-Roman antiquities, the afterlife of Winckelmann's legacy is more subtly inscribed upon psychoanalysis. This paper focuses on Winckelmann's aesthetic reconstruction of classical Greece which made beauty, self-restraint and repression a cultural ideal to be imitated and admired. It is argued that hysteria provided one of the most powerful challenges to this ideal. Psychoanalysis can thus be seen as developing out of a milieu that was still overshadowed by Winckelmann's idealization of Greece. Further, it is argued that Winckelmann advanced a homoerotic tradition in German culture and the sedimentation of this tradition can be discerned in Freud's response to hysteria, his privileging of the masculine and his theory of bisexuality.
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Song, Geng. "The Afterlife of a Tang Monk: Buddhist Masculinity and Transformations of the Image of Xuanzang in East Asia." NAN NÜ 24, no. 2 (November 9, 2022): 296–318. http://dx.doi.org/10.1163/15685268-02410049.
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Abstract This study focuses on how Xuanzang (602-64), the well-known monk who procured Mahāyāna Buddhist scriptures from India and translated them into Chinese, posthumously became an icon of soft and queer masculinities in East Asian popular culture. Through a historical survey of the transformation of this image in various cultural forms, including literature, films, TV shows, anime and manga, computer games, and memes in China, Japan, and Korea, this article explores the interplay between religion and gender in East Asia, and argues that the image of Xuanzang is the product of the negotiations among a variety of cultural and economic forces and factors, such as the Buddhist notions of gender transgression and reincarnation, the Confucian discourse of scholar masculinity and androgyny, the cult of homosocial bond and brotherhood, as well as commercial concerns in TV and cinematic adaptations. Despite concerns over the character’s effeminacy and various attempts to re-masculinize him, the most popular and widely accepted image of Xuanzang remains that of a young scholar characterized by vulnerability and feminine beauty – a prototype of the fashionable “little fresh meat” aesthetic today.
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Toloargă, Ioana. "Dramaturgia Mitopoetică a Lui Blaga Și Rescrierea Canonului Redempţiunii." Lucian Blaga Yearbook 22, no. 1-2 (October 1, 2021): 13–22. http://dx.doi.org/10.2478/clb-2021-0002.
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Abstract Taking in consideration a broad perspective on Romanian literature and the prevalence of the Byzantine religious model, the orthodox background that provides the dichotomie Good-Bad or Beautiful-Ugly as a statement, the present paper analyses Lucian Blaga’s plays (Tulburarea apelor and Meșterul Manole) as an alternative model. The European cultural influences, the Gnostic, the psychoanalytic and aesthetic visions, the religious syncretism, the mythical and poetic, tragic and expresionst dimensions of his works are the premises of considering Blaga a rewriter of the redemption’s canon for his heroes. Firstly, the present paper proposes reading the plays through Goethe’s grind – the two souls theory (that of the day and that of the night) corresponding to the maternal and the paternal images, in relation with Blaga’s biography. On the other hand, taking in consideration Nietzsche’s theory about ancient tragedy, it analyses the rapport between apollonian and dionysian elements, but also the faustization of the heroes. If masculine characters can be related to different faustic steps, the women have both angelic and mephistophelean features – there are correspondents to the Anima, or to the Shadow, in the Jungian archetypes, to the biblical fallen angel or to the ancient Bacchanta. Nona remains a femnine Mephisto or a Sucubous that reshapes the patter of temptention into the erotic seduction while Mira can be seen as a Margareta or even as a Helena, while the church that Manole built on the foundation of her sacrifice can be read in the same grind as Euphorion – the symbol of Beauty and Perfection or of Manole-Faust’s new soul. The question if Nona and Mira can represent (or not) the Eternal Feminin and the salvation of heroes is sill valid. However, describing the Priest and Manole as dramatic (not as tragic heroes, although we can talk about the resurrection of Hybris, Hamartia, Catastrophe and a possible Nemesis), in relation with a non-Crestian, Gnostic, Bogumilic or Pantheist God (a Deus absconditus or Deus otiosus), their redemption is a non-canonic one. Although the answer that the author provides if we are talking about a damnation or about a path to redemption, from the religious point of view, the priest’s salvation is a Pantheist one, while Manole’s redemption can be seen as an aesthetic one. Both parralel with the classic possibilities of saving heroes, alternative models that rewrite the canon of redemption.
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Silva, Daniele Andrade da, and Anna Paula Uziel. "“Arrest me, DeleGata!” - gender performativities in the construction of beauty as an aesthetic and discursive weapon of power among female Civil Police chiefs." Ciência & Saúde Coletiva 29, no. 2 (2024). http://dx.doi.org/10.1590/1413-81232024292.15552023en.
