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Journal articles on the topic 'Nudes (representations)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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1

Deslandes, Suely Ferreira, Claudia Valéria Cardim da Silva, Juliana Marins Reeve, and Roberta Matassoli Duran Flach. "Nude Leaking: from moralization and gendered violence to empowerment." Ciência & Saúde Coletiva 27, no. 10 (2022): 3959–68. http://dx.doi.org/10.1590/1413-812320222710.07112022en.

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Abstract The “sphere of intimacy” is increasingly mediated by a socio-technical network inlaid with new meanings and readings in love and seduction games. In these affective-digital exchanges, nudes are essential in linking interest between partners, also setting spaces for power struggles and violence. This work aims to analyze the prevailing moralities, the emotional management, and the inclusion of the body in affirming autonomy and diversity identified in the statements of young people whose intimate contents were disseminated on the internet without their consent. We analyzed 20 videos of
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Budzisz, Aleksandra, Magdalena Hoły-Łuczaj, and Kamil Łuczaj. "Kobieta FIT – seksualne uprzedmiotowienie czy zyskana moc? Analiza na podstawie kobiecego aktu sportowego." Kultura Popularna 3, no. 49 (2017): 104–19. http://dx.doi.org/10.5604/01.3001.0009.8048.

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Today, the perception of (ideal) feminity is based on a visual presentation of the (ideal) female body, including female nudes. Due to the cultural patterns, most of the recipients of visual culture rarely have an opportunity to become familiar with a variety of representations of the female body (age, body shape, stylization). The most common is the pattern of “fit woman” – neat, slim, stressing her sexual attributes. This analysis confronts the traditional image with the increasingly popular trend among women – building athletic body (strong, muscular, silhouette), previously limited to men.
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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): 230a. http://dx.doi.org/10.1017/s0020743810000334.

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In Beirut between 1920 and 1940, the fine-art nude was a necessary genre. Exhibitions of these pictures put audiences on display as much as nudes. Thus, these events enable probing the role of art at intercultural junctures and understanding the experience of self-modernizing subjects outside metropolitan locales. Al-ḥadātha and al-muʿāṣira are analyzed as complementary but noninterchangeable aspects of the modernizing project, to argue that viewing art and appreciating nudes were necessary components of an urban, modern identity for Mandate-era Beirutis. The concept of dislocation is introduc
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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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Juzefovič, Agnieška. "CREATIVE TRANSFORMATIONS IN VISUAL ARTS OF EARLY FRENCH MODERNISM: TREATMENT OF NUDE BODY." Creativity Studies 9, no. 1 (2016): 25–41. http://dx.doi.org/10.3846/23450479.2015.1112854.

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Resent paper is focused on the early modern culture, particularly on the topic of visual art and its confrontation with traditional, pre-modern culture and aesthetic. The author unveils how and why painters of early French modernism had rejected traditional representation of eroticism, typical for pre-modern art, especially for the art of academicism. Thus from their artworks disappeared sublimated, exalted nudity, withdrew nudes modestly hidden under mythological or religious context. In the works of impressionists and postimpressionists naked body was depicted frankly, openly, without any ex
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Wright, Ellen. "Having Her Cheesecake and Eating It." Feminist Media Histories 2, no. 4 (2016): 116–42. http://dx.doi.org/10.1525/fmh.2016.2.4.116.

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Bunny Yeager was a pinup model and photographer who appeared on TV and in exploitation films, while creating pinups and “art” nudes for Playboy, coffee-table books, and how-to publications. She is currently experiencing a revival as part of a subcultural vogue for 1950s and 1960s Americana. In her images she was often both subject and photographer, and her self-reflexive pictures engage with issues of authorship, control, and the sexualized gaze. This text examines Yeager's portraiture, her instructive writing, her representation in the film Bunny Yeager's Nude Camera (1963), and the way she p
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SUI, CHENGLONG, and Won-Kyung Kim. "An Examination of the Depiction of Nude Scholars in Ancient Chinese Painting: A Semiotic Analysis Based on Peirce’s Triadic Sign Theory." Society for Chinese Humanities in Korea 88 (December 31, 2024): 107–20. https://doi.org/10.35955/jch.2024.12.88.107.

