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Relevant bibliographies by topics / Nakedness

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Academic literature on the topic 'Nakedness'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Nakedness"

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Rule, Peter. "Nakedness." English Academy Review 4, no. 1 (January 1987): 193–98. http://dx.doi.org/10.1080/10131758785310151.

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Elliot, Alistair. "Nakedness." Critical Quarterly 42, no. 1 (April 2000): 7. http://dx.doi.org/10.1111/1467-8705.00275.

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Jones, D. A. "On nakedness at work." BMJ 344, mar21 1 (March 21, 2012): e1368-e1368. http://dx.doi.org/10.1136/bmj.e1368.

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Rosenstock, Gabriel, Mario Virgilio Monanez, and Mark Aldrich. "Your nakedness / Tu desnudez." Sirena: poesia, arte y critica 2006, no. 1 (2006): 168–69. http://dx.doi.org/10.1353/sir.2006.0087.

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Jirásek, Ivo. "Nakedness and Movement Culture." Physical Culture and Sport. Studies and Research 47, no. 1 (December 1, 2009): 95–102. http://dx.doi.org/10.2478/v10141-009-0036-7.

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Nakedness and Movement CultureThe paper deals with a topic which is not very frequent in kinanthropology; it concerns the phenomenon of the naked body in the environment of movement culture. Within the individual aspects of this cultural subsystem (sport, movement education, movement recreation, movement therapy, and movement art), it points out a variety of meanings and contexts adding sense to nudity on a continuum ranging from naturalness and functionality through erotization and sexualization to pornoization of particularly sport environment. The author prefers a functional naturalness of nudity and rejects the instrumentalization and changing human body into a thing and, thus, exceeding the characteristics of the sphere of movement culture.

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Levine, Philippa. "Naked Truths: Bodies, Knowledge, and the Erotics of Colonial Power." Journal of British Studies 52, no. 1 (January 2013): 5–25. http://dx.doi.org/10.1017/jbr.2012.6.

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AbstractIf clothing can be said to have political and cultural meaning, then the same must surely be true of its absence. In the British Empire, where the calibration of difference was paramount, nakedness acquired hierarchical significance. The sensibilities of the Victorians clashed with those of their colonial subjects on this topic over and over again, and nakedness came to define savagery and subjecthood. Through the optics of scientific literature, popular photography, and art, this essay examines the colonial politics of nakedness, its gendered dynamics, and the tensions between the erotic and the scientific.

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Mazza, Cris. "Introduction to Focus: Literary Nakedness." American Book Review 34, no. 6 (2013): 3. http://dx.doi.org/10.1353/abr.2013.0109.

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Mahapatra, Jayanta. "The Nakedness of the World." Sewanee Review 124, no. 4 (2016): 591–94. http://dx.doi.org/10.1353/sew.2016.0105.

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Menon, Rekha. "The Politics of the Sensuous and the Sacred Body in India." Paragrana 18, no. 1 (September 2009): 284–305. http://dx.doi.org/10.1524/para.2009.0017.

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AbstractThis paper is written inspired by looking at the hypocritical neocolonial/postcolonial Indians who claim to be the moralistic proper Hindu Indians. The paper discusses contemporary Indian aesthetic creations, specifically visual images and plastic arts, and correlates them with the excessive psychological, ethical, social, and gender judgments in which they are placed. Nakedness and naked bodies, the sensuous and the sacred body are judged within different hermeneutical contexts. By nakedness I do not mean just the nude body or the sexed body/body-ness, but nakedness in all its ambivalence. The paper focuses on various events in India to show how the domain of the expressive lifeworld of the sensuous and the sacred is still a question of debate, which has not changed since the Victorian moral codes.

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Wilson, Michael. "Nakedness, Bodiliness and the New Creation." Modern Believing 47, no. 3 (July 2006): 42–50. http://dx.doi.org/10.3828/mb.47.3.42.

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Dissertations / Theses on the topic "Nakedness"

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Forsell, Mari Jonel. "Soaking Sensual Nakedness: Haptic Bathhouse Explorations." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/70455.