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Abstract This article discusses the performative gender constructions of female police chiefs working in Rio de Janeiro state. Using cartography as a research method, we follow the paths, connections, and construction of femininities, activated and performed by our respondents to establish a place of respect and prominence within and outside the Institution, using beauty as an aesthetic and discursive power tool based on the DeleGata performative class. Cartographic interviews were conducted with nine female police chiefs in Rio de Janeiro state aged 30 to 59. Although the police have historically valued recognized masculine ideals, such as strength and virility, the gender performativities operated by female police chiefs allow for police feminization. The figure/enunciation of DeleGata, who builds an image of the female police chief, implying a unity, signifies producing political subjects, ideas, and values that reach a communicative and performative standard, making visible some woman who adorns - with her beauty - and simultaneously surprises - with her intelligence. The DeleGata thus brings into play apparently antagonistic extremes: beauty-intelligence, sensuality-power, femininity-strength, producing a social and symbolic regimen for the production of bodies and femininities.
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Silva, Daniele Andrade da, and Anna Paula Uziel. "“Me prende, DeleGata!” - performatividades de gênero na construção da beleza como uma arma estética e discursiva de poder entre delegadas da Polícia Civil." Ciência & Saúde Coletiva 29, no. 2 (2024). http://dx.doi.org/10.1590/1413-81232024292.15552023.
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Resumo O presente artigo aborda as construções performáticas de gênero de delegadas de polícia atuantes no estado do Rio de Janeiro. A partir da utilização da Cartografia como método de pesquisa, acompanhamos percursos, conexões e processos de construção de feminilidades, acionadas e performadas por nossas entrevistadas para constituírem um local de respeito e destaque dentro e fora da Instituição, usando a beleza como ferramenta estética e discursiva de poder, a partir da classe performática DeleGata. Foram realizadas entrevistas de manejo cartográfico com nove delegadas lotadas no estado do Rio de Janeiro, com idades entre 30 e 59 anos. Embora a polícia valorize historicamente ideários reconhecidos como masculinos, como força e virilidade, as performatividades de gênero operadas pelas delegadas permitem uma feminilização da polícia. A figura/enunciação da DeleGata, que constrói uma imagem da mulher delegada, fazendo supor uma unidade, significa a produção de sujeitos políticos, assim como ideias e valores que atingem um padrão comunicativo e performático, visibilizando certa mulher que ornamenta - com sua beleza - e que surpreende - com sua inteligência - ao mesmo tempo. Assim, a DeleGata coloca em ação extremos aparentemente antagônicos: beleza-inteligência, sensualidade-poder, feminilidade-força e produzem um regime social e simbólico de produção de corpos e feminilidades.
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Ludwig, Karmann. "I am Fascinated by What is Beautiful, Strong, Healthy” Leni Riefenstahl, Gender, and Absolved Guilt." International ResearchScape Journal 7, no. 1 (2020). http://dx.doi.org/10.25035/irj.07.01.04.
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Public discourse around the Nazi regime is typically surrounded by its doctrine of hatred and violence; traditional gender roles and these traits have rendered fascism a decidedly masculine pursuit—which Nazi doctrine wholeheartedly supported. Many men are to blame for the atrocities of the Holocaust and are rightfully criticized and despised for their actions; however, though a major contributor to the fascist ideology through her propaganda, filmmaker Leni Riefenstahl has remained extremely controversial. While scholars and critics have criticized Leni Riefenstahl’s films as emblemizing a fascist aesthetic, many have nonetheless praised her as an innovative artist, arguing for a separation from the person and the art. Riefenstahl’s films—primarily funded by the Nazi regime, despite her adamant dismissal of these claims—focus largely on what she calls the “beauty” of the human figure: that is, the “Aryan” bodies, whose “beauty” lied in their whiteness and able-bodied figures. Such an image represents the Nazi policy on all levels. This is especially evident in Olympia, Riefenstahl’s three-and-a-half-hour art documentary cataloguing the 1936 Berlin Olympics. The documentary employs images of bodies intended to convey ideology through supposed physical perfection, as well as narratives of nationalism and collective victory; both aspects render Olympia a film that substantially contributed (and, to this day, still contribute) to the dangerous culture of fascism and nationalism.
Dissertations / Theses on the topic "Masculine beauty (Aesthetics)"
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Poteet, George Anthony. "Perceptions of pretty people : an experimental study of interpersonal attractiveness." Online access for everyone, 2007. http://www.dissertations.wsu.edu/Thesis/Spring2007/a_poteet_050307.pdf.