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The portrayal of nude scholars occupies a distinctive position within the annals of Chinese art history, functioning not only as a representation of the scholars' quotidian lifestyles but also as a manifestation of their spiritual aspirations and philosophical doctrines. Nonetheless, extant scholarship has predominantly emphasized the surface-level visual representations, thereby neglecting an in-depth exploration of the underlying symbolic significances inherent in this imagery. This study employs a semiotic framework to elucidate the intricacies of the nude scholar motif as a cultural signif
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Cui, Shuqin. "The Pregnant Nude and Photographic Representation." Women's Studies 43, no. 8 (2014): 993–1021. http://dx.doi.org/10.1080/00497878.2014.955701.

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Saeid, Samaneh, and Laleh Atashi. "Vintage Ladies in Cubist Exhibitions: Pablo Picasso's Cubist Women and Judith Butler's Performativity." k@ta 22, no. 1 (2020): 28–35. http://dx.doi.org/10.9744/kata.22.1.28-35.

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As a prominent figure in the history of painting, Pablo Picasso has bestowed upon the world his uniquely striking paintings in different styles, the most revolutionary of which being his Cubist art. The representation of women occupies a significant space in Picasso’s Cubist works. While the painter’s style is highly revolutionary, rejecting the accepted principles of painting, the subject matter does not change as such: nude women are objectified with a cubist look. Judith Butler’s theory of gender performativity which examines the roots of naturalized concepts of gender, has been applied to
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Aláez Corral, Máximo. "Dysfunctional Gaze and the Representation(s) of Women in Nuala Ní Chonchúir’s “As I Look”." Complutense Journal of English Studies 27 (October 4, 2019): 247–58. http://dx.doi.org/10.5209/cjes.61104.

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In this article I intend to analyse Nuala Ní Chonchúir’s short story “As I Look,” from her 2009 collection Nude, in relation to the concept of dysfunction, the representation of the nude female body, and the deconstruction of the conventional male gaze. My analysis will be backed up by a theoretical framework on objectification and will focus on dysfunction in the gaze and representation, and also in narration. I aim at highlighting dysfunction as an instrument to convey a new meaning around the visual/literary representation of women, a more positive and desirable connotation than the “functi
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Zinetti, Philippe. "De la figure dénudée à la figuration du nu..." Figures de l'Art. Revue d'études esthétiques 4, no. 1 (1999): 385–98. http://dx.doi.org/10.3406/fdart.1999.1210.

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«From the bare body to the figuration of the nude... » Painting the body means undressing it, putting it back to its naked form as from its origin, so as to invest it with new symbolical values. The naked body questions us with its physical presence and actively participates in the making of the artistic work, as it is a source of inspiration, a living material and medium. The figuration which invests this medium is also concerned with the representation of the nude. Indeed, certain figures of the nude painted on the body will be recurrently found. Besides, it would seem that this creative act
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Virmani, Arundhati. "La Madre India nuda, un affare di Stato nazionale." PASSATO E PRESENTE, no. 76 (March 2009): 27–52. http://dx.doi.org/10.3280/pass2009-076002.

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- In February 2006, a painting, representing a map of India in the form of a naked woman, entitled "Nude Bharatmata" (Nude Mother India) by Maqbool Fida Husain, appeared in an Indian magazine in English «India Today». A national affair: Nude Bharatmata 2006 analyses reactions in India and abroad, examines the Husain affair in the light of the longue durée of national iconography and highlights the coexistence of different, even conflictual expectations from national representations as India goes "global". Keywords: India, National identity, Iconography, History. Parole chiave: India, Identitŕ
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Ramadhiansyah, Dimas. ""Yes, I'm Nude”: Deconstructing Body Image Stereotypes in Nxde by (G)I-DLE." Biokultur 14, no. 1 (2025): 30–48. https://doi.org/10.20473/bk.v14i1.64995.