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How can architecture stimulate an increased haptic experience? People with sight lack the everyday immediacy of sensory awareness as compared with people with significant sight impairment. When sight is lost, the mind compensates by heightening the other senses for receiving information. In particular, people who are sight impaired depend on their "somesthesis," or skin sense, for information. In contrast, people who are sighted do not depend on somesthesis to accomplish everyday tasks. Many may go through an entire day without considering their sense of touch. If awareness exists, it is likely through discomfort such as that first barefooted encounter on ice cold tile first thing in the morning or grabbing a burning steering wheel after it baked all day in the hot summer sun. Heschong writes "If sight allows for a three-dimensional world, then each other sense contributes at least one, if not more, additional dimensions." (Heschong, p. 28-29) The sighted rely so heavily on the visual sense for information. They miss many simple tactile encounters along with all their contiguous sensational experiences, constricting the development of these additional dimensions, thus significantly diminishing the depth and complexity of their existence. This is an exploration of touch, a bathhouse, just south of Dupont Circle in the urban fabric of Washington DC. Experiencing a place where the entire body can intimately converge with a building saturated with tactile opportunities, the surprise of stimulating skin-to-surface encounters will remind us of our wonderful somatosensation. How we feel during these sensual unions will add vividness to our lives and a desire to again search for more tactile stimuli feeding our rejuvenated mindfulness.
Master of Architecture

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Gilroy-Ware, Cora. "Marmorealities : classical nakedness in British sculpture and historical painting, 1798-1840." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5541/.

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Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as the increasing aestheticisation and eroticisation of the naked figure onto the changing political milieu.

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Rode, Susan Lill. "A Christian perspective of contemporary nudity, theological and ethical reflections on symbolic nakedness." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ58293.pdf.

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Rode, Susan L. "A Christian perspective of contemporary nudity: Theological and ethical reflections on symbolic nakedness." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9302.

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This thesis represents and records the results of investigations in the area of contemporary nudity in North American society and the meanings attached and applied to human nakedness by our culture. We wanted to uncover and reveal why human nakedness seems to be considered only in connection with sexuality and given mostly negative interpretations. We identified a symbolic paradigm of nudity at work within both society and Christian discourse, a paradigm which connects human nakedness to fallen humanity, usually represented by references to Adam and Eve. This tie or relationship appears to lead to negative constructs of nudity, to interpretations of nakedness which communicate a sexuality considered only in a negative fashion. We have coined the phrase---"the Adam and Eve (Adam/Eve) connection"---to clarify, indicate and identify this joining of contemporary nudity to the Genesis couple. The thesis looks to Christian tradition in an attempt to retrieve some basis for an alternate model, a model which would specifically connect our nudity to Christ and in this way symbolically reflect our redeemed nature as well as our fallen state. We expressed such a relationship or tie with the phrase---"the Christ connection". Inspired by the research on nudity conducted by ethicist Andre Guindon and the theory of symbolism developed by theologian Paul Tillich, we turned to early baptismal texts and Christian iconography. Guindon's bold and innovative work on nudity and the Christian faith guides our own investigations and frames our discussions. Tillich's symbolic theory has influenced and been implemented by many researchers in various disciplines and seems especially appropriate for investigations into nudity as a symbol within our North American culture. An examination of the second baptismal catechesis of Cyril of Jerusalem and Renaissance images of the naked Christ as documented by Leo Steinberg, enabled us to construct a Christocentric symbolic paradigm. This paradigm indicates and provides meanings of Christ's symbolic nudity. The baptismal instructions given by Cyril explicates and clarifies the connection between the initiate and Christ, a relationship which Cyril indicates with the use of nudity as a symbol. The connection between the believer and Christ is symbolized and actualized by the nudity of both. Nudity forms the symbolic bond connecting Christ and the neophyte. Steinberg's exploration of theological meanings communicated by artistic imagery of the naked Christ, led us to delinate meanings and interpretations of the symbolic nudity of Christ. These meanings were then applied in a new model which was employed to offer constructive, positive meanings of human nudity. Finally, we indicated theological and ethical implications of the implementation of this Christocentric paradigm. Such a model presents nudity in a positive fashion because it indicates and reveals our graced relationship with and in the risen Christ. In the light of our new model, human nakedness may be considered as a positive, affirming symbol (nudity). (Abstract shortened by UMI.)

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Ekstrand, Julian. ""A Nakedness of Mind": Gender, Individualism and Collectivism in Jack Kerouac's On the Road." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100041.