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Hancock, Elizabeth. "Masculinity and the male body from the world of the ancients to the World Wide Web /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/8044.
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Moreira, Júlio Carlos de Oliveira. "Homo speculum: reflexos do corpo." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21296.
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Societies can be studied by analyzing various aspects. How individuals organize themselves politically; how they eat; how they treat the environment; how they have sex. I have chosen to analyze what the body of man can say about society. I seek to analyze throughout history, relevant aspects that characterized the importance of the man’s body. A trajectory of facts and opinions that guided the Western world. When one speaks about man’s body, even today, it is a term that is synonymous of the human body. Despite its privileged position in relationship to women for centuries, this modern man lives the extremes of society. It occupies the highest political and economic positions on the globe, but at the same time, also represents the largest contingent of prisoners in jails. The contemporary man is a being who lives social pressures due to the new roles assumed by the woman since the second half of the last century, besides other challenges imposed by the modern life. He tries to locate his position in this new society. A society of performance linked to the logic of consumption as Bauman and Byung-Chul teach us. As a social voyeur I gaze at the body of man to understand the logic that guides our behavior in the second half of the 21st century, where concepts like privacy change with the rising of social networks. A new society of exhibition, where the body becomes a commodity to be worked on to create an intended identity of the individual. And that generates dissatisfaction for those who do not reach the models idealized by that society. But also anxiety among those who have reached valued standards and do not wish to lose them
As sociedades podem ser estudadas analisando vários de seus aspectos. Como os indivíduos se organizam politicamente; como comem; como tratam o meio ambiente; como fazem sexo. Eu escolhi analisar o que o corpo do homem pode falar sobre a sociedade. Busco analisar ao longo da história, aspectos relevantes que caracterizaram a importância do corpo do homem. Uma trajetória de fatos e opiniões que nortearam o mundo ocidental. Quando se fala no corpo do homem, ainda hoje, ele é um termo sinônimo do corpo humano. Apesar de sua posição privilegiada em relação à mulher durante séculos, esse homem moderno vive os extremos da hierarquia social. Ocupa ao mesmo tempo os maiores cargos políticos e econômicos pelo globo, mas também representa o maior contingente de presos nas prisões. O homem atual é um ser que vive pressões sociais devido aos novos papéis assumidos pela mulher desde a segunda metade do século passado e desafios impostos pela vida moderna. Ele tenta localizar qual a sua posição nessa nova sociedade. Uma sociedade do desempenho atrelado à lógica do consumo como nos ensinam Bauman e Byung-Chul. Como um voyeur social miro o corpo do homem para entender as lógicas que norteiam o nosso comportamento nessa segunda metade do século XXI, onde conceitos como privacidade se alteram com o fortalecimento das redes sociais. Uma nova sociedade da exibição, onde o corpo passa a ser uma mercadoria a ser trabalhada para criar uma identidade pretendida do indivíduo. E que gera insatisfações para quem não atinge os modelos idealizados por essa sociedade. Mas também ansiedade entre aqueles que obtiveram os padrões valorizados e não desejam perde-los
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"Seeking alternative identities: changing masculinity among fashionable young men in Hong Kong." 2007. http://library.cuhk.edu.hk/record=b5893351.
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Wong, Ching Wa Alana.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 123-128).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.iii
Chapter Chapter One: --- Introduction --- p.1
Chapter 1.1 --- Overview --- p.1
Chapter 1.1.1 --- Objectives --- p.1
Chapter 1.1.2 --- Who are fashionable Hong Kong young men? --- p.3
Chapter 1.1.3 --- Significance and Setting --- p.5
Chapter 1.2 --- Literature Review --- p.7
Chapter 1.2.1 --- Changing masculinity in postindustrial society --- p.7
Chapter 1.2.2 --- Beauty used to be associated with women --- p.10
Chapter 1.2.3 --- Beauty has become part of masculinity --- p.12