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The evolution of the Korean music industry, or K-Pop, has now become a global phenomenon. K-Pop hastranscended boundaries, not only as a genre of music but also as a medium capable of conveying messages andcritiques on societal issues. (G)I-DLE’s 2022 song “Nxde” stands out in this regard, addressing body image andchallenging stereotypes related to women’s representation. This study investigates how “Nxde” deconstructs bodyimage stereotypes and critiques the objectification of women within K-Pop and broader media cultures. UsingCharles Morris's semiotic analysis, this research examines syntact
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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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Lee, Haiju. "A Study on the Aesthetic Consciousness Represented in the Motif of the Flying Deities (Feitian) in Goguryeo Tomb Murals." Paek-San Society 130 (December 31, 2024): 5–32. https://doi.org/10.52557/tpsh.2024.130.5.

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In this study, 36 representations of flying deities (feitian) depicted in Goguryeo tomb murals were analyzed, categorized based on the presence or absence of halos, the type of upper garment, and the length of the lower garment. Through this analysis, three distinct aesthetic principles were identified: ‘vitality expressed through the beauty of dynamic lines,’ ‘the elegance of supple and delicate human forms,’ and ‘a boundless and transcendent spirit.’ Section 3.1 examines how Goguryeo feitian evoke an impression of the Buddha’s world by actively soaring through relatively open spaces, emphasi
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Wilewski, S. "The Temperamental Nude: Class, Medicine and Representation in Eighteenth-Century France." French Studies 66, no. 3 (2012): 403–4. http://dx.doi.org/10.1093/fs/kns146.

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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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Duangwises, Narupon, and Peter A. Jackson. "Evolving Thai Homoeroticism, Male Nudity, and Multiple Masculinities in Gay Magazines Since the 1980s-2010s." Asia Social Issues 16, no. 2 (2022): e258105. http://dx.doi.org/10.48048/asi.2023.258105.

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This article details the masculine imaging of young male nude models. They posed for the homoerotic photos published in Thai gay magazines from the 1980s to the early 2010s, analyzing how these images reflected patterns of male homosexual desire. We consider how Thai gay men perceived these masculine images and how the representation of male nudity responded to and sustained Thai gay men’s sexual imaginations. It is not only the textual forms of discourse in the articles published in Thai gay magazines that tell us about the country’s gay culture and history. The images of the naked men photog
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Pulkin, Maxim. "BODY REPRESENTATIONS IN TRADITIONAL AND MODERN CULTURES: COMPREHENSION PROBLEMS." Herald of Culturology, no. 3 (2021): 106–24. http://dx.doi.org/10.31249/hoc/2021.03.08.

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The article examines the main problems of the representation of the nude body as one of the significant components of traditional and modern culture. It was revealed that the functioning of ideas about the meaning of nudity in culture is associated with a number of binary oppositions. The first is the opposition between sexuality and asceticism. The second presupposes the opposition and unity of traditionalism and nihilism. The third is associated with humiliation or an increase in the importance of the individual. In each specific case of exposure, we are dealing with a kind of message due to
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Collet, Charlotte. "Representation of bathers by Paul-Emile Chabas (1869-1937)." Revista de História da Arte e da Cultura 3, no. 1 (2022): 4–37. http://dx.doi.org/10.20396/rhac.v3i1.16211.

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The painting of Paul-Emile Chabas is representative of that of the end of the 19th century which relies on the fantasies of the public by showing female nudity. Nevertheless, the artist stands out for having made these figures a subject in their own right, having his young models pose most often at the edge of the water. For this article, it is a question of analyzing and categorizing the different representations of the female nude by Paul-Emile Chabas with regard to artistic production between the two centuries. This study has also aims to account for the preponderance of the subject of bath
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Mathews, Patricia. "Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne Valadon." Art Bulletin 73, no. 3 (1991): 415. http://dx.doi.org/10.2307/3045814.

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Veldman, Ilja M. "Philips Galle: een inventieve prentontwerper." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 262–90. http://dx.doi.org/10.1163/187501791x00155.