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This essay focuses on gender roles, individualism and collectivism in Jack Kerouac’s classic road-trip novel On the Road. In order to put the discussion into a meaningful context, I look at the novel from a historical perspective and examine how it relates to post-war American society. I argue that the novel is, in many ways, representative of a society existing in a field of tension between individualism and collectivism, and that its notion of individual freedom, at the time revolutionary, can be seen as retrogressive with regard to the book’s portrayal and treatment of women. The essay features a discussion of what kind of individual freedom is presented in On the Road and how this freedom relates to typical American individualism as well as American post-war societal norms, the norm of the nuclear family in particular. This is followed by a brief analysis of how the novel influenced future generations, specifically in terms of sexual liberation. This analysis introduces a discussion of the way in which women are portrayed in the book and how this portrayal both represents collective progress in post- war America—women are often described as financially independent—and a phallocentric type of individualism. I then show that this individualism is connected to an unthinking optimism which, I argue, is one of the key causes of the retrogressive view of women exemplified by the book. My study ultimately demonstrates that the novel’s notion of individualism—an individualism which was highly influential for future generations and is usually viewed as progressive—can arguably be seen as retrogressive in terms of Kerouac's representation of gender roles.

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Routledge, Amy. "'Dress and undress thy soul' : nakedness and theology in early modern literature and culture." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5536/.

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This thesis examines how concepts and images of nakedness are used to shape literary and theological meaning and experience within the literature and culture of early modern England. It considers how nakedness functions within a number of key literary and spiritual forms, including theological treatises, the spiritual allegory, religious lyrics, and drama. The first three chapters establish the rich cultural and spiritual heritage of nakedness, through an examination of the Bible, the works of Martin Luther and John Calvin, Anglican Church practice and debate, and anatomical texts and practices. The final three chapters offer a close analysis of the meaning and affect of nakedness within three distinct literary forms. This thesis contends that nakedness has a spiritual potency: a spiritual charge recognised and utilised by early modern theologians, preachers and writers, as they debated, defined and expressed their faith. It considers how far the meaning of nakedness is shaped by gender, and how early modern society negotiated the tensions between bodily sanctity and obscenity, naked praise and pornography. The thesis concludes by reflecting how far tropes and experiences of nakedness in our time remain obscurely charged, albeit in non-theological contexts, with something like theological meaning.

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Marks, Kimm Marie. "Nakedness in Contemporary Performance: The Naked Body in Three Works by Bill T. Jones, Ann Carlson, and Ron Athey." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392820358.

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Mayhew-Smith, Nick. "Nature rituals of the early medieval church in Britain : Christian cosmology and the conversion of the British landscape from Germanus to Bede." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/Nature-rituals-of-the-early-medieval-church-in-Britain(9d5b1796-8ec5-4272-be04-4a6fc7cf4e19).html.

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This thesis studies ritual interactions between saints and the landscape, animals and elements during a three-hundred year period from 410 AD. Such interactions include negotiations about and with birds and other animals, exorcism of the sea, lakes and rivers, and immersion in these natural bodies of water for devotional purposes. Although writers of the period lacked a term such as 'nature' to describe this sphere of activity, it is demonstrated that the natural world was regarded as a dimension of creation distinctively responsive to Christian ritual. Systematic study of the context in which these rituals were performed finds close connection with missionary negotiations aimed at lay people. It further reveals that three British writers borrowed from Sulpicius Severus' accounts of eastern hermits, reworking older narratives to suggest that non-human aspects of creation were not only attracted to saints but were changed by and participated in Christian ritual and worship. Natural bodies of water attracted particularly intense interaction in the form of exorcism and bathing, sufficiently widely documented to indicate a number of discrete families of ritual were developed. In northern Britain, acute anxieties can be detected about the cultural and spiritual associations of open water, requiring missionary intervention to challenge pre-Christian narratives through biblical and liturgical resources, most notably baptism. Such a cosmological stretch appears to have informed a 'Celtic' deviation in baptismal practice that emphasised exorcism and bodily sacrifice. Nature rituals were a systematic response to the challenges of the British intellectual and physical landscapes, revealing the shape of an underlying missionary strategy based on mainstream patristic theology about the marred relationship between humans and the rest of creation. St Ambrose emerges as the most influential theologian at the time when the early church was shaping its British inculturation, most notably led by St Germanus' mission in 429.

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YU, SHU TING, and 游淑婷. "Nakedness, Art, and Society: Using Shi-twuan Lin as a Research." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/30051529791873891280.