Chapter 1.2.4 --- Hong Kong's changing masculinity --- p.16
Chapter 1.3 --- Methodology --- p.18
Chapter 1.3.1 --- Media survey --- p.18
Chapter 1.3.2 --- In-depth interviews --- p.20
Chapter 1.4 --- Structure of the thesis --- p.22
Chapter Chapter Two: --- Changing Perception of Masculinity in Hong Kong: Dominant and Alternative --- p.24
Chapter 2.1 --- Introduction --- p.24
Chapter 2.2 --- Meanings of Chinese masculinity --- p.24
Chapter 2.3 --- Dominant perception of masculinity in Hong Kong --- p.26
Chapter 2.4 --- Beauty becomes part of masculinity in Hong Kong --- p.28
Chapter 2.4.1 --- Male beauty contest on television --- p.29
Chapter 2.4.2 --- Hong Kong men's opinions on men's beauty --- p.32
Chapter 2.4.2.1 --- Appearance is important for men --- p.33
Chapter 2.4.2.2 --- Concern for appearance cannot be publicly admitted --- p.37
Chapter 2.5 --- Conclusion: Caring for beauty is becoming part of masculinity --- p.40
Chapter Chapter Three: --- Men's beauty in magazines in Hong Kong --- p.42
Chapter 3.1 --- Introduction --- p.42
Chapter 3.2 --- Magazines in Hong Kong --- p.43
Chapter 3.2.1 --- Youth and gossip magazines --- p.43
Chapter 3.2.2 --- Japanese male fashion magazines --- p.44
Chapter 3.2.3 --- Men's lifestyle magazines --- p.45
Chapter 3.3 --- Men's images in these three types of magazines --- p.45
Chapter 3.3.1 --- Over- emphasis of Japaneseness: Youth and gossip magazines --- p.46
Chapter 3.3.2 --- Authentic Japanese style?: Japanese male fashion magazines --- p.51
Chapter 3.3.3 --- High class men: Men's lifestyle magazines --- p.54
Chapter 3.4 --- Men's images in magazines in Hong Kong: wen or wu? --- p.59
Chapter 3.5 --- Conclusion: Beauty has become increasingly important for men in Hong Kong --- p.62
Chapter Chapter Four: --- "Relationship between ""Japan"" and men's beauty in Hong Kong" --- p.64
Chapter 4.1 --- Introduction --- p.64
Chapter 4.2 --- "The meaning and common beliefs about ""Japan"" in Hong Kong" --- p.65
Chapter 4.2.1 --- Japan as work: Hair stylists and fashion designers --- p.66
Chapter 4.2.1.1 --- Hair stylist assistants --- p.66
Chapter 4.2.1.2 --- Fashion designers --- p.70
Chapter 4.2.2 --- """Japan"" as leading fashion trends" --- p.73
Chapter 4.2.2.1 --- "To be ""cool"" means to learn from Japan" --- p.73
Chapter 4.2.2.2 --- Japan is the best --- p.77
Chapter 4.3 --- "The influence of ""Japan"" on men's beauty" --- p.80
Chapter 4.3.1 --- Awareness of Japan --- p.80
Chapter 4.3.1.1 --- Hong Kong men who deliberately choose Japanized beauty practices --- p.80
Chapter 4.3.1.1.1 --- Hong Kong men who have long term experiences in Japan --- p.80
Chapter 4.3.1.1.2 --- Band members --- p.82
Chapter 4.3.1.2 --- """Japan"" offers an alternative" --- p.83
Chapter 4.3.2 --- Taken-for-Granted Japanese Influences --- p.84
Chapter 4.3.2.1 --- The daily beauty practices: Japanese influences are invisible --- p.84
Chapter 4.3.2.1.1 --- "No ""Japanese"" hair style" --- p.85
Chapter 4.3.2.1.2 --- "No ""Japanese"" clothing styles" --- p.86
Chapter 4.3.2.2 --- """Japan"" mixes with Hong Kong" --- p.88
Chapter 4.3.3 --- Special cases --- p.90
Chapter 4.4 --- Abandonment of Japanized beauty practices --- p.92
Chapter 4.5 --- "Conclusion: ""Japan"" represents a temporarily attractive life for men" --- p.93
Chapter Chapter Five: --- Negotiation with Women: Fashionable Hong Kong Young Men's Beauty Ideals --- p.95
Chapter 5.1 --- Introduction --- p.95
Chapter 5.2 --- "Women's ""gaze"" in the male beauty contest" --- p.96
Chapter 5.3 --- The use of women in encouraging men's beauty in Hong Kong magazines --- p.97
Chapter 5.4 --- Hong Kong men's masculinity: we listen and obey women's orders --- p.104
Chapter 5.5 --- Conclusion: Fashionable Hong Kong young men's beauty practices are influenced by women --- p.109
Chapter Chapter Six: --- Conclusion --- p.111
Chapter 6.1 --- Conclusion --- p.111
Chapter 6.2 --- A Review: Men's beauty as an alternative masculinity in Hong Kong --- p.111
Chapter 6.2.1 --- Hong Kong men need to care about appearance --- p.112
Chapter 6.2.2 --- "Japanized beauty practices can make men look ""cool"" and trendy" --- p.114
Chapter 6.2.3 --- Men listen and obey women's orders on beauty practices --- p.116
Chapter 6.2.4 --- "After all, career achievement and earning ability are more important" --- p.118
Chapter 6.3 --- Conclusion: Limitations and self reflections --- p.120
References --- p.123
Books on the topic "Masculine beauty (Aesthetics)"
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L, Davis Steven, and Lubovich Maglina, eds. Hunks, hotties, and pretty boys: Twentieth-century representations of male beauty. Newcastle: Cambridge Scholars, 2009.