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AbstractPhilips Galle (1537-1612) is best known as a productive engraver and publisher of prints. I Iowever, scant attention has been paid to the fact that he himself often designed prints which he or others engraved. This disregard of Galle's role as inventor is unfair, for many of his representions are particularly interesting for their iconography: several of the themes are original, conceived either by Galle himself or inspired by literary sources and introduced to Netherlandish art for the first time. Only a couple of his designs have been preserved: the drawings Perseus and Andromeda (fi
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Fortunati, Vittorio. "Tony Halliday, The Temperamental nude: class, medicine and representation in eighteenth-century France." Studi Francesi, no. 164 (LV | II) (September 1, 2011): 408. http://dx.doi.org/10.4000/studifrancesi.5625.

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Craske, Matthew. "Tony Halliday,The Temperamental Nude: Class, Medicine and Representation in Eighteenth-Century France." Social History of Medicine 25, no. 3 (2012): 754–55. http://dx.doi.org/10.1093/shm/hks012.

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Whited, Brandon. "Masculine exposure: Transgressive representations of the male nude in contemporary dance and editorial fashion photography." Queer Studies in Media & Popular Culture 3, no. 2 (2018): 213–26. http://dx.doi.org/10.1386/qsmpc.3.2.213_1.

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Bohn, Babette. "RAPE AND THE GENDERED GAZE: SUSANNA AND THE ELDERS IN EARLY MODERN BOLOGNA." Biblical Interpretation 9, no. 3 (2001): 259–86. http://dx.doi.org/10.1163/156851501317072710.

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AbstractIn the course of its long history, pictorial representations of Susanna changed dramatically, ranging from her characterization as a model of female virtue and chastity to her portrayal as a nude and eroticized temptress. Around the turn of the seventeenth century, the Bolognese painter Ludovico Carracci rejected the eroticism of contemporary depictions, reviving the theme of Susanna's virtue and turning to the patristic literature for an understanding of the moral issues raised by the Susanna text.
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Paliyenko, Adrianna M. "The Temperamental Nude: Class, Medicine, and Representation in Eighteenth-Century France by Tony Halliday." French Review 86, no. 2 (2012): 404–5. http://dx.doi.org/10.1353/tfr.2012.0110.

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Stănese, Radu. "From the prehistoric to the posthuman selfie." Sæculum 48, no. 2 (2019): 91–103. http://dx.doi.org/10.2478/saec-2019-0034.

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AbstractLeRoy McDermott’s hypothesis proposes a perceptual interpretation of the Venus statues from to the Upper Paleolithic period these being in fact the first examples of human self-representations. The arguments he brings are of an artistic nature par excellence and they refer to the visual distortions arising from the subject’s point of view. The fantasy of being admired by others through the means of the nude selfie has generated a whole trend in today’s pop culture and Kim Kardashian is a prime example in this sense. The “shareware body” has gone through an entire history of significanc
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CARNEMOLLA, STEFANIA ELENA. "PEDRO NUNES, MATEMATICO E COSMOGRAFO PORTOGHESE DEL XVI SECOLO, E LA SUA DEFESA DO TRATADO DA RUMAO DO GLOBO PARA A ARTE DE NAVEGAR1." Nuncius 18, no. 1 (2003): 269–86. http://dx.doi.org/10.1163/182539103x00648.

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Abstracttitle SUMMARY /title The article contains an edition of an undated, and untitled Portuguese manuscript which is to be found in the National Library of Florence, and which once belonged to Cosimo III de' Medici, who had received it by the Portuguese engenheiro-mor and cosmographer Luis Serrao Pimentel. Nowadays known as Defensdo do Tratado da Rumao do GLOBO para a Arte de Navegar, it represents a work by the Portuguese mathematician and cosmographer Pedro Nunes on navigational problems such as the representation of the loxodrome on a globe, after he had proved that a ship following a fi
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Martinez, Meghan, Allison Kirkegaard, Kathryn Bouskill, Xiaowei Sherry Yan, Zachary Wagner, and Katherine E. Watkins. "Surgeons’ views of peer comparison and guideline-based feedback on postsurgery opioid prescriptions: a qualitative investigation." BMJ Open Quality 13, no. 2 (2024): e002750. http://dx.doi.org/10.1136/bmjoq-2024-002750.