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碩士
臺北市立師範學院
視覺藝術研究所
92
Abstract Keywords: Shi-twuan Lin（1940-）, modeling, intentionality This thesis presents the model, Shi-twuan Lin, who is the first admitted model in Taiwan, as an example of female subjectivity. The discourse first sets up a male-gaze perspective against the background of the visual tradition of the objectification of female bodies. The thesis aims to show the approaches men take when placing women in the exact spot of the gaze. Two possible results arise if women try to question or draw people’s attention to the fact of the gaze: 1. They accept that they are tempting to men and adapt themselves to the passive positions created by men. 2. They often end up in humiliation if they try to replace the male position. Shi-twuan Lin acts out the reversal of subjects and objects, and becomes an observant subject who gazes back at her viewers’ perspectives. She not only breaks the presumed way of viewing and watching the pattern of performance, but also subverts the common image of nakedness. After 1965, Lin changed her job from a model to dancer because of the emergence of her female identity and self-awareness, which became the dominant factors for the transference of the events in her life. This thesis makes use of the three controversial social events (1961-1975) in which Lin was the leading force to connect the artistic viewpoints of models and viewers under the influence of mainstream ideological mechanisms. Visual representation is the most powerful form of those mechanisms; it is also the most publicized. What female artists possess, however, is only the border or helpless position. Therefore, when Lin no longer wanted to be confined to the position of being desired and objectified, she altered her path from visual art to the form in motion — dancing. Some other sensual elements are added to her art form, and Lin constructs her own subjectivity. These experiences prompt internal self-reflection in Lin. Based on that female characteristic, Lin is reborn into an artist with reconstructed mentalities. The internal relations of women are decided by viewers’ gazes and by the placement of female bodies in certain visual frames. This kind of inequality is deeply rooted in Taiwanese culture. This thesis gives a discussion of intentionality in Lin’s life, and hopes to introduce a more diverse and border ideology into the mainstream culture of our society through the implantation of new ideas.

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Laferrière, Maude. "Michel-Ange et le motif des genitalia : signification, perception et censure." Thèse, 2017. http://hdl.handle.net/1866/19366.

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Nous proposons une étude des genitalia masculines dans la production de Michel-Ange afin de saisir ce qu’un tel motif pouvait signifier dans différentes œuvres selon le sujet qu’elles représentent. En nous concentrant principalement sur quatre œuvres de l’artiste florentin nous désirons éclaircir l’impact visuel du dévoilement du sexe masculin et la perception que pouvait en avoir le public italien du XVe siècle et du XVIe siècle. Le Bacchus (1496-1497), Le David (1501-1504), Le Christ Rédempteur (1519-1520) et Le Jugement dernier (1536-1541) ont été choisis pour la diversité des thèmes qu’ils illustrent et pour leurs différents contextes de production et d’exposition. Nous comparons les œuvres religieuses aux œuvres profanes afin d’y relever les problématiques spécifiques qui résultent dans chacun des cas. Le choix de s’en tenir à la production de Michel-Ange implique aussi de se pencher sur un type de figure masculine bien précis, directement inspiré de l’Antiquité. Pour mieux comprendre ce qui résulte du dévoilement des genitalia, nous définissons des notions primordiales comme le nu, la nudité, la sexualité, la masculinité et la virilité dans l’art de la Renaissance. À partir d’une approche historiographique, dont La sexualité du Christ à la Renaissance et son refoulement moderne de Leo Steinberg constitue la référence principale, nous appuyons ses hypothèses quant aux représentations du sexe du Christ. Et selon une approche historique, nous suggérons des hypothèses quant à la nudité intégrale de figures emblématiques de la production de Michel-Ange. En nous concentrant principalement sur les œuvres nommées ci-haut et le détail des genitalia, nous remarquerons que les artistes, y compris Michel-Ange, ne représentent pas ce détail par hasard, mais bien parce que cette partie du corps riche en signification peut servir à exprimer et appuyer plusieurs concepts.
We propose a study on the male genitalia in Michelangelo’s production, in order to grasp the significance in different works of art depending on the subject that they represent. By focusing on four pieces of art of the Florentine artist, we would like to clarify the visual impact of the male genitals unveiled and the perception from the Italian audience of the fifteenth century and sixteenth century. The Bacchus (1496-1497), The David, (1501-1504), The Risen Christ (1519-1520) and The Last Judgment (1536-1541) have been chosen for the variety of the topics they illustrate and for the different contexts of production and exhibition. We compare religious pieces of art to profane pieces of art to identify specific issues that result in every case. The decision to stick to only Michelango’s artistic production also implies looking at a specific type of male figure, directly inspired by the Antiquity. For a better understanding of what results from the genitalia’s unveiling, we define essential notions like nude, nudity, sexuality, masculinity and virility in the Renaissance. With a historiographical approach based on The Sexuality of Christ in Renaissance Art and in Modern Oblivion, written by Leo Steinberg, we support his hypothesis about the representations of Christ’ genitals. And with a historical approach we suggest some hypotheses about the nudity of iconic figures realised by Michelangelo. By focusing mainly on the pieces of art mentioned above and the detail of genitalia, we notice that artists, such as Michelangelo, did not represent this detail by chance, but because this part of the body is rich of signification and can serve to express many concepts.