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Piccari, Federico. E bellezza sia!: Modigliani, Warhol, Mapplethorpe, la dolce vita oggi. Torino]: 107, 2012.
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Mártires de la belleza: Un ensayo sobre el esplendor y el castigo. Barcelona: Cabaret Voltaire Editorial, 2011.
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1981-, O'Brien Sarah, ed. Geeky dreamboats: A celebration. Philadelphia [Pa.]: Quirk Books, 2009.
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Fernández Murillo, María Soledad, compiler and Oros Rodríguez Varinia compiler, eds. Estéticas: Pieles, objetos y cuerpos. La Paz: MUSEF Editores, 2019.
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Ausstellung Traummänner - 50 Starfotografen Zeigen Ihre Vision vom Ideal 2011 Hamburg, Haus der Photographie, and Ausstellung "Traummänner - 50 Starfotografen Zeigen Ihre Vision vom Ideal" (2011.03.11-05.22 Hamburg), eds. Traummänner: Starfotografen zeigen ihre Vision vom Ideal ; [Ausstellung "Traummänner - 50 Starfotografen Zeigen Ihre Vision vom Ideal" ; eine Kooperation vom Haus der Photographie/Deichtorhallen und Barthouse Culture Concepts, erste Station Haus der Photographie, Hamburg, 11. März bis 22. Mai 2011]. Köln: DuMont, 2011.
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Khuner, Audrey. Hot guys and kittens. Kansas City: Andrews McMeel Publishing, 2014.
Find full textBook chapters on the topic "Masculine beauty (Aesthetics)"
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Kupchenko, Tatiana A. "Love as a “Cruel Muse”: The Role of Aestheticism of O. Wilde in the Gender Perspective of the Poem by V. Mayakovsky About That." In Femininity and Masculinity in the Modernist Culture: Russia and Abroad, 82–102. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0740-3-82-102.
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The article considers the phenomenon of love and relations between the sexes in the work of V. Mayakovsky through the prism of the complex of Wilde’s motives in the poem About That. Life and works of O. Wilde, perceived in the light of the ideas of suffering and total aestheticism, were in this period close to Mayakovsky’s life-creating myth. The poet imposes the Wilde’s “filter” on his own life situation, using it to translate the facts of reality into literature. The motives of the letter-diary of Mayakovsky written in the period of creating the poem About That and a letter by O. Wilde to A. Douglas De Profundis, written during the poet’s imprisonment in Reading Gaol, are compared. The article contains the analysis of Wilde’s ideology of aestheticism and Mayakovsky’s provocative manner of behavior in the period of early futurism. It is shown that the search for the foundations for building more perfect relationship between the sexes is related in both writers to the reflection of the masculine and the feminine in a person. Sensitivity expressed through “non-canonical” for men emotions of softness, tenderness (“a cloud in trousers”), indecision, is recognized as associated with the manifestation of the feminine in a male. The “feminine” part of the soul helps men in the interactions with the Creator, but also puts them in conflict with society (see motives of prison, court, death). For both Mayakovsky and Wilde, suffering as the other side of love and its aesthetics introduce the motive of cruelty of the beloved (manifestation of masculine nature). The connection of Suffering and Beauty justifies cruelty (About That, The Ballad of Reading Gaol, the letter-diary). Beauty as the highest manifestation of the idea of Love allows Mayakovsky to place the beloved in Paradise, and Wilde to write a ballad accepting the deadly power of love.
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Brown, Matthew. "Beauty." In Sports in South America, 121–34. Yale University Press, 2023. http://dx.doi.org/10.12987/yale/9780300247527.003.0008.
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This chapter examines the long history between beauty and sports. It elaborates on how sports promotion was shaped by racialized and gendered ideologies about human bodies in the early 1900s. Sports were understood and promoted in order to improve bodies, communities, and societies, so the aesthetic dimension was vital to the public provision of sports. The chapter also considers the ways in which women who played sports were characterized as masculine, while the dominance of men's soccer represented the notion of male physical effort, coordination, individual skill, and competitiveness as beautiful. It explains that education, institutions, and the media created a binary of separate men's and women's sports.
Conference papers on the topic "Masculine beauty (Aesthetics)"
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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.
Full textAbstract:
William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.