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BackgroundExcess opioid prescribing after surgery can lead to prolonged opioid use and diversion. We interviewed surgeons who were part of a three-group cluster-randomised controlled trial aimed at reducing prescribed opioid quantities after surgery via two versions of a monthly emailed behavioural ‘nudge’ (messages encouraging but not mandating compliance with social norms and clinical guidelines around prescribing) at the end of the implementation year in order to understand surgeons’ reasoning for changing or continuing their prescribing behaviour as a result of the intervention and the con
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Wang, Yujia. "Beyond Aesthetics: The Symbolism of Nudity in Renaissance Art." Communications in Humanities Research 68, no. 1 (2025): 210–16. https://doi.org/10.54254/2753-7064/2024.23762.

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This paper explores the multifaceted symbolism of nudity in Renaissance art, going beyond its aesthetic appeal to uncover deeper philosophical, cultural and social significance. During the Renaissance, nudity in art represented a profound shift from medieval perceptions of the human body, influenced by the revival of classical antiquity and humanism. The paper highlights the contributions of prominent artists such as Michelangelo and Leonardo da Vinci, whose works embodied the ideals of beauty, truth and human perfection. By examining key works such as Titians Sacred and Profane Love and Botti
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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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Dragońska, Urszula. "„Pejzaż górski nie odpowiadał mi malarsko”, Zakopiański epizod graficzny Jana Skotnickiego." Artifex Novus, no. 5 (December 13, 2021): 118–35. http://dx.doi.org/10.21697/an.9374.

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Abstrakt:
 W artykule omówiona została graficzna twórczość młodopolskiego malarza Jana Skotnickiego, przypadająca na lata 1909–1914. W 1908 r. artysta wraz z żoną Teodorą z Trenklerów wyjechali z Krakowa do Zakopanego. Pobyt artysty zbiegł się w czasie z intensywnym rozwojem kulturalnym kurortu. W miejscowe inicjatywy Skotnicki angażował się osobiście, przy finansowym wsparciu swego teścia, łódzkiego przemysłowca i kolekcjonera, Henryka Grohmana. Jednocześnie tutejszy krajobraz i popularna w owym czasie góralska sztuka ludowa, zupełnie artysty nie inspirowały, przez co niemal zarzucił mal
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Okwuowulu, Charles. "Feminine Voyeurism in Ghana Films: Unmasking Frank Raja Arase’s Chauvinist Directorial Techniques." Journal of Gender and Power 10, no. 2 (2018): 137–49. http://dx.doi.org/10.14746/jgp.2018.10.007.

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There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video films across African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminists counterparts, muscularity always (re)emerge in new trends to dominate femininity. Consequently, there seems a paradigm shift on the (mis)representation of women which (re)enforces Laural Mulvey’s sexual voyeuristic objectification of feminine gender as reflected in near-nude costumes as well as sexual scenes that adorn most Ghana screens. This pap
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Sandu, Liviu-Adrian. "Naturalismul și virtuozitatea plastică în reprezentarea statuară a lui David în viziunea sculptorilor Donatello, Verrocchio, Michelangelo și Bernini." Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch 7 (December 15, 2023): 37–49. https://doi.org/10.35219/cercetarte.2023.04.

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Four identities, four masters, five solutions to the same subject, each of them demonstrating, among many others, the importance of the correlation between mimicry and attitude. The most important "novelty" that Donatello brings, through this sculpture, is the positioning of the character in a classic contra-post, but which preserves the elegant and traditional Gothic posture. The portrait, however, contrasts with the serenity of a curiosity displayed on a face that doesn't let us see anything of the heroic act performed, as if he didn't even care about the severed head of his rival lying at h
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Monteiro, Marlène. "The Body as Interstitial Space between Media in Leçons de Ténèbres by Vincent Dieutre and Histoire d’un Secret by Mariana Otero." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (2013): 111–26. http://dx.doi.org/10.2478/ausfm-2014-0018.