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Books on the topic "Nakedness"

1

Beyond nakedness. Los Angeles, Cal: Elysium Growth Press, 1985.

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Degrees of nakedness: Stories. Stratford, Ont: Mercury Press, 1995.

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Degrees of nakedness: Stories. Toronto: House of Anansi Press, 2004.

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Ffrench, Geraldine Margaret. Nudity, nakedness and representation. Manchester: University of Manchester, 1994.

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Górnicka, Barbara. Nakedness, Shame, and Embarrassment. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9.

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Kwakye, Benjamin. The clothes of nakedness. Trenton, NJ: Africa World Press, 2008.

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Bowman, Paul M. Nakedness and the Bible. Ferndale, WA: Amity Marketing Service, 2001.

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The clothes of nakedness. Portsmouth, NH: Heinemann, 1998.

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ʻĀdil, Ghulām ʻAlī Ḥaddād. Zhylan︠g︡achtanuunun madanii︠a︡ty zhana madanii︠a︡ttyn zhylan︠g︡achtanuusu = The culture of nakedness and the cultural nakedness. Bishkek: Altyn Tamga, 2007.

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Alkalay-Gut, Karen. The love of clothes and nakedness. [Israel]: "Sivan" Israel federation of writers union publishers, 1999.

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Book chapters on the topic "Nakedness"

1

Górnicka, Barbara. "Setting the nude scene." In Nakedness, Shame, and Embarrassment, 13–27. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_1.

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Górnicka, Barbara. "Among the naturists." In Nakedness, Shame, and Embarrassment, 29–43. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_2.

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Górnicka, Barbara. "From lewd to nude: becoming a naturist." In Nakedness, Shame, and Embarrassment, 45–84. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_3.

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Górnicka, Barbara. "The sociogenesis of nudism." In Nakedness, Shame, and Embarrassment, 85–110. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_4.

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Górnicka, Barbara. "Natural bodies? Nakedness, eroticisation and shame." In Nakedness, Shame, and Embarrassment, 111–41. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_5.

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Górnicka, Barbara. "Nakedness as a theoretical problem." In Nakedness, Shame, and Embarrassment, 143–64. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_6.

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Górnicka, Barbara. "Nakedness and the theory of taboo." In Nakedness, Shame, and Embarrassment, 165–78. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_7.

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Górnicka, Barbara. "Conclusion." In Nakedness, Shame, and Embarrassment, 179–85. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-15984-9_8.

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Crago, Hugh. "‘Not in Utter Nakedness’." In The Stages of Life, 13–30. Abingdon, Oxon; New York, NY: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315684703-2.

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Lee, Jiann-Shu, Yung-Ming Kuo, and Pau-Choo Chung. "Detecting Nakedness in Color Images." In Studies in Computational Intelligence, 225–36. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11756-5_10.

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Reports on the topic "Nakedness"

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Christe, Karl O., and B. Jenkins. Quantitative Measure for the Nakedness of Fluoride Ion Sources. Fort Belvoir, VA: Defense Technical Information Center, April 2003. http://dx.doi.org/10.21236/ada415192.

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Gerken, M., J. A. Boatz, A. Kornath, R. Haiges, and K. O. Christe. Are 19F NMR Shifts a Measure for the Nakedness of Fluoride Ions? Fort Belvoir, VA: Defense Technical Information Center, March 2002. http://dx.doi.org/10.21236/ada410513.

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