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Abstract This essay examines the ways in which the representation of the body in painting is the starting point of a broader reflection on the plasticity of the medium in two French autobiographical films. In Histoire d’un secret (Story of a Secret, 2003) by Mariana Otero and Leçons de ténèbres (Tenebrae Lessons, 2000) by Vincent Dieutre, the body is indeed at the centre, albeit in very different ways. The first is a documentary about the director’s mother who died of the consequences of an illegal abortion in the late sixties. She was an artist and her paintings, many of which depict lascivio
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Silberstein, Elodie. "“Have You Ever Seen the Crowd Goin’ Apeshit?”: Disrupting Representations of Animalistic Black Femininity in the French Imaginary." Humanities 8, no. 3 (2019): 135. http://dx.doi.org/10.3390/h8030135.

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16 June 2018. London Stadium. Beyoncé and Jay–Z revealed the premiere of the music video Apeshit. Filmed inside the Louvre Museum in Paris, Beyoncé’s sexual desirability powerfully dialogues with Western canons of high art that have dehumanized or erased the black female body. Dominant tropes have historically associated the black female body with the realm of nature saddled with an animalistic hypersexuality. With this timely release, Apeshit engages with the growing current debate about the ethic of representation of the black subject in European museums. Here, I argue that Beyoncé transcend
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Genovesi, Elisa. "Noi Donne, Effe, and Quotidiano Donna: Photography and the Representation of Women in Italian Feminist-Oriented Periodicals in the Late 1970s." Journal of Asia-Pacific Pop Culture 9, no. 2 (2024): 246–67. https://doi.org/10.5325/jasiapacipopcult.9.2.0246.

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Abstract Through the comparison of three of the main examples of Italian feminist-oriented press issued at the end of the 1970s, Noi Donne, Effe, and Quotidiano Donna, this article explores the various approaches to photography followed by the women’s movement in Italy, especially in relation to the sensitive topic of the representation of women by mass media and advertising. The article develops a specific focus on the controversial depiction of the female nude and the contributions of women photographers in search of new paradigms of photography. The discussion of these paradigms, which aime
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Fiers, Frank, and Moïssou Lagnika. "Four new representatives of the genus Allocyclops Kiefer, 1932 from semi-consolidated subsoil aquifers in Benin (Copepoda, Cyclopoida, Cyclopidae)." Subterranean Biology 16 (June 24, 2015): 1–36. https://doi.org/10.3897/subtbiol.16.4467.

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Several species of cyclopoid copepods were collected from improved and unimproved hang-dug-wells in the Republic of Bénin over the years 2009–2014. Fifty five wells located in seven different districts were sampled: 15 wells in the district of Pobè (Department Plateau) and 1 well in Kétou (Department Plateau), 4 wells in Porto-Novo District (Department Ouémé) and, 15 wells in Lokossa District (Department Mono),18 wells in Parakou District (Department Borgou), 1 well in Abomey-Calavi District (Department Atlantique) and 1 in Zogbodomè District (Department Zou). Among them, 4 new species of the
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Moffitt, John F. "A Hidden Sphinx by Agnolo Bronzino, “ex tabula Cebetis Thebani”." Renaissance Quarterly 46, no. 2 (1993): 277–307. http://dx.doi.org/10.2307/3039062.

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In 1568 Giorgio Vasari Described (from already dim memories) a now-famous allegorical painting that had been painted by Bronzino (Agnolo Allori) for Cosimo I de’ Medici. Now usually known as The Exposure of Luxury, the picture in the National Gallery in London seems by general acknowledgement to have been done around 1545 (Fig. I). According to Vasari's recollection Bronzino had “made a picture of singular beauty” that was sent to the king of France, François I. As best as Vasari could recall, the particulars of its complicated iconographic program were all devoted to variations on an erotic t
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Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consis
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Lehnen, L. "Nunes, Zita. Cannibal Democracy: Race and Representation in the Literature of the Americas. Minneapolis: U of Minnesota P, 2008. 218 pp." Luso-Brazilian Review 47, no. 1 (2010): 239–42. http://dx.doi.org/10.1353/lbr.0.0107.

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Omoera, Osakue S., and Charles C. Okwuowulu. "Female Representation in Select Films of Frank Rajah Arase: Evidence of Male Chauvinist Tendencies in the Ghanaian Film Culture." CINEJ Cinema Journal 9, no. 1 (2021): 14–41. http://dx.doi.org/10.5195/cinej.2021.287.

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There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video-films in Nigeria, Ghana, and indeed across the African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminist counterparts, masculinity always (re)emerges in new forms or topoi to dominate femininity. Consequently, there seems to be a paradigm shift on the (mis)representation of women that reinforces Laura Mulvey’s sexual voyeuristic objectification of the feminine gender as reflected in near-nude costumes as well as sexua
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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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Bature-Uzor, Nkechi, Uchechukwu Ajiwe, and Chinenye Uche. "Portraits of Nudity and Sexual Images in Nollywood's Cinematic Films." International Journal of Innovative Research in Arts, Education and Technology 3, no. 1 (2025): 84–98. https://doi.org/10.48028/iiprds/ijiraet.v3.i1.09.

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The way in which nudity and sexual images are being depicted in Nollywood film narratives shows influence of foreign culture and misinterpretation of African ideological world view. Therefore, this research explores the portrayal of nude and sexual images in Nollywood movies, thereby highlighting the way in which explicit content are being depicted in Nollywood films. This research is anchored on the framework of voyeurism theory and adopts the qualitative research design to investigate the visual pleasure of the representation of nudity and sexual images in Demeji Ajibola's Shantytown. Findin
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Joyce, Lillian B. "Dirce Disrobed." Classical Antiquity 20, no. 2 (2001): 221–38. http://dx.doi.org/10.1525/ca.2001.20.2.221.

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The Punishment of Dirce was a theme that intrigued both artists and patrons of the Roman period. It appeared in diverse locations and media, notably as a wall painting in the House of the Vettii in Pompeii and the Toro Farnese once displayed in the Baths of Caracalla in Rome. In all representations, Dirce struggles with the bull that will trample her to death. Traditional studies of this imagery have focused on the formal characteristics of these representations, studying issues of workshop practice and the relationship between originals and copies. Scholars seldom analyze the meaning of the m
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Seth, Catriona. "Tony Halliday , The Temperamental nude : class, medicine and representation in eighteenthcentury France , Oxford, Voltaire Foundation, SVEC 2010, 05, 2010, 258 p." Dix-huitième siècle 43, no. 1 (2011): CLXIII. http://dx.doi.org/10.3917/dhs.043.0725fg.

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Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.

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Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw
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Gill, Kyle A., and Henry Lennon. "Conformity Through Fear: A Multimodal Critical Discourse Analysis of COVID-19 Information Adverts." CADAAD Journal 14, no. 1 (2022): 22–44. http://dx.doi.org/10.21827/cadaad.14.1.41603.

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The UK Government has produced an array of televised information adverts or ‘campaigns’ to increase public awareness of COVID-19 and promote compliance with its subsequent policy. Research has shown that compliance with public health policy is influenced by fearful visual-verbal campaign messaging strategies, and that emotive representations of ‘risk’ aregenerally perceived to be more effective than non-emotive discourse. However, how the Government has semiotically constructed and utilised fear within their COVID-19 campaigns to nudge public compliance remains unexplored. Preliminary analysis
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Haraway, Donna J. "The Virtual Speculum in the New World Order." Feminist Review 55, no. 1 (1997): 22–72. http://dx.doi.org/10.1057/fr.1997.3.

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Beginning by reading a 1992 feminist appropriation of Michelangelo's Creation of Adam – in a cartoon in which the finger of a nude Adamic woman touches a computer keyboard, while the god-like VDT screen shows a disembodied fetus – ‘Virtual Speculum’ argues for a broader conception of ‘new reproductive technologies’ in order to foreground justice and freedom projects for differently situated women in the New World Order. Broadly conceptualized reproductive practices must be central to social theory in general, and to technoscience studies in particular. Tying together the politics of self help